A little bit of cine-magic at the Olympics (London 2012)

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I don't remember much of the 2008 ceremony in Beijing, but by any standard, this year's ceremony simply ROCKED! Selecting Oscar-winning director Danny Boyle to orchestrate the majestic masterpiece was a stroke of genius, the man knows how to wow. He brought drama to the story, the marvellous set  was decorated with enthusiastic performers of every sort and an intensely compelling score. It was almost a cinematic experience, except it was performed live in front of an audience. 

The first moment to sweep me off my feet was the grandiose transition of the stadium; the idyllic countryside was ripped apart and a nightmarish, fiery industrialised world rose from the ground, literally! 

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This theatrical sequence was resolved with a climax I shall never forget. Five gigantic rings hovered and glided across the sky before they united to form the glorious Olympic Rings. They glowed like a fluorescent cloud in the misty stadium, and to finish in spectacular fashion, they showered streams of fiery sparkles. That really is worth 42 million dollars!

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Boyle mixed live footage and filmed segments effortlessly, with perfect coherence and clear artistic directions. NO ONE will ever forget this Olympic, because James Bond escorted the Queen to the stadium... by parachute! 

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For me, the only thing missing was a live Adele performance, but I'm not complaining. A delirious dream of mine, one I thought would never come true, really did come true! Mary Poppins flew into the stadium and banished Lord Voldemort and his dark shadows. A strict and magical nanny fittingly reprimand a naughty boy; these are the spellbinding moments that make life worth living.

Only if Julie Andrews was among those Poppins... I know, I know greed is a sin! I just love that woman.

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Let the games begins and may be the odds be ever in your favour!

Love y'all.

Mary Poppins banishes Voldemort (Olympics Epic)

The 2012 London Olympics Opening Ceremony is one epic, memorable event! You'd think that NOTHING would trump the Queen and James Bond parachuting into the stadium, but Danny Boyle did indeed outdo himself! Dreams truly do come true, the stadium housed the spellbinding duel between Nanny Poppins and tortured orphan Voldemort. Naturally, Poppins won.

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The ceremony was sensational. In my opinion, the only thing missing was Adele's live performance of What A Wonderful World. Then again, too many of my life-long dreams were already fulfilled, and greed is a sin. The formation of the airborne, fiery Olympic Rings is an image I shall never forget. I am so glad I woke up early to witness this grand occasion. 

P.S. What A Wonderful World? Love y'all.

Prometheus, BEST cinematography 2012?

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For some particular reason, I am finding it impossible to collate a complete review for this modern masterpiece; perhaps I have been unknowingly impregnated by an alien, and its fetus is controlling my mushy brain. Regardless of the plausible Sci-Fi explanation, this post is entirely dedicated to the hauntingly beautiful visuals of this Ridley Scott Epic.

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Although it is only July, I am rather confident that Prometheus will take home the Oscar for cinematography. Simple fact is, the story arc is an age-old explorers' tale - a plot-line that has been heavily exploited in Sci-Fi; the moment you view the trailer, you know that most of the characters are fated to die. I would use the term *meet their maker*, but that can be greatly ambiguous with this film. It is Prometheus' graphically stunning execution of the material that entices us, and provokes us to thoughtfully consider its grand questions. Similar to Scott's earlier masterpiece, Blade Runner, Prometheus' futuristic universe compels the audience to call into question every aspect of our existence. Any action film, with a standard plot, that can evoke such insights is amazing, and should be cherished.

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Too dumb to live is how some viewers have described the characters; I mean, removing their helmets whilst exploring a cavern in an alien pyramid isn't exactly a brilliant move, even if the atmosphere is cleaner than ours, but if you desperately desire to scrutinise the situation, these are mad scientists who have been asleep for two years, LITERALLY. So, as you can imagine, the urge for fresh air can be rather uncontrollable, and scientists can be very romantic and sentimental about a livable atmosphere.

 Oh, and since we're already engaged in this discussion, if a character is exposed to a storm of flying debris, she is going to die even if she runs sideways. Scott is resourceful enough to end her life with an intense BANG instead of a dull, fatal injury; pardon the man for purposefully using special effects!

