Cross Bearer Movie Reviews

Something Borrowed

2011-07-08T12:07:00.014+02:00

Case gone cold...

By her 30th birthday, Rachel (Ginnifer Goodwin), a dedicated attorney, bemoans the fact that love is not in her court. Her best friend Darcy (Jennifer Hudson), however, is closed to being married to Dex (Colin Egglesfield) whom Rachel met in law school. After a few drinks together Rachel confesses to Dex that she always had a crush on him which leads to both sleeping together. With Darcy's wedding not long away, Rachel finds herself in dubious territory.

Something Borrowed had the potential to be a multifaceted affair. On one hand it is your average romantic comedy and on the other it offers a portrayal of ethical issues surrounding love. It is a pity the latter is downplayed to a rather basic understanding of the issues. The narrative does its best to help the viewer identify with Rachel and it is not difficult to do so for the first third. She is the good girl who is studious and in love with a guy who she feels is too handsome for her, but loses him to her best friend who always has to be better than her. This sort of identification begins to fall away with Rachel's self pity, which is thankfully attacked by her long time friend Ethan (John Krasinski), and her rather willingness to engage in an affair. While the ending is not something new for the genre, it is quite surprising how the film appears to glorify the act of cheating to the point of it being acceptable. There are no dire consequences to actions and so the narrative becomes unfortunately one dimensional. That said, there is no denying the fun factor associated with the romantic comedy nature of the film so it is not all bad.

Thankfully, the actors do a decent enough job of keeping the story afloat. Goodwin and Egglesfield are perhaps not quite up to par with Hudson and Krasinski. This is easily due to Hudson having the most exciting role and Krasinski stealing scenes with his humour and charisma. This merely leaves the more romance orientated and weak dramas scenes for Goodwin and Egglesfield to wade through.

Considering the thematic elements expressed in the story, sexual content is fairly tame and without nudity. Violence is only really shown through a horror film being watched by some characters and language is on the tame side.

There is potential to push past the romantic comedy genre, but the story of Something Borrowed is light hearted to its detriment as the possible avenue to build a thought provoking tale is never really attempted. Additionally, not all of the actors are given the strongest material to work with and this becomes evident when the best scenes require particular characters. On a simple level Something Borrowed does work, but with such pressing issues alluded to early on in the story it is saddening that nothing comes of them: something blue indeed.

6/10

Screen date: 8 July 2011
Release date: 8 July 2011

Pirates of the Caribbean: On Stranger Tides

2011-06-10T20:54:00.004+02:00

On slowing tides...

On the way to hopefully finding the fountain of youth, Jack Sparrow (Johnny Depp) finds himself in a dire predicament when he is captured by his ex-lover Angelica (Penélope Cruz )and the nefarious Blackbeard (Ian McShane). They require Jack's help in finding the fountain in order to save Blackbeard while trying to avoid the clutches of Barbossa (Gerofery Rush).

As a sequel to the original Pirates of the Caribbean trilogy, On Stranger Tides attempts to refresh the series by concentrating on an uncomplicated narrative. Instead, the film takes a page out of the original film in the series but not quite as successfully. There are a few plots being weaved together but they all come up short in execution which ultimately threatens the potential of various associated characters. The core reason is due to the lack of detailed exposition. The most problematic of these is the love story between Philip (Sam Claflin) and the mermaid Syrena (Astrid Berges-Frisbey) which is evidently undeveloped and unimportant to the overall narrative. Their growing love lacks tangibility and it becomes frustrating when their conclusion becomes a guessing game for the audience. There are various plots developed but they are underwhelming and this hurts the film as the action sequences alone cannot stop the odd scene from dragging along. For the most part the film is a fun watch but just not a particularly great one.

The acting is passable enough as Depp and Rush convey their characters in a similar fashion to older films. Cruz and McShane add positively to the cast with the former bringing some zest to the film while the latter does bring the expected arrogance to Blackbeard. Claflin and Berges-Frisbey are not able to be quite as convincing. However, this is mostly due to their limited capacity in the film, which comes from the limited nature of their respective plot on the overall narrative of the film. On Stranger Tides also sports a far less noticeable and capable supporting cast when compared to the original trilogy which is disappointing, so the chance to offset the major situations in the film to the lesser cast is next to impossible.

There is an extensive use of CG throughout the film and predominately with good results. What is a strange decision is to have a large portion of the film shrouded in darkness. A lot of the film deals with enlightenment, either by faith or common humanity, but the filmmakers attempt to ensure you do not feel the same way as the lack of visibility can, at times, hinder the viewing experience.

The film contains no sex though the mermaids are clearly naked even though nothing explicit is shown. Language is mild at best as it is more in the name-calling variant. Violence comes in a variety of forms but deaths are mostly tame.

On Stranger Tides appears as a semi-reboot of the series, being more in liking with the original film and therefore losing the unnecessary scale At Worlds End attempted to provide. But the simplification has gone perhaps a little too far with a thin narrative and a thin cast of characters that ultimately fail to ignite. At its best, On Stranger Tides has everything that made the franchise good, but these moments are never frequent enough or long lasting making the film like spotting a mermaid: if you blink it will most likely be gone; and that just may well be a good thing.

6/10

Screen date: 20 May 2011
Release date: 20 May 2011

Sony E3 2011 Conference Overview

2011-06-06T22:10:00.007+02:00

PS3
software
- Battlefield 3: Battlefield 1942 exclusive to PS3 copy.
- Bioshock Infinite: Move support; PS3 copy includes original Bioshock.
- Dust 514: from CCP, developers of EVE Online. FPS, connected to EVE on PC; supports Move, Home space; PSV support; exclusive PSN.
- God of War Origins Collection: remastered in HD and 3D.
- ICO and Shadow of the Colossus Collection: remastered in HD.
- Infamous 2: release date 7 June; creation tools via Move.
- LittleBigPlanet 2: deeper Move controls.
- Medieval Moves: new Move IP from Zindagi Games.
- NBA2k12 - Move support.
- Need for Speed the Run: 7 exclusive cars for PS3.
- Resistance 3: single player campaign demoed; Sharpshooter bundle $150.
- Ruin: compatible with PSV version via save transference.
- Saints Row The 3rd - exclusive DLC.
- Sly Cooper Thieves in Time: 2012 release.
- SSX - Mount Fuji track exclusive to PS3.
- Starhawk.
- Star Trek - move support and exclusive DLC.
- Star Trek PSN - exclusive to PSN; move support.
- Uncharted 3: single player campaign demoed; beta: 20 June; Subway initiative for early MP access.

