OPEN GRAVE (7)

Second review for TheScriptLab, this time on the movie Open Grave from the director of Apollo 18. An improvement, but still not a keeper. As I've said: "It has its moments, definitely, but rough edges at the core prevent Open Grave from being truly good."

A solid 7 out of 10. Not a bad start to the new year...

47 RONIN (5)

This review will be different... since it's on a different site that I'm now writing for - TheScriptLab! Have a look, share it with others and do tell where I could improve. Click this: 47 RONIN REVIEW. Here's a summary: "47 Ronin fails to be a good movie out of a fascinating pitch".

Afterwards, do remember to visit other areas of TheScriptLab - read the Top 10 Lists, other Reviews and learn some Screenwriting Tips. I'll be starting on a script pretty soon. Have a good year's end, readers!

THE HOBBIT: THE DESOLATION OF SMAUG (8.5)

Even when you’ve spent close to a thousand minutes in this place (extended + the first Hobbit), does director PETER JACKSON still manage to reel you back for this second-to-last trip to Middle-earth?

PRE-TRIP

From the looks of things, DESOLATION OF SMAUG is less like a road movie and more of an action-adventure, more TWO TOWERS than FELLOWSHIP. Legolas (ORLANDO BLOOM) makes a welcoming return that will surely melt the hearts of many, LOST’s alumna EVANGELINE LILLY looks beautiful as a hunter Elf and, let’s be honest here, like me you just can’t wait to see Smaug (voiced by the mighty BENEDICT CUMBERBATCH) on the big-screen.

One ticket to Middle-earth, please.

9 out of 10

POST-TRIP

Picking up where AN UNEXPECTED JOURNEY left off, the film sees Hobbit Bilbo Baggins (MARTIN FREEMAN) and the thirteen Dwarves continue to their homeland, now taken over by a fearsome gold-hungry dragon. Meanwhile, Gandalf (SIR IAN MCKELLEN) has discovered the presence of a new threat to Middle-Earth: a wizard specializes in dark magic that soon enough will have a tower with a fiery eye.

Films with long shooting schedules have a beautiful advantage called consistency. All the great elements from the first film are carried over. There’s the acting to begin with: MARTIN FREEMAN shows he is Bilbo Baggins with naivety and hopeless optimism, RICHARD ARMITAGE remains powerful and commanding as Thorin Oakenshield – the last Dwarf with “the right to rule” and SIR IAN MCKELLEN is right at home being the wise grey wizard. Damn good casting. ORLANDO BLOOM remains one-note as Legolas but the eye-candy and badassery will, once again, be good distractions from the fact. HOWARD SHORE’s score is as triumphant as ever, yet I would like to hear more choir songs since they were highlights of the RINGS series.

Bilbo Baggins (MARTIN FREEMAN)

Gandalf the Grey (SIR IAN MCKELLAN)

Legolas (ORLANDO BLOOM)

Thorin Oakenshield (RICHARD ARMITAGE)

Then there’s the photography by ANDREW LESNIE (who did a great job on RISE OF THE PLANET OF THE APES) and visual effects from WETA DIGITAL (KING KONG - another Jackson's piece), which I will leave these pictures to do the talking:

What about the new things then? LEE PACE is amazing as the cold and brooding Elvenking Thranduil – a really underrated actor that deserves more attention after his touching performance in THE FALL. Plus a head of hair that Thor will envy. Although an original character penned by the screenwriters, EVANGELINE LILLY plays her role with enough energy and grace as Tauriel that I think J.R.R. TOLKIEN will approve. Think a mix of Galadriel (played by the beautiful CATE BLANCHETT – she has a cameo here) and shieldmaiden Éowyn (MIRANDA OTTO) in the LORD OF THE RINGS’ series. As Bard the Bowman, LUKE EVANS again (!) plays it safe with roles that only require him to be intense.  At least there’s a sense of humanity to be found here, unlike his stoic turns in THE RAVEN and FURIOUS 6.

Elvenking Thranduil (LEE PACE)

Tauriel (EVANGELINE LILLY)

Bard the Bowman (LUKE EVANS)

The dragon Smaug (BENEDICT CUMBERBATCH) is beautifully rendered, highly intimidating and narcissistic too. Voiced and motion-captured by one of the top actors of today’s cinema, you will definitely be in awe and in fear when he emerges from his sleep. Also a little bit chuckling here and there whenever he is pleased with himself, hearing praises from his prey.

Under all that gold...