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Phew, okay, now that I am finished with being overly sarcastic, we can finally discuss the film's divine cinematography. The opening scene consists of marvelous, expansive scenery, and the ingenious director isn't just enthralling us with powerful CGI and great shots for the aesthetic value of it. Observing this natural utopia, we can't help but realise that we are minute, microscopic particles in this vast universe. This establishes the brave and broad strokes of the film; these shots, accompanied by a score that can be described as celestial, thrust us into a spaceship, and demands us to savor the ride.

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The film poses the momentous questions of creation and destruction, and leaves the questions unanswered. Millenia of Science have yet to solve this puzzle, and you expect answers from a two-hour film!? Even if this becomes a compact duology or a successful trilogy, and it absolutely can, I don't think we'll ever get a neat answer. Some mysteries will always remain unraveled and unsolved, and this doesn't concern me. What concerns me is that we are persistently endeavouring to play god - meeting our creators and becoming creators ourselves - our abuse of Science is and will continue to disrupt the natural order. Are we pausing to reconsider the possible apocalyptic outcomes? Or are we too driven  by our agendas, commercial or otherwise, to waste any time? 

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They Went Looking For Our Beginning, What They Find Could Be Our End.

This simple tagline captures the essence of the thematic concerns; as one of the character says we do because we can, and that arrogance is our fatal flaw. Even when pit against monumental architectures and an enemy that can tear them apart from the inside, the characters persevere in their quest to discover some sort of miracle. The grandiose cinematography not ONLY illustrates our insignificance, but also our raging impulse to be heard and to be known. The Prometheus spacecraft puts any Avatar airship to shame, and the P spacecraft plays a crucial role in the story - not that we're doing a comparative study. I feel as though I'm writing an essay, so I'll end on this note.

The cinematography of Prometheus is flawless in every sense of the word, these visuals accentuate the scope of the story, from the crevices of the human soul to the endless waterfall of the universe.
We, once again, lose ourselves in Scott's Alien world, but little do we realise that we are actually peering into the deepest and darkest caverns of our souls. That is one unforgettable experience.

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P.S. This took a million years to write, and I'm sorry if it takes a million years to read. Love y'all.

The Dark Knight Rises (review)

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The trilogy has a spectacularly epic ending, but that's not to say that the film is flawless. Nolan ups the stakes and adrenaline for his sensational, climatic conclusion and yet this film falls short of its predecessor's dramatic intensity. The plot lacks clarity, that's for sure, but that would be of no noticeable significance had they employed a great villain. Bane is utterly inadequate, and when compared to the ingenious creation that is the Joker, well, the comparison just adds insult to injury.

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In case you have not completely grasped my point, I hate Bane. He is by far the least intriguing Dark Knight villain; he is outright crude, soulless and inhumane. There can be no true despair without hope seems to be Bane's motto and, no doubt, his most thoughtful and memorable line. It is my favourite line, regardless of Bane's irksome voice, because it resonates the depth and darkness of the story. Only if the same concept was applied to the characterisation of the antagonist, for a truly fearsome villain is one who can draw empathy from the audience; it is most frightening to see our hidden darkness morphed into a maniacal killer. That is why the Joker is the supreme villain, he rivals Batman's genius - the clown with the harsh, pain-ridden laugh is the portrait of Bruce Wayne's capabilities, should he ever be forced into a hopeless, lonesome corner.

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Bane is physically intimidating, and matches Batman's brute strength. Unfortunately, his mask robs him of any humanity or persona for that matter, he is a mere lump of meat that can crack necks and detonate bombs. Tom Hardy does well with his emotive eyes, but they fail to enthrall me. I can't believe I am saying this, but a more charismatic actor would have proven efficient. I don't want to name anyone in particular because fan-boys will track me down and spear me, but I would have preferred an American accent. Whilst Batman's deep voice is engaging and contributes to the overall character of the seemingly invincible and limitless hero; Bane's voice only illustrates the savageness of his character, the attempt at poetic shades convinces no one, and the voice itself infuriates me. I would gladly view the film a second time, but that means I would have to endure the atrocity, that is Bane, again.