------------------------------

PS VITA
hardware
Vita: means life; OLED screen, dual cameras and analog sticks, touch screen and rear touchpad.
Price: wifi - $249, wifi+3G - $299.

software
- at&t: official provider of 3G PSV.
- Bioshock PSV: new title based on Bioshock universe.
- Party mode app: cross chat.
- LittleBigPlanet.
- ModNation Racers - new title; access to all PS3 creations.
- Near app: social networking between PSV owners.
- Ruin: action RPG from SCE San Diego
- Street Fighter X Tekken: Cole from InFamous is a character.
- Uncharted: Golden Abyss: developed by Sony Bend.
- Wipeout 2048 - play against PS3 users.

------------------------------

PSN
- CinemaNow partnership. stream TV and film.
- Playstation Suite: PS content on non-PS hardware.

------------------------------

MISC
- Playstation branded 3DTV - 24 inch; desperate image feature; bundled with 3D glasses, HDMI cable and Resistance 3 - $499.

Is Sony Santa Monica's new IP 'Heartland'?

2011-05-12T13:35:00.001+02:00

Sony's new rumoured PS3 exclusive from Santa Monica may very well be the revival of a previously canned PSP title: Heartland.

Recent rumours have pointed towards Sony Santa Monica working on a new IP that requires personnel with experience in 1st or 3rd person shooters, experience in vehicle combat and open-world development. On top of this, David Cage of Quantic Dream made mention that he was asked to advise on a modern FPS for the PS3. Presumably, this title is an exclusive and since Sony 1st party developers share tech, chances are this exclusive is from a 1st party studio.
http://scrawlfx.com/2011/04/is-sony-santa-monica-developing-a-shooter
http://www.vg247.com/2011/03/23/quantic-dream-staying-exclusive-to-playstation-for-foreseeable-future-says-cage/

It is quite possible that this title is the cancelled PSP game 'Heartland' which David Jaffe, of God of War fame, was spearheading with Incognito (now LightBox Interactive) until development was stopped. Jaffe described the title as an emotional FPS which involved the Chinese invasion of the USA, and that it was a response to the Bush administration of the time. Jaffe explained that the level design was going to be large in scale but not quite an open-world affair, and that QTE's would be used in some capacity. Lastly, Jaffe was being pressed by Sony to make the title for the PS3 as opposed to the PSP .
http://www.escapistmagazine.com/articles/view/issues/issue_146/4817-Inside-David-Jaffes-Heartland.2
http://www.1up.com/news/jaffe-heartland-response-president-bush

With this considered, here are the following reasons why Sony Santa Monica's new IP may very well be the revival of Heartland:

1) Heartland was a FPS and the new IP requires FPS experience.
2) Vehicle combat is likely considering Heartland was based on modern warfare and because:
3) Jaffe originally stated that Heartland would involve large levels, and Santa Monica is looking for open-world development.
4) Cage was asked to aid in a modern FPS for the PS3: since the story of Heartland was meant to be quite poignant it is possible that Cage was asked to offer his opinion on the narrative. Additionally:
5) Heartland was originally going to make use of QTE's, something both Santa Monica and Cage have experience with.
6) Sony Santa Monica helped co-develop Warhawk, a prominent PS3 exclusive from Incognito. Considering Heartland was going to be developed by Incognito, it is possible that Santa Monica's relationship to Incognito has allowed the title to fall into Santa Monica's hands.
7) Sony wanted the title on the PS3, which is the very platform the new IP appears to be heading to for.

Water for Elephants

2011-04-15T15:55:00.009+02:00

Departing along gently...

Jacob Jankowski (Robert Pattinson) has a bright future ahead of him: with the Great Depression ravaging through America he has the chance at a good job as a veterinarian and a stable life. This all changes when he discovers that his parents have been in a car accident and that he is illegible to own their house. He tries to renew his life's purpose and by chance comes across the circus troupe of the Bezeni Brothers where he meets the cruel owner August (Christoph Waltz) and dazzling Marlene (Reese Witherspoon).

Titanic on a train: you would be forgiven if this was your estimation of the film based on previews and for the most part you would be right. Based on the award-winning novel of the same name, Water for Elephants tells the story of a man who has to redirect his life after it is derailed from some unfortunate events. The story is told in a linear fashion and it is a pity that not more is made of the idea of reality vs. illusion which is a noticeable subject in the odd dialogue interchange. While this concept has more in liking with who a character really is and what information they know but do not let on, the concept is nevertheless never fully developed and ultimately explained by the characters themselves. Nevertheless, other themes present themselves in more subtle and interesting ways such as the images of railroads and water allowing the experience to not be all dictated. In the end, the film feels like a reworking of James Cameron's Titanic with a new setting and a new cast, but it most likely will not have the same cultural impact.

Romance becomes pivotal to the development of characters and the respective actors prove capable. Robert Pattinson will obviously be the centre of talk for the film and he does well for himself here. If you did not feel that Remember Me was a step in the right direction from a Twilight-esque future, then this film will surely give you the impression that Pattinson at least has the potential to mature his acting in a commendable manner. Witherspoon does an adequate job in her portrayal of Marlene and wriggles in workable chemistry between herself and Pattinson, but ultimately she does little to truly shine beyond her male counterparts. But experience is what steals the show with Waltz exemplifying a character who can pull you in with his charisma and idealistic hopes but who can also repulse you with his cruelty. Waltz is indeed the strongest link in the acting department but do not let his performance undermine the rest of the cast, especially the supporting roles who help create a holistically believable set of characters.

All of this is strengthened by some decent costume design and film direction which brings every scene to life gracefully. There is some questionable CGI use for animals towards the end and the environment does not get quite the showing it could but the film feels balanced and admirable in portrayal of one man's journey of self-discovery.

Sex and nudity are, at most, hinted at and language is mild at best. There is some violence mostly in the regard of fist fighting but also the rare off-screen violence towards an animal.

As mentioned earlier, Titanic on a train could very well be an apt explanation of the film. There is thankfully enough substance to allow the story to craft its own image but only just. This coupled with some slight CGI mishap and a narrative that does not always allow one to ponder on certain ideas, are not enough to truly hurt the overall quality. The story is lovely; the acting is strong; and the filming is delicate in what it offers. It may not be the Titanic of the time, but it is hardly a bumpy ride either.

8/10

Screen date: 15 April 2011
Release date: 15 April 2011

Red Riding Hood

2011-03-25T23:09:00.009+02:00

Raw meat...