Speaking of which, that and the barrel escape are the film’s biggest set-pieces and they are highly pleasing and engaging. PETER JACKSON by now should prove to you that he is capable of delivering really complex, extended action sequences – both a curse and blessing. All the light and sound showcases are nice but in turn you can lose track of the setting and note the oddities. While the effects are wonderful and photo-realistic at times, just for a few scenes you may see that they are poorly implemented, either floaty-looking or moving at an odd frame rate*. Forgivable? I’m in the middle ground as although I’m aware of the film’s effects-heavy nature, CGI in 2013 should’ve worked out these minor wrinkles.

DESOLATION OF SMAUG is a Dwarves-driven movie, as opposed to Bilbo-and-Gandalf as seen in AN UNEXPECTED JOURNEY. Bilbo is on the sidelines for the majority of the running time, with the Dwarves receiving main focus and interaction. By the middle of the film, the story diverges into two paths – one for the Dwarves and one for Gandalf. While the latter benefits the most from the split because connection to the RINGS series is reinforced, every time the film cuts away from the Dwarves this plotline feels like an afterthought since it’s so... different. Most of these moments occur in the second act and as a result the film drags a bit here before picking up to the fantastic climax. A true ‘damned if you cut and damned if you don’t' scenario.

And of course, that cliffhanger ending.

Like every other ‘bridging’ entry in a trilogy, this will no doubt piss you off. Bring some chocolate when the credit comes, you’ll thank me afterwards.

In the end, DESOLATION OF SMAUG is 161 minutes of wonder and captivation that easily apes the first with some plot issues and the “yes, I’m testing your patience” ending before the finish line.

8.5 out of 10

MOMENTS THAT LINGER

• The barrel escape sequence. Much fun. Such entertainment J

• Smaug (duh!)
• Gandalf gets to witness the Necromancer’s final form.  

* If you have TRANSFORMERS: DARK OF THE MOON, check the scene when Optimus Prime stands up in the bunker when FRANCES MCDORMAND’s character is questioning him.

RE-PLAY: EVIL DEAD REMAKE (7)

First re-play review! Much shorter and less structured, this is where films I've seen are seen again. Here it's either an improvement, a fall or just the same. Let's go!

The much anticipated remake of Sam Raimi’s cult horror hit is...  short of good. And on second viewings, it's still the same.

For someone who’s new to the scene, Uruguayan director FEDE ALVAREZ handles the movie like a pro. The horror sequences are tense and impactful, hard to watch and of course very gory. However, it seems to be a bit too serious instead of fast-and-loose like Raimi and therefore has no distinct “signature”.

I can blame the script for enforcing this tone, but it has a great element - letting these kids coming to this isolated cabin because one of them needs to deal with drug addiction and they won’t leave it since everything could be hallucinations. EVIL DEAD, despite its predecessor’s image and that B-movie title, manages to have a bit of depth (and plausibility!) thanks to this subplot.

The cast

The phenomenal JANE LEVY (Mia)

Acting is *extremely and unexpectedly* good. This is JANE LEVY’s show for sure. She has such presence on-screen that all her emotions - panic, bored, scared-to-death and even possessed (literally) - are tangible. Other don’t seem to get much ground to play, their pretty faces come and go... some rather violently. The main man SHILOH FERNANDEZ is, unfortunately, not as memorable as the supporting guy LOU TAYLOR PUCCI, who is more relatable and show a range of emotions/expressions.

The art department deserves an applause for all their efforts. Most of the crazy horror happenings on screen are practical and some manage to effectively conjure fear. Well, more disgust than fear. Okay, a few shots are enhanced by CGI but thankfully they are not severe like the remake of THE THING. AARON MORTON’s photography is moody and effective, with washed out colors that ensure the only thing that will be emphasized are blood, pus and dirt. Combine with the sounds, this is like, ahem, a perfect marriage that finds glory through guts.

To brand it as “the most terrifying film you will see” is perhaps a little bit much because besides some changes EVIL DEAD doesn’t offer anything that force the original to head for the hills. Still, just have fun, be grossed out and take note of a rather amazing performance from JANE LEVY. 

7 out of 10.

THE SECRET LIFE OF WALTER MITTY (5)

Pre-screening event at Studio Movie Grill – City Center in Houston. The movie opens on CHRISTMAS DAY.

Honestly, my blog’s comeback deserves a better movie. Read on below.

PRE-TRIP

A really gorgeous poster

I will say this: I love trailers that play the “show, don’t tell” card with music that accompanies the images. Set to the song "Dirty Paws" by Of Monsters and Men, here is a beautiful trailer about a man who daydreams to live a life better than the one he’s trapped in.

For the past decades, remaking WALTER MITTY has been on many minds, including MARK WATERS, RON HOWARD and STEVEN SPIELBERG, with OWEN WILSON, SACHA BARON COHEN and JIM CARREY set to star as the titular character as the project gets passed through hands.