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However, that is a sacrifice I am willing to make, because to say that the film does not deliver an adequate antagonist by the denouement would make me a liar, and I am no liar. Ha ha oh hee hee ha ah ooh hee ha ha. Whilst the Joker's ingenious traps are superior in both elegance and dramatic involvement, mostly because the villain himself is entirely enticing, Bane's scheme allows for the greatest, climatic hour in the history of cinema. Once passed the clumsy and murky exposition, the film launches at an intensely swift pace and sweeps the audience off its feet. Nolan's action sequences are only, as per usual, the very best.   

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One of the most flashy and cool aspects of Batman is his gear, and the sight of the batmobile flying past skyscrapers completely blows me away. No terrible pun intended. Whilst the cinematography does not match the technical perfection of Prometheus, no one cares, because witnessing the batmobile glide across a night-sky lit by skyscrapers or watching it athletically dodge relentless missiles really do add to the out-of-this-world experience. 

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 Catwoman roaming Gotham with the Batcycle is yet another sight that excites; oh yes, Anne Hathaway makes a fine Catwoman. She plays the role with a playful sensuality, but also oozes intelligence; the character is caught between self-interest and Gotham's interest. Hathaway portrays this moral conflict effortlessly, with those sparkly eyes, she projects the guilt that is consequent of either choice. With a simple close-up, we can sense her dilemma, Batman or me? Bravo.

  Our other femme fatale is the radiantly gorgeous Marion Cotillard, who plays Miranda Tate. She is introduced as a rather different board member of Wayne enterprise, and from the get-go, we know that there is more to her than meets the eye. I find her very convincing in every aspect of her role, but as her screen-time is limited, I couldn't observe all the nuances of her performance. Hence my desire for a second viewing.

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Of course, my greatest motivator for a second viewing is the sensational climax that has an incredible running time, probably something along the lines of sixty minutes. To maintain the intensity and adrenaline of such a climax for that period of time is nothing short of legendary, this is why, regardless of a feeble villain, this film should still be a strong Best Picture contender. The film itself is the climax of the trilogy. We're all aware of Nolan's talents as a visual story-teller, his broad vision allows the audience to absorb the story from every angle; this, coupled with the grand scale of the explosions and toys, delivers the best possible chase scenes. The story may lack clarity- fault the disruptive flashbacks and the somewhat incomprehensible dialogue- but the action scenes are as resolute as possible. 

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To match the magnificent scale of the film, Hans Zimmer's marvelous score draws the audience and thrusts us into the war zone. The intensity is further kept alive by the fantastic cast, Gary Oldman and Joseph Gordon-Levitt have yet to be praised. Any viewer of the trilogy, that is basically every human-being, will know of Oldman's role as Commissioner Gordon - he brings an authoritative aura that grants hope to viewers. This hope is sustained by Levitt who plays an enthusiastic, passionate and orphaned young man who happens to be a great cop, in many ways, he is Gotham's white knight. Michael Caine, the butler, is not in the midst of the chaos, but without him the neat and satisfactory denouement would have been impossible. His spotlight belongs in the quiet, and reflective scenes that forebode the waves of destruction. Is there any point in praising Morgan Freeman who is a delight to watch in his role as Lucius Fox, the man who brings the awesome toys? Producers constantly ask him to play GOD for a reason, and you know it. 

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Now, finally, to the man of the hour - Christian Bale. As I have expressed on numerous occasions, Bale is THE BATMAN, he is the best that we have had, and probably the best we will ever have. He is greatly attractive and has no problems filling the shoes of the muscular genius, billionaire playboy. Of course, times have changed and he is not quite a billionaire or a playboy anymore, but I'll let you see the film without spoilers. There's a particular close-up of his masked face that shows his eyes filled with tears and despair - showing a definitive sort of pain; this simple shot gives us a complete look at his humanity. This is something Hardy couldn't do. Thinking of that shot, "Batman is no one and is everyone" resonates in my mind. So, whilst the series has lost its perfect villain, it still has - at its beating heart - the hero.

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P.S.  I was hoping for this film to usurp Prometheus as my favourite 2012 feature, but... perhaps a second viewing will settle the matter. Love y'all.