The small village of Daggerhorn is an isolated one and for good reason: for 20 years it has been subject to attack from a werewolf during every full moon period. The village has a pact with the werewolf as they offer it live animals in hope that none of their people are harmed. This appears to change one day when the sister of Valerie (Amanda Seyfried) is killed by the beast. Coupled with issues of love and her future, Valerie is caught between two potential suitors and a frenzy hunt for the wolf.

Adapting the tale of Little Red Riding Hood was always going to be an interesting undertaking, but the result is a mixed bag. The narrative obviously expands past the scope of the original tale in order to create a cohesive context in which the story can unfold. The main problem with the story is the apparent lack of depth. Many possible themes arise including issues of sexuality, feminism and identity, but these go largely unexplored and mean little by the time the credits roll. The action that is presented is merely to mask a romance story which is pretty predictable by nature: the question is not who Valerie will end up with but rather when it will happen. It does not help that characters fall into the stock variety, such as Father Solomon (Gary Oldman) who ends up being quite cruel with his methods of helping the village. Characters also go underdeveloped: besides the small arc involving infidelity between two families, characters just seem to exist for the sake of it. Take into account that decisions that appear so obvious for characters are ignored just to build tension, then it is no wonder that the films length begins to feel artificially made. Add in come clichés and a mystery which resolves itself out of nowhere, and you have a narrative that is both lacking in cohesion and quality.

The range of actors is by no means impressive but it is definitely both intriguing and manageable. The younger cast are sadly quite wooden most of the time and considering they are the ones around which the love triangle revolves, the chemistry is just lacking. The love between Valerie, Peter (Shiloh Fernandez) and Henry (Max Irons) never rises above its Twilight roots. Seyfried can be given some credit since she does convey a larger set of emotions than everyone else in the cast. Sadly, the older cast do not exactly fair much better, but it is unfortunate that it is up to Oldman to lend acting experience to the film, and he definitely has presence in his scenes.

If there is a saving grace it is the overall atmosphere of the film. The opening scenery is testament to a film that is trying to create an overarching environment in which to position the village in isolation, but also to present the mystical feeling of a fairy tale. While not the most striking scenery, the woods look straight out of Twilight for example, the effects give a fantasy element that very much cements the film in its fairy tale origins. The CGI for the Werewolf is lacking but it is a minor issue in a film in which director Catherine Hardwiche is able to mesh both darkness with the odd scenes of gorgeous scenery fairly well.

Language features minimally throughout the film and nudity is nonexistent. Sex never really features though sensuality is present at times. Violence is quite apparent and besides a quick shot of the removal of a body part, violence is neither gory nor that bloody.

The angst of teenage love in dark fantasy is definitely a hot topic for cinema, but Red Riding Hood does not expand the idea in any meaningful way. The scenery is great, Gary Oldman is great, and Seyfried is adequate, but that is about all the film does right. Acting is generally weak and the story offers mild entertainment worth. With a superior script, Red Riding Hood could have offered a delightful retelling of its original material because the potential is there, but as it stands the film will not have many filmmakers green with envy.

5/10

Screen date: 25 March 2011
Release date: 18 March 2011

Tangled

2011-01-28T22:48:00.006+02:00

Old is new...

Stuck in a secret tower for almost 18 years of her life, Rapunzel has been lead to believe that her special hair is a treasure which should be guarded from the world. She has never left the tower ever since being locked away, but this changes when Flynn, a thief, enters her life.

The classic tale of Rapunzel has many variations and Disney has decided to add their take to the tale by imbuing Rapunzel's hair with the ability to grant health and youth. It is through this very change that allows Disney to retread a narrative formula they used so effectively during their golden age of animation: the young princess at odds against an older, yet wicked, woman. This is introduced early in the story and constant interaction between Rapunzel and Mother Gothel ensures the audience never forgets the tyranny that has taken place. Tangled is, without a doubt, a story of self-discovery, and both Rapunzel and Flynn are evident of this growth. Naturally, this is more obvious through Rapunzel, and it comes as a breath of fresh air that Disney has allowed one of their princesses to act her age. Gone are the mature thinking and acting lead women of older stories as Rapunzel is childish, but ultimately charming. The self-discovery story arc does feel undeveloped as the credits roll, but thankfully the narrative is filled with symbolic gestures, such as the visual connection between lanterns and Rapunzel's hair, and life lessons for both children and adults alike. This is all bolstered by some strong humour that is never overused resulting in the narrative being a highlight of the film.

The voice actors do not disappoint as each is convincing as their respective character. Moore is delightful in displaying Rapunzel as a teenage girl who learns to be independent; Levi brings charisma to Flynn; while Donna Murphy ensures that Gothel is villainous but one who can manipulate that very label.

For the most part, the computer imagery achieves the desired goal of 3D variation of Disney 2D animation. Colour is rich, characters and animals are enjoyable to watch, and the complete sense of wonder is indeed present. If watched in the 3D perspective, the animation does slightly come to life but it never overly used and feels minimally underdeveloped. If there is a slight flaw to be found in the animation it would the occurrence of what appears to be unfinished textures. Many boulders, for instance, look rough at times, but this is thankfully uncommon.

This is a Disney animation through and through so the lack of sex, nudity and language is expected. Violence is tame and at times even comical, ensuring the usual Disney animation that kids can enjoy.

Tangled is a true gem for Disney and animation in general. While it lacks the overall appeal that has made Pixar animations such a treat, it is nevertheless a step forward for Disney as they retread the type of animation that made them so famous. There a few graphical niggles and the story never quite reaches the promising depth suggested by the material, but these are minor problems in what is largely an entertaining and pleasing animated venture.

9/10

Screen date: 28 January 2011
Release date: 28 January 2011

Tron: Legacy

2010-12-31T15:46:00.005+02:00

More than just binary....

20 years after the disappearance of his father, Sam Flynn (Garrett Hedlund) receives a message from his father's rundown arcade. Upon investigating, Sam stumbles upon a secret room in which he is transported to the virtual domain of The Grid.

It has been many years since the original Tron was released and the sequel plays on this by having a narrative that addresses the very absence of a followup to Tron ,very much like the protagonist Sam has to deal with the mysterious disappearance of his father. In this sense, the audience is very much like Sam as Tron Legacy is clearly designed to appeal to a new generation of moviegoers. This does come with its own set of problem, namely that the story fails to utilize the computer programing jargon which made the original so interesting. Programming is touched upon at times, but it almost feels as if the writer's felt it may complicate the story unnecessarily. While this may be possible, it does not stop the fact that specified jargon would have created a far more convincing context for the plot, as well as create some needed depth to the themes which are presented. It is a pity because Tron Legacy has the potential for deeper discussion but it rarely presents the opportunity for such an endeavour.