Good to see things have finally settled down, with funnyman BEN STILLER sitting at the helm and being WALTER MITTY. Yes, I’m very surprised. Yet, what I see so far is great – a movie with a powerful message and looks beautiful in communicating it. Worthy cinematic journey alert!

9 out of 10.

POST-TRIP

BEN STILLER (Walter Mitty) and SEAN PENN (Sean O' Connell)

Tsk tsk...

After such a promising beginning – a showcase of impressive camera-work from STUART DRYBURGH (NO RESERVATIONS), warm musical score by THEODORE SHAPIRO (TROPIC THUNDER) and a fantastic fantasy sequence – WALTER MITTY begins to collapse.

And collapse is what our character, nicely played by BEN STILLER in a subdued performance, is experiencing as his workplace – LIFE Magazine – is in transition from print to online. Knowing this, famed photographer Sean O’ Connell (SEAN PENN in a memorable role that lasts minutes) sends 25 negatives that will make the magazine ends with a bang. One problem though, the 25th negative is missing. A quest is given to Walter and this too could be a chance for him to woo Cheryl Melhoff (KRISTEN WIIG in a role so in-the-background that without her the movie is still fine).

BEN STILLER (Walter Mitty) and KRISTEN WIIG (Cheryl Melhoff
- or the invisible love interest)

Had most of the quest happened in Walter’s daydreams and then raised the question “will he finally be able to accomplish his goals”, I will accept the title THE SECRET LIFE OF WALTER MITTY. What we have here is THIS IS WHAT I THINK IS AN UPLIFTING AND INSPIRING MONTAGE FOR YOU THROUGH THE EYES OF WALTER MITTY.

Only him is happy

Blame it on the disconnected and tedious script from STEVE CONRAD, who (strangely enough) wrote the touching and tear-jerking THE PURSUIT OF HAPPYNESS. Uplifting viewers should have been right up his alley but he seems lost here, perhaps because of deviating so far from the source material and as a result its true meaning. The movie is conflict-free, moving at a pace that it finds comfortable, saying the things it finds suitable and showing the things it finds fine. As for the audience, the movie asks “what audience?”. It doesn’t care about the clichés regarding “nerdy guy into a cool man” it throws at you or the sentimental moments with product placement that it thinks mean something. Shame how the execution is purely self-indulgent for a material that holds such a universal message about living life the right way. How strange when a movie about a secret life does not refer to that secret life for the majority of its runtime? At least the work to integrate a modern setting into the story is commendable.

A fantasy sequence that works

However, if you look the movie as separate segments – like each negative on a reel – WALTER MITTY... works (!) It message comes through clear as day and loud as thunder, you will feel hopeful and fulfilled. As one movie, the movie is like a car with three wheels. Now there’s nothing hopeful and fulfilling about that, unless you’re a tow truck driver.

Dat beard

That’s not to say the movie has no redeeming values. ADAM SCOTT is really fun and convincingly unlikable as the evil manager with a goofy beard. From a technical standpoint, it’s not crazy to say WALTER MITTY may earn Golden Globes or Oscars for Cinematography, Music or Visual Effects. The fantasy sequences are really well-realized. The photography, mostly top-down shots and wide angles, is breathtaking. Finally, a score that has presence and well-placed rock songs. As a visual storyteller, BEN STILLER knows what he’s doing, I guess.

One of the many beautiful frames

Nevertheless, the lumps are just too big to ignore. Perhaps audiences will love WALTER MITTY because of its message, its humor when it works, its pokes at other movies (THE MATRIX and BENJAMIN BUTTON) and its “holiday-hopeful effect”, but upon inspection there is a big, big problem. For a movie about a man’s secret (is it really though?), WALTER MITTY just can’t hide the fact that he’s lost and just straight-up disappointing.

5 out of 10.

Where is this movie?

MOMENTS THAT LINGER

• Walter’s first daydream at the train station.
• Space Oddity cover by KRISTEN WIIG
• A continuous shot of Walter traveling from New York to Greenland.

THE GREAT GATSBY (8)

So sorry for the long delay, school has been killing me... But no matter, I am back and let me introduce you to the new release of the week - THE GREAT GATSBY!

PRE-TRIP

Seeing it’s BAZ LUHRMANN of ROMEO + JULIET and MOULIN ROUGE! at the helm, for sure the film will be an assault on the eyes - through colors and editing - and the ears - thanks to the pounding music. The only question remains: will BAZ serve the story or let his visual nerves fire off on all fronts again? The thing is, the Great American Novel is anything but fantastical, plus AUSTRALIA is BAZ’s not so good attempt at being realistic, this film can go really wrong *even* with the talents involved.