Oz: The Great and Powerful (trailer)

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Can you believe it? Hollywood is, once again, visiting the land of Oz. Though, could we actually blame them? Oz is a wonderful universe, one which allows for spectacular visuals and iconic characters. The beloved 1939 classic the Wizard of Oz presented icons, and this film offers the exclusive back-story to these famous and notorious personas, and we're absolutely interested. If we weren't, Wicked wouldn't have sold half as many tickets. 

Random Fact: Wicked the musical is the 12th longest-running show in history of Broadway.

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Rachel Weisz looks more sinister than ever as the Witch of the East. Be still my flaming heart!

This film looks promising, but so was Alice in Wonderland. I only mention Alice because this trailer explicitly states its connection to Tim Burton's billion-dollar success. They are very similar in many ways; they both offer a different look to famed characters and their stories, and both films possess stellar casts and massive budgets. We can only hope that Oz has a stronger, more inventive script and fearless script that will give us a meaty, new look at the civilians of Oz. The film is successful if, by its denouement, the audience is induced to utter Now I know I've got a heart, because it is breaking. 

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Glinda has always been my favourite, I know there is something flawed lurking underneath that flawless complexion.

This trailer is well-crafted, I especially love the transition from noir to colour as the young wizard (James Franco) enters Oz. The film, as expected, will be visually splendid and, to a substantial degree, action-packed. How else could it *replicate* Alice's amazing run at the box office? I have nothing against amazing cinematography, quite the contrary, however, the story beneath all of this chaos must be a heartfelt one. To entertain, it shall have aspects of an adventurous journey, but to move the audience, it needs to confront its' dark themes. The characters' demons are far more intriguing than the toothy fairies and plants that *greet* the wizard. 

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Worse comes to worst, this film will still be grounded by its great cast. I think Franco makes a great wizard, to complement his good looks, charms and charisma, this young actor can fill those eyes with anguish and melancholy. I do love a nuanced portrayal. Mila Kunis has the seductive beauty to  paint the Wicked Witch of the West, and yet the sweetness to draw empathy from the audience. The mighty Michelle Williams oozes purity and innocence, but we all know she can satisfy us with shades of grey (terrible joke, considering I don't even read the books). Okay, I feel as though I'm writing a pre-review, which makes no sense, so I shall STOP.

I would buy a ticket just to see that in motion.

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Point is, the trailer is marvelous and shows great promise. Ooh! Almost forget to mention the closing scene in the trailer... that is how you scratch a mahogany table. Well, don't fail me, fly my pretties, fly! You didn't think I would end this post without quoting that, did you? 

P.S. I adore Wicked, both the novel and musical, so I'm anxious. Anxiously waiting. Love y'all.

TED (review)

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There is not much to say, so I'll keep this short. TED is both enjoyable and entertaining.

When one strolls into a cinema to view a satire, one should disregard any sense of political correctness. All that one should expect from a satire is some wit, charm and humour. TED has that, in fact, it is good balance of hilarious crude humour and witty references. I'm not going to lie, I didn't get all of the jokes. Then again, some of the audience members only laughed at the crude ones. This is why TED has performed so well at the box office, it can entertain -well- anyone. 

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Mila Kunis, as per usual, is sweet, sexy and adorable, and Ted  is one of a kind, he's a wonderfully charming and offensive teddy bear. This, of course, compensates for Mark Wahlberg's man-child character, who is utterly repulsive, then again, prolonged adolescence is the subject of satire. I guess Wahlberg deserves praises for his entirely credible delivery, I wonder if he drew upon his own experiences. I mean, he was a teenage underwear model, but I digress.

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Anyway, this film is moderately ambitious,  has clear directions and is rather funny. If we compare it to the countless trashy satires and spoofs out there, this film is solid 8/10. Although, it doesn't quite stack up against The Hangover or Bridesmaids. 

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P.S. I had a movie marathon yesterday, so do expect reviews! Also, I am finishing up with the Prometheus review, AT LONG LAST! Love y'all.

The Dark Knight Rises: 13 minutes PREVIEW

I am, now, TOO EXCITED for this spectacle. This preview gives amazing insights to the story, as well as exclusive behind the scenes footages. Oh who cares about the technicalities!? It is, essentially, the best possible advertisement. 