Thankfully, the linear narrative is helped by an enthusiastic cast. Oscar potential is not on the agenda, but the actors are definitely watchable. The respective characters portrayed by Hedlund, Jeff Bridges and Olivia Wilde, who which the story revolves, are is likable in their ambition. Sam is a rebel who is wayward by his father's absence while Flynn yearns for nothing more but to see his son again. It is a compelling side story which brings about emotional response from both character, but unfortunately never ever convincing enough. Bridges also sports the chance to play Clu, the digital representation of Flynn. This is intriguing as ti allows Bridge's to also play a smug villain who is very different to that of Flynn. It is, however, disappointing to find Tron himself pretty much absent from the film considering how important he was in aiding against the MCP of the original film. Bruce Boxleitner gets some screen-time but it would have been nice for him to get some more.

Either way, the visual and audio of the film are an absolute treat. There are some stunning uses of CGI and special effects that create an impressive visual design, such as the modeling of a younger Bridges and the stark contrast between dark and light create an almost monochromatic feel. It should also be said that the use of 3D is amazingly effective, especially when helping differentiating the real world to that of The Grid. The musical score was composed by Daft Punk: their upbeat characteristic really aids the film's overall tempo allowing action sequences to feel more intense and any slow moments to be almost forgotten.

There are some sexualised women represented with tight bodysuits and profanity is hardly even mild. The film is action orientated but death sequences result in character deconstructing considering they are computer coding rather then physical beings.

Tron Legacy ends 2010 on a high note. While it lacks the ambitious nature of the original story and with acting that is not always entirely effective, Tron Legacy is nevertheless an absolute feast for the eyes and ears. The film's minor shortcomings are just that as Tron Legacy overclocks itself in presenting an entertaining experience.

8/10

Screen date: 31 December 2010
Release date: 31 December 2010

Liefling, die Movie

2010-11-23T21:59:00.004+02:00

Bottled ambition...

December vacation proves a bounteous time for students as they leave all the worries of work and education in favour of relaxation. One such student, Jan (Bobby van Jaarsveld0 discovers that this holiday period is a life changing event when he meets Liefling Marais (Like Berning), the daughter of his professor. Jan is instantly intrigued by Liefling and begins to court her, unaware that Melanie (Marlee van der Merwe) has her eyes on him.

Modern Afrikaans cinema is generally divided into two categories: the more conservative dramas that provide an expose on Afrikaans culture and the liberal comedies that are fairly risque in nature. Liefling, die Movie tries a different approach as a musical, as it attempts to balance both traditional Afrikanerdom while appealing to the youth. The story is lighthearted and easy to follow, but it wavers with poor development, both in terms of the narrative and characters. Characters are never built up beyond stereotypes, though they are given an alternate perspective to help build some depth, and any development they do have is entirely rushed. This impacts on the story as it becomes difficult to appreciate the relationship between Jan and Liefling as ti is glazed over: the film tries to imbue the characters with a Romeo and Juliet sense of intellectual and instantaneous love but it never really clicks until much further in the film. Their are secondary love stories taking place simultaneously, though they are predictable and unnecessarily take away screentime from the couple that matters.

The acting is, on a whole, a stronger quality of the film, but not by much. Primary characters have enough zest for you to care about them while secondary characters merely enjoy themselves instead of really gelling with the material. This is not entirely problematic as the casual nature of the acting does go hand-in-hand with the carefree atmosphere provided. It is difficult to pick out individuals as no one really outshines anyone else. That said, where Bobby and Lika lack in experience, they make up for in energy.

As expected of a South African film of this kind the film quality is lacking. It is factor that can be overlooked but this does not stop some strange choreography choices. There is the odd scene among every few songs which comes across as downright silly in comparison with the rest due to lazy editing and poor choreography. Thankfully, this occurs only occasionally as the remainder of the film is filled with musical segments, though they are lacking in passion when compared to the likes of High School Musical or Phantom of the Opera.

While this may seem strange to say, there is just too many musical numbers and very little downtime between them. At many intervals a handful of songs will be packed right next to one another with little context connecting them. In fact, there is such an urgency to cramming the film with songs many scenes which should include basic dialogue become musical. One such scene revolves around Liefling being awaken by her mother just for her to break into song about how she wishes to have a husband and that only an Afrikaner man will do. Yes, it ends on a humourous note, but it shows the inability of the filmmakers to strengthen the music with some normative dialogue sequences.

While more conservative than liberal, Liefling, die Movie is pretty much void of any objectionable content.

Liefling, die Movie is an intriguing avenue of exploration for Afrikaans films in a commercial sense for the entire South African audiences. One need not be Afrikaans to appreciate the simple story and music presented, but the film is not without some glaring issues which hold it back. The accumulation of too much music is the biggest culprit which effects the rest of the issues: characters are underdeveloped fail to accompany the lighthearted story into something more. That said, Liefling, die Movie is by no means a poor film, but one which is drowned in the overzealous enthusiasm of its creators.

6/10

Screen date: 21 November 2010
Release date: 19 November 2010

(Movie poster provided by iGeek)

TGS 2010: Sony Conference Overview

2010-09-16T05:49:00.016+02:00

Playstation3

Software
3D support:
-Disaster 4: Summer Memories, Everybody's Golf, Final Fantasy 14, Gran Turismo 5, Metal Gear Solid Rising

Ape Escape Fury! Fury!:
- anime cutscenes.

Dynasty Warriors 7
- Developed only for PS3.

Firmware 3.5:
-3D bluray support.
-21 September.

Gran Turismo 5:
-My Home service: accessible from web and a hub for accessing messages, albums, friends list.
-Weather effects: rain and snow shown.
-Night time racing.
-X1 Prototype vehicle in game.

Gundam Musou 3:
-Cel shaded art style.
-December release for Japan.

Ico/ Shadow of the Colossus:
-HD Port for PS3.

Ni no Kuni:
-2011 release in Japan.
-No assets used from DS version of game.

Project Dark:
-Developed by From Software.
-Design philosophy similar to Demon's Souls.
-2011 release.
-PS3 exclusive.

The Last Guardian:
-2011 release.