Left to Right - TOBEY MAGUIRE (Nick Carraway), LEONARDO DICAPRIO (Gatsby),
CAREY MULLIGAN (Daisy Buchanan) and JOEL EDGERTON (Tom Buchanan)

Then, the first bad sign: an overly choppy casual conversation clip, courtesy of BAZ’s truly. I’m no filmmaker but I don’t need to cut to 4 different angles just to convey a shot of TOBEY MAGUIRE falling over the sofa. More complaints rained in when JAY-Z is said to have artistic input into the film’s music. Since when do rap, R&B or contemporary songs meld well with a story about a mysterious millionaire in the Roaring 20s, which is also an allusion to the dangers of the American Dream?

I like BAZ’s previous movies (AUSTRALIA, not so much), but for THE GREAT GATSBY, I think I must pass.

Then this trailer happens, which is one of the best I’ve seen this year.

Crap, now what?

7 out of 10.

POST-TRIP

Structurally speaking, THE GREAT GATSBY is almost a clone of MOULIN ROUGE! It starts out in a very somber manner, then liven things up so then we will reach a downer ending. Furthermore, at the very core of both plots is a tragic romance. GATSBY uses the romance to comment on the dangers of the American Dream, not an outright romance. BAZ veers his ship all the way to the latter and as a result, the theme of the novel is now reduced to the size of a dot. It’s still there, but you’ll forget it.

I have a love-hate relationship with the first 30 minutes of the film. Why? Good luck trying to find some visual coherence through the manic transitions, jump-cut editing and swooping camera movements. BAZ is at his most Baz-i-ness here, putting all of his filmmaking signatures on display to introduce the crazy life during the Roaring 20s. Modern songs make their mark here, with tunes from KANYE WEST and WILL.I.AM supporting the frenzy frames. It’s so strange, I half connect and disconnect to everything on screen and every sound coming out of it. It’s bizarre...

The legendary on the left, AMITABH BACHCHAN

The inconsistency spreads to the cast too. LEONARDO DICAPRIO and CAREY MULLIGAN are the best players – not to mention the best looking – of the bunch, showing us a range of emotions and even their intentions.

Not so good unfortunately are the rest, including JOEL EDGERTON, newcomer ELIZABETH DEBICKI and TOBEY MAGUIRE because – for the first two – they don’t have a lot of opportunities to show other dimensions of their characters. As for TOBEY, he does an okay job at being the narrator but most of the awkward moments in the film are due to his acting. Hint: it’s due to his boyish face. Other familiar faces like JASON CLARKE (of ZERO DARK THIRTY fame), ISLA FISHER and Bollywood legend AMITABH BACHCHAN come and go, their roles more like cameos instead of... roles. They do their best and I applaud them for that.

JOEL EDGERTON as Tom Buchanan

ELIZABETH DEBICKI as Jordan Baker, Daisy's friend
and also my new crush

ISLA FISHER as Myrtle Wilson

As for photography, SIMON DUGGAN has shown me his skills before with films like I, ROBOT and KNOWING. We have a lot of beautiful scene composition going on here yet BAZ’s editing tends to ruin it, making the photography a little bit all over the place. This is perhaps at its worst in the first 30 minutes (scroll above for rant).

But here's proof of SIMON's nice lensing skills.

Consistently great are the props. Dear Lord, the dresses, the suits, the accessories and the sets are a treat to see. CATHERINE MARTIN, which also happens to be BAZ’s wife, pulls out all the stops here, I just want to reach out and to be at the parties (although I can’t drink a damn). The audio department also contributes a great deal to make this work, thanks to a really solid score from one of my favorite composers ever CRAIG ARMSTRONG that incorporates the *later* and *more fitting* songs like Together by THE XX, GOTYE's Heart's A Mess and of course, the theme of the movie, Young and Beautiful by LANA DEL REY. Not to mention some jazzy songs from BRYAN FERRY and his orchestra too, in particular their rendition of the late AMY WINEHOUSE's BACK TO BLACK. These songs work better because they are slower and they help create some of the most memorable scenes, both happy and depressing in nature.

The dresses are nice, but so are the suits and ties

One of the parties

And speaking of slow, THE GREAT GATSBY is at its best in this state as it allows you to concentrate on the the acting, the visual candies, the music and the way the story unfolds - even if it's being told in a... romantic manner.

8 out of 10.

MOMENTS THAT LINGER

- Myrtle Wilson meeting her fate.

- So that is Mr. Gatsby.

- The first party.

SIDENOTES

- Suits are from BROOKS BROTHERS, dresses are a combination of PRADA and MIU MIU

- Jewelries provided by TIFFANY & CO. A sneak peek at their collection!

- ELIZABETH DEBICKI got the role not long after her graduation from University of Melbourne's Victorian College of the Arts. She's also 6 ft tall and 23 years old.