Although, BANE is no JOKER, this film may be the best in the trilogy. Even if you WORSHIP the Dark Knight as I do, it's difficult to deny that this IS the great ending that this great story DESERVES. The epic action sequences are really something else; at this rate, I will need to attend the midnight screening!!!

What my life would be without cinema...

P.S. Anne Hathaway is exceeding all my initial expectations, she is dangerously sensuous. I am entirely intrigued by the Joseph Gordon-Levitt and Marion Cotillard characters, and it's not just because they're attractive. Love y'all.

The Amazing Spider-Man (review)

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I really don't want to play this terrible pun, but Andrew Garfield is a truly AMAZING Spider-Man; this film is, by a massive margin, my favourite Spider-Man film. 

From the very start, we all knew that the cast would be great. Garfield has more than proven himself with his charismatic portrayal of a dorky Eduardo Saverin in The Social Network; and his turn as an ill-fated, melancholy hero in Never Let Me Go is simply unforgettable. Then again, nothing about that deeply depressing film is forgettable. Emma Stone stole my soul with Easy A, and since then she has yet to disappoint.

 Garfield illustrates an anguished, tortured hero rather than a cartoon-like caricature, whilst Stone is absolutely admirable as an intelligent, resourceful heroine. She is no damsel-in-distress.

Parker likes to play rough...

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The leads are stunningly attractive, and they have  *explosive* chemistry (no inside joke intended) what more could I ask for? The supporting cast is a strong one, so I shan't bore you with praises for each and every performance. However, I have to recognise the brilliance in casting Sally Fields as Aunt May, the woman oozes maternal warmth and we can't help but adore her. Putting Academy-Award winners in action blockbusters, excellent move!

Too sweet for speech.

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The script is exceedingly creative, well, it exceeds my initial expectations. The issue is: this film is not just a reboot, it's also a re-imagining of the Spider-Man origin story. With its smart twists and turns, and witty characterisation, the script is able to breath new life and thrills to this old plot. I especially love the characters' interaction, good dialogue never bores. It helps when the writer has humour and heart; I can't guarantee this, but it seems that everyone on the project is insanely passionate about Spidey. That's essentially the best compliment I could give. 

Haven't seen such an entertaining train scene in a long while.

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Aside from conversational scenes, the director shows an even clearer vision with the adrenaline-pumping action sequences. I only have two conditions for these scenes; they are fast enough to raise my blood pressure, but are coherent enough to entice me. In short, the director shows deadly, precise camera-work. The scenes where Spidey swings from building to building are exciting and easy to follow. What I cherish about this Spidey is that he doesn't simply rescue those in distress, but rather encourage their inner heroes. Of course, I'm referring to the bridge scene and, well, you will have to see it. 

Spidey, also, doesn't mind playing rough. Just ask the Lizard, who is actually a decent villain, not  that it really matters anymore.

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Okay, I have blabbed for too long. The verdict is... I give this film a solid...

9/10

Andrew Garfield is one sexy dork, and I really appreciate the script's simple, yet crucial incorporation of mobile phones. Sometimes, all that it takes is a phone call. Note to self: pick up your phone once in a while.

P.S. STILL working on prometheus. UGH. This is too hard. Love y'all. 

The Man with the Iron Fists (trailer)

The trailer for this bad-ass martial arts-esque film has recently surfaced, and as advertised, it really does put the F-U in KUNG FU!!! 

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The film is produced by our beloved, wacky QUENTIN TARANTINO, and the trailer really does carry his wicked humour and flamboyant action sequences. I adore the stylistic visuals, especially the scene where streams of blood spiral in the air. 

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Oh, and I have to say, Lucy Liu is one foxy, sassy killer. Her bedazzling gold dress may be a scene stealer, but it is her dramatic line that sums up this ass-kicking trailer.

Power belongs to no one, until it is ceased through sex... and violence.

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Russell Crowe and Lucy Liu on the same screen, how awesomely crazy can this get!!!

P.S. STILL trying to finish my Prometheus review, it's just hard you know... I can't stop writing about Michael Fassbender's flawless jawline.