Yakuza: Of the End:
-Fight Zombies.

Hardware
320gb:
-21 October release in Japan.

-------------------------------------

Playstation Portable

Software
3rd Birthday:
-Possible vehicle and turret sequences included

Cardboard Warmachines:
-Anime sequences, cross media with an anime version.

Dissidia 012 Final Fantasy:
-Spring 2011 in Japan.

Kingdom Hearts: Birth By Sleep Final Mix:
-January release in Japan.

Hardware
AKB48:
23 December release in Japan.

Monster Hunter:
-Special bundle for release of Monster Hunter 3rd.

The King of Fighters

2010-08-28T23:19:00.010+02:00

Ready? Not quite...

The King of Fighters tournament is one in which participating members are transported to an alternate dimension to engage in a fight. This is made possible due to three ancient artifacts that allow this dimension to exist. The members come under threat when Rugal (Ray Park), a previous member of the tournament, steals the artifacts and begins to manipulate the other dimension to his own liking so as to kill anyone who enters it. It is left to Mai (Maggie Q) and Iori (Will Yun Lee) must enlist the help of Kyo (Sean Farris) to defeat Rugal before too many lives are lost.

The film adaptation of The King of Fighters loosely follows that of the original King of Fighters '94, with some elements from '95, in which Rugal starts the tournament so as to get some excitement into his life. The most notable difference in the adaptation is that the tournament is already established and also that the fighters need to be in an alternate dimension in order to fight in a way which resemble the original game. The science fiction-esque twist on the narrative makes for an intriguing story but the films never really explores the concept. The story is fashioned in a linear manner, with the odd reference to past sequences to help explain certain information. Unfortunately, the plot is fairly thin: it presents opportunities for further development but these avenues are never fully explored.

The acting quality is not exactly great but this is somewhat understandable considering the cast. That said, no actor ever falls prey to evidently poor acting and with more depth to the script a better acting prowess could have been shown. Actors generally take their roles seriously: Park seems to enjoy the eccentric nature of being a villain while the likes of Maggie Q, Lee and Faris portray the motives of their respective characters adequately enough.

The overall filming quality suggests that the film-makers had a low budget to work with. The King of Fighters appears to be filmed more like a television show then an actual movie but that does not stop some fairly enjoyable action sequences, yet these only become common in the latter half. CG becomes present mainly towards the end and looks low-key but nonetheless workable.

Beyond the makings of a possible girl-on-girl scene, there is no nudity or sexual content present. Language is tame and infrequent while violence is frequent throughout the film without ever being gory or bloody.

There is no doubt that The King of Fighters is a missed opportunity. With some obvious reworking to the script and story, and a better budget, the film could easily have been a more commendable entry for videogame-to-cinema adaptations. What really needed to happen was the fleshing out of the characters and the overall narrative to create a more cohesive product. That said the story, actors, and some decent action scenes, are adequate enough to carry The King of Fighters to its conclusion and miss a definitive K.O.

5/10

Screen date: 13 August 2010
Release date: 13 August 2010

GC 2010: Sony Conference Overview

2010-08-17T17:51:00.022+02:00

Playstation3

Software
Gran Turismo 5:
- November 3 official launch date for SCEE region.

Infamous 2:
-Cole model revised back to original.

Killzone 3:
-Mech suits.

LittleBigPlanet 2:
- Story trailer revealed.

MAG:
-PS Move support.

Medal of Honor:
-MOH Frontline exclusive to PS3.

Mortal Kombat 9:
-3D support.

Play TV Live:
- Community features such as chat, text chat during programmes, and programme recommendations.

Ratchet and Clank All 4 One
-Fall 2011 release; 4 player drop-in-drop-out co-op.

Resistance 3
-2011 release.

R.U.S.E:
- Supports PS move.

Virtua Tennis 4:
- Supports PS move; 3D support.

Hardware
New SKUs:
- 320 gb PS3 with Move starter pack (349 euro), and 160gb (299).

-------------------------------------

PSN

Catch up TV:
-6 new channels, including ITV, Animax and Yahoo.

Mubi:
-Film streaming; PPV and subscription options; 18 countries availability on launch.

-------------------------------------

Miscellaneous

PS3 Sales:
- 38 million.

Nothing Personal

2010-07-27T10:24:00.016+02:00

Too detached ...

After finding herself alone and detached from society, an unnamed woman (Lotte Verbeek), backpacks through Ireland seemingly wanting to lead a solitary existence. With no more than the clothes she has on her back and some utensils like a small tent, the woman discovers an isolated house belonging to Martin (Stephen Rea) who also appears to be living his life alone.

Nothing Personal tells an intriguing story of loneliness and this becomes quite apparent due to the less than normal use of dialogue, minimal use of accompanying music, controlled camera shots and the muted colour scheme which fills every scene. All of these traits slowly increase as the film continues, and from a visual and audio manner it is great to see the relationship between the woman and Martin develops. The narrative uses a linear flow but it becomes quite a shame that it is broken into noticeable chapters: each chapter begins with a black screen and a word, such as 'marriage'. Beyond hurting the flow of the film these wordings do not exactly portray the tangible events about to occur, but rather abstractly feel as if the director needed to guide the viewer into a particular point of thought in regards to the events about to take place. This guidance erodes at the loneliness theme of the narrative and inevitably makes it more difficult for the viewer to truly appreciate the resonance of story and the characters. An aspect which could have gotten a little extra information for story purposes is in regards to the history of both main characters. By the conclusion, the plot ultimately retains an element of uncertainty as it is difficult to truly gauge the strength of the conclusion on characters who the audience knows almost nothing about.

While neither Verbeek nor Rea provide strong acting performances both are adequate in depicting the different means by which people approach a feeling of isolation. Rea's character takes a more traditional approach to the experience whereas Verbeek seems somewhat off-the-wall. This is not a bad thing as this helps to differentiate the characters and make them more unique, but some of her actions can seem rather odd in an almost overly poetic manner.

Nothing Personal marks the full-length feature debut for Urszula Antoniak. Her control on scenes really does allow for some lovely landscape imagery, if muted by the colour scheme and harsh weather that surrounds the film, for the viewer to gaze up. It all works in enhancing the reclusiveness of the characters and the visual aids thus synch nicely with the thematic elements being explored. This naturalness is barred by some odd editing problems which occur infrequently.

The film contains no violence while language is strong but used rarely. One scene could constitute as sexual in nature but otherwise there is none to speak of, yet breast nudity does feature in two or three scenes.

There is an emotionally powerful story to be told within Nothing Personal and this is noted by a wonderful use of minimal music and colour variety, however it never really succeeds as expected. The narrative does a decent job on impressing the experience of loneliness onto the viewer but, it is unfortunate that Verbeek and Rea are unable to find the connection between their respective character and the narrative material, and the story can feel thin when the credits roll. Still, Nothing Personal is not a film which should be easily dismissed.

7/10

Screen date: 24 July 2010
Release date: N/A (Durban International Film Festival)

Eclipse

2010-06-30T18:49:00.014+02:00

Finally getting some blood...

While Bella (Kristin Stewart), Edward (Robert Pattinson) and Jacob (Taylor Lautner) continue their heated love triangle as to what is best for Bella's future, the nearby city of Seattle is caught within a mysterious string of killings and disappearances. The Cullen family fears the worse, as they are not sure whether the problem in Seattle is related to Victoria (Bryce Dallas-Howard) or the Volturi but nevertheless, they decide that it is best to take precautions in case they get caught up into a situation they may not be able to control.

Eclipse continues the Twilight Saga in a far tighter manner than both its predecessors and this allows for a far more effective use of the Twilight mythology. New revelations are made about the cultures of the vampires and werewolves and this aids the film with a more cemented supernatural feel. Additionally, certain minor characters are allowed to voice their respective pasts: this aids the film's narrative with added character depth as well as giving these characters a vital role in the events to come. The overall narrative is structured reasonably well with two poignant story arcs taking place and ultimately fuse by the end. However, the events in Seattle only provides a simple distraction to the poorly conceived love story which is clearly holding back the series. Thankfully, the love triangle in the film escalates into a stronger conclusion than expected, but that does not stop it being rough around the edges and filled with character development that seems out of place. The romance is also portrayed far too positively with the apparent negative consequences of such oppressive love going unacknowledged. Speaking of which, an apparent theme of selfishness can be ascertained from the primary characters yet it is never utilised strongly enough to help connect the characters. The narrative is commendable, in light of the previous attempts, and definitely a step in the right direction for the final two movies.

With added improvement to the story, it seems rather disappointing that the acting of the central three figures continues to just fall short. Stewart continues to proceed in a dull manner and by this stage it may just be what her character is truly like: but scenes of romance are never able to excite as you would expect of the vampire genre. Sure, the intent behind the love which surrounds the characters is understandable but it continues to lack feeling from Stewart though she does build life in the final arc of the plot. Pattinson is not much better but his acts of jealously do admirably convey the sort of sinister nature which belies his character's love: pity the film never plays on this. Lautner continues his surprising performance from New Moon but the script never really allows him to further his contribution. Minor characters continue to strengthen the acting ensemble but it is a pity that those who represent the Volturi, are either limited to a few minutes or are completely absent.

Another slight improvement is in regards to the computer animation, which flows slightly better this time around with the live-action; a soundtrack that does not always feel tacked on for commercial profitably as orchestra highlights some of the high moments in the film; and directorial control that makes for a more well-rounded experience in which some decent action sequences are allowed to come to life.

Language is in running with previous films with its minimal and tame use. There is no nudity but sexual overtones are slightly stronger in Eclipse than seen in the previous films. The violence factor has been increased rather noticeably, either via implication or actual on-screen events. There is a greater emphasis on action but the lack of blood in death scenes stops it ever being overly violent.

The Volturi may not grant second chances, and for the Twilight franchise that is a good thing. Third time lucky it definitely is as Eclipse is a marked improvement over both the original Twilight and New Moon, mostly because the overall quality is better. The narrative has more depth; the actors appear to be getting a grasp of their characters, and all while the balancing of melodrama with action takes place. The story offers interesting depth and developments which ultimately become underused and so it is unfortunate that no facet of the film is really as strong as it should be given this is the third film in the series.

6/10

Screen date: 30 June 2010
Release date: 30 June 2010

E3 2010: Sony Conference Overview

2010-06-15T19:37:00.033+02:00

Playstation3

Software
Assassin's Creed; Brotherhood
-Multiplayer beta exclusive to PS3.
-Exclusive content.

Dead Space 2:
-Limited edition includes DS: Extraction with Move support.

Echochrome 2:
-Move title

Final Fantasy 14

Gran Turismo 5:
-Top Gear test track
-November 2 2010 launch.

Heroes on the Move:
-Move title
- Ratchet, Jak and Sly combined.

Infamous 2:
-Ice powers added.

Killzone 3:
-live demo in 3D
-February 2011 worldwide release
-Compatible with PS Move at launch

LittleBigPlanet 2:
-Competitive scoring system
-Make your own games with elaborate tools.
-Create HUD's.
-Trailer shows off user creations in 24 hours with no tutorials from the developers, including a working RTS title.

Mafia 2:
-Exclusive DLC at 1 on PS3 version.

Medal of Honor:
-Exclusive content for PS3 version: limited edition includes a remastered version of MOH Frontline.
-Title is modern day and work was done with actual soldiers, military and weapon personnel.
-New character: Deuce.
-Multiplayer designed by Dice.
-October 12 2010 release.

Portal 2:
-Best version on any console according to Gabe
-Coming 2011

Singstar Dance:
- Uses Move

Sorcery:
-Move title.
-Play as a magicians apprentice.
-Flick at screen to attack.
-Spells include frost which freezes enemies
-Spells can be combined: fire and wind create a fire storm.
-Fix environments with magic.
-Change into different animals.
-Release: Spring 2011.

Tiger Woods PGA Tour 11:
-Move enabled through upcoming patch.
-1:1 movement.
-Power is important.

Twisted Metal:
-By Eat. Sleep. Play - David Jaffe.
-Flight added.
-Emphasis on team play.
-2011 release.

Hardware
Playstation Move
-Launch fall 2010.
-Bundle with PS Eye, Move and Sports Champion for $99; PS3 bundle $399.
-Level of precisio
-Level of precision like realism.
-Camera and controller creates 1:1 tracking.
-Developer praise montage.

------------------------------------

Playstation Portable

Software
Eyepet

God of War: Ghost of Sparta

Invizimals

Patapon 3

The 3rd Birthday

Valkyria Chronicles 2

-------------------------------------

PSN

Home:
-Sony E3 booth recreated in Home.

Playstation Plus
-Subscription based PSN.
-Exclusive digital content, priority to betas, PSN store savings and free content like select PSN games.
- $49.99 for a year; $17.99 for 3 months.
First 3 months free.

Tester 2

-------------------------------------

Miscellaneous

3D:
- Motorstorm, Killzone 3, Gran Turismo 5, Sly Cooper Collection, Crysis 2, Mortal Kombat, Tron, The Fight, Eyepet.

Coca Cola:
-Cross over advertising with Playstation products.

EA:
-Exclusive content for Medal of Honor and Dead Space 2

Kevin Butler:
-Surprise attendance.
-Advertises PS Move.
-'Every gamer is a true gamer'

PS2:
- 2nd most played console of 2009.

PSP ad campaign:
-Like PS3 ads, with Marcus.
-'Step your game up'

Prince of Persia: The Sands of Time

2010-05-21T23:21:00.012+02:00

Dampened sand...

When it discovered that a nearby holy city may be manufacturing weapons for enemy states of Persia, Dastan (Jake Gyllenhaal) and his brothers decide to attack the city in order to stop the treachery. When King Sharaman of Persia (Ronald Pickup) arrives Dastan offers his father a gift that ends up poisoning him. Dastan is suspected of murder and so he flees along with the captured Tamina (Gemma Arterton). Dastan soon discovers that he is possession of a powerful dagger that gives its bearer the ability to rewind time.

The Sands of Time is based upon the 2003 video game of the same name but there are few similarities shared between the two. For starters, the narrative is completely different but that does not stop certain story elements from the game sneaking into the odd scene of the film. Fans will definitely appreciate this aspect but their disappointment in the lack of faithfulness to the original game can be understood to some degree. While adaptations always bring about fun possibilities by never been entirely accurate, Prince of Persia forgoes a tale of the Prince finding redemption in place of a tried-and-tested tale of the protagonist attempting to clear their name of some terrible act not of their doing. This inevitably leads to a variety of locales in place of the single castle which contextualised the game and ultimately feels less unique then the premise of the film allows it to be. That said the story works just fine even though it loses direction on the odd occasion. It falls victim to being predictable at times but a decent mix of humour and some workable action sequences keep the experience from never being dull. On a side note, the film does get some depth from its political allusions to the US invasion of Iraq.

The cast can appear unorthodox considering it is a group of Westerners playing Persians and without any changes to speech. Though considering the original game contained a British speaking Caucasian protagonist, the casting come across more like a stylised option rather than a lack of desire to authenticity. The actors do a reasonable job but consistency is somewhat of a problem. At times the actors come across as flat but thankfully there is a charm to Gyllenhaal, intrigue with Arterton, and workable humour from Alfred Molina which prevents the acting from being poor. The chemistry between Gyllenhaal and Arterton only ever finds ground with their constant quips so their romance never feels involved enough by the films end.

The film is littered with computer animation and many acrobatic manoeuvres. The animation is an on and off affair but thankfully does more right than wrong. The scale of some of the imagery is wonderful such as the establishing scenes of the holy city and especially the Hourglass of Time itself. Though, the scenes involving the reverse of time appear underdeveloped. The acrobatic sequences are fairly enjoyable affairs but they are more akin to the Prince of Persia spiritual successor Assassin's Creed rather than the original game itself.

As a Disney film you can expect that nudity and sexual content play no role in the film. The same goes for language while the violence, frequent and somewhat lengthy at times, is relatively bloodless and involves a variety of weaponry slashes and stabbings.

Prince of Persia: The Sands of Time is an intriguing take on its source material, albeit an obviously commercial one. Perhaps, the creators felt that the original plot was not marketable enough and for all intents and purposes they are most likely correct. The problem for the film is its lack of individuality in a stream of Hollywood blockbuster titles: it is just a pity that with a workable plot and metaphorical imagery that the film never reaches the height of its proposed fantastical nature. Granted, the narrative, acting, and base level sense of wonder gets the job done and makes for a fun time. Though, you would think that if the creators themselves had access to the mythical Dagger of Time, they could have gone back and given the film the needed sharpening it deserves.

6/10

Screen date: 21 May 2010
Release date: 21 May 2010

Iron Man 2

2010-04-30T23:46:00.021+02:00

Less sparks reveal the metal...

Six months after Tony Stark (Robert Downey Jr.) unveiled to the world that he was Iron Man, Stark has created an era of peace between the super powers of the world but he is faced with increasing pressure from the government to allow the military use of the Iron Man suit for military application. This does not come at a good time for Stark as competition from a rival, Justin Hammer (Sam Rockwell), is continued by the strange appearance of Ivan Vanko (Mickey Rourke). Vanko poses a threat to Stark as he shares the same knowledge on how to build the arc rector on which the Iron Man suit works.

Iron Man 2's story shares a little too much similarity to that of the original. Like the first, Iron Man 2 is not aggressive as it bathes itself in some quick humour and a rather silly middle-arc. This keeps the comic book feel of the source material unlike The Dark Knight, for instance, which attempted to rework Batman into a more real world setting. That said, Iron Man 2 does a great job of seeming real with some potentially viable politics occurring: the US government wanting the Iron Man suit for military application makes sense. In addition to this, Iron Man 2 does a decent job of setting in motion the upcoming Avengers film. Nevertheless, the film's narrative falters in two distinct ways: familiarity and lack of focus. The problem this time around is that the villains, and their motivations, are too familiar to that of the villain in the first film. Both Hammer and Danko appear as two parts of Obadiah Stane from the first film, and like Stane before they want the technology behind the Iron Man suit. Granted, Danko is able to make the arc reactor himself due to an interesting sub-plot, which plays less into the story than expected, but the villains ultimately come down to just wanting what Tony Stark has. Consequently, the arrival of two villains also brings along a few more heroes including Black Widow (Scarlet Johansson) and the arrival of War Machine. While it is great to see the Avengers plot moving ahead, it results in less glory time for Iron Man himself. By the film's closure, it feels as if Iron Man had not done enough with so many different characters getting perhaps a little more screen-time then they ought to. There was talk of re-shoots having to take place for the film and it shows at times: with so many characters and villains, the films pacing can feel offish on the odd occasion because there is just a little too much for what the story is trying to convey. Perhaps if structured a little more like The Dark Knight, in terms of villains and heroes, Iron Man 2 would have been a bit more coherent, but I suppose it just was not 'part of the plan'. Nevertheless, it is a workable story that keeps things going but it could be a lot tighter.

On the acting front there is a lot more to be desired, but there are still some slight issues. Downey Jr. and Paltrow slide back into their respective Iron Man characters with relative ease. It is also great to see how both build upon their characters as the character development allows them to: Downey Jr. is able to emphasise the despair and narcissist feeling he has about his own individual mortality, whereas Paltrow's gives Pepper Potts the more assertive nature she needs to keep Tony Stark in check. While their romantic relationship is not as strong as it could be, it is noticeable from their scenes together. Don Cheadle replaces Terence Howard from the first film and does a respectable enough job. The rest of the cast are adequate to a point with Rockwell overacting his role with decent results, Johansson being a little dull with hers, and Rourke not having nearly enough screen time to be a menacing villain.

The computer graphics are nice to look at but are never overly convincing. While they work there are odd occasions where the texturing on the Iron Man suits appears too cartoon-like. That said they look great in action scenes, of which there should have been more, while the special effects only prove to enhance the overall graphics.

Much like the first film, there is little in terms of swearing and no nudity beyond revealing outfits. Sex is merely referred to in passing while the violence, with some mild blood in the odd scene, is pretty similar to the first film with explosions, gunfire and hand-to-hand combat taking place.

Iron man 2 is a fun film but it is just not as good as its predecessor. While the basic plot resembles that of the original, Iron Man 2 is far too ambitious for its own good. The new heroes do not develop strongly enough and take away vital screen time from Iron Man. Likewise, the new villains feel underused and ultimately never pose any real threat, especially when they are easily outnumbered and outmatched by the heroes. The narrative is not focused enough and the action sequences are never as spectacular as they should be. Nevertheless, the narrative introduces some interesting developments and gets the basic ideas across to the audience, while the actors do a good job. Like Quantum of Solace, Iron Man 2 feels like a weak middle ground for a possible satisfying conclusion: the potential is there.

6/10

Screen date: 1 May 2010
Release date: 1 May 2010

gknova6.com not Resistance 3?

2010-04-28T23:30:00.011+02:00

A recent article over at System Link made an interesting theory that the viral site gknova6 may in fact be related to an upcoming Resistance title instead of the heavily believed Call of Duty 7: this may not be the case.

It is a nice guess until further digging into the registrar information reveals that the original assumption of Call of Duty 7 may indeed be the correct one.

The registrar information for gknova6 reveals the registrar to be Markmonitor.com. It comes as no surprise that the exact same registrar belongs to Treyarch's official home page.

The registrar for Insomniac's official home page is Godaddy.com, which happens to be the same registrar for all four viral websites related to Resistance 2.

While we will only officially know until the viral website reveals the game ultimately being marketed, it is a strong assumption that Resistance 3 is by no means related to gknova6: but I suppose you never know.

Shutter Island

2010-03-12T23:27:00.020+02:00

Undeniably captivating ...

Taking on the case of a mysterious disappearance of a patient in a hospital for those who are criminally insane, US Marshall Teddy Daniels (Leonardo DiCaprio) and his new partner Chuck Aule (Mark Ruffalo) attempt to investigate a rather absurd escape. With the help of the head psychiatrist Dr. Cawley (Ben Kingsley), Teddy and Chuck attempt to unravel how a patient, named Rachael Solando (Emily Mortimer), was able to completely vanish from the confines of her locked room.

Shutter Island begins with a brooding image of a ferry making its way through some heavy fog, and it is the very enigmatic nature of the scene which claws its way throughout the narrative till the thought provoking conclusion. This becomes far more evident when many scenes and symbolic gestures in the film are soaked in a hint of polysemy. Of course this would not work without a very engaging storyline and Shutter Island makes for an exciting, and never dull, thriller. This is mostly achieved through the narratives pacing being quite consistent throughout for the film never felt like it was dragging. That said, it can be a little disorientating when the narrative decides its time to bombard information upon Teddy, and the viewer, in an attempt to guide the film to the mystery of Rachael Solando's escape. The film is by no means overly complicated but if you lose track of the information which these certain scenes attempt to convey, the films real twist can appear somewhat disjointed even if it is to an extent predictable.

The narrative is only heightened by a group of actors who do a convincing job of representing their respective characters. The character of Teddy is easily the most important and DiCaprio does a great job of conveying the character's need to find the truth while battling the guilt over the horrors of his own past life. Kingsley provides a wonderful performance as the head psychiatrist on the island who wishes to rehabilitate the mentally ill instead of resorting to measures such as lobotomy. He has a restrained and calm manner which exudes his character's intellectual capability. Ruffalo provides good support to DiCaprio, as he assumes the role of the concerned and eager to help partner. The entire supporting cast, involving the likes of Ted Levine and Elias Koteas, to name a few, all perform at their best to assure that Shutter Island feels highly believable, though it is just a pity that some of them only appear for a few minutes. This does result in Teddy being the only character with any real emotional appeal outside the intellectual nature of the film.

The filming style by Martin Scorsese is an absolute wonder, especially the final scene, as he utilises varying techniques in order to construct the web of events into something meaningful but abstract. Some techniques could appear unusable in modern films but they nevertheless work to enhance the film. Another good addition to the cinematography is how a few stylised camera sequences are used on single occasions allowing the film to constantly remain fresh. The computer imagery which accompanies the work is of a generally high standard with some beautifully rendered scenes enhanced by the Gothic atmosphere. Still, the computer imagery is not entirely top tier material with some scenes lacking the polish of others.

There is no sex in the film though nudity does make an appearance in one scene of a couple of seconds showing some male genitalia. Violence is largely in the form of Teddy's memories which involve soldiers being gunned down and blood appearing in large pools, both for realistic deaths and for artistic reasons. Dead bodies are shown throughout, some with bloody results, and involve adults and children. Language is contained mostly to F-words and blasphemy. Neither overpower the film and are sporadically placed through the plus 2 hour run time, yet the blasphemy can come across as slightly more excessive then required.

Shutter Island culminates into a fascinating outlook on how truth can be both liberating and destructive. This is achieved through a combination of a tight and absorbing narrative; superb acting performances; and a film style that enhances the Gothic atmosphere required for the thematic depth to be appreciated. The film does lose some footing with the odd narrative hiccup; some slight graphical issues; and a lack of emotional pull from the general characters for some part of the film. Nevertheless, Shutter Island is an intelligently taut thriller which allows its viewers to ultimately invest in its characters and story while providing ample entertainment.

9/10

Screen date: 12 March 2010

Release date: 12 March 2010

GDC 2010: Sony Conference Overview

2010-03-11T00:35:00.016+02:00

Playstation 3

Hardware
Playstation Move
- motion controller.
- bundles include standalone controller, with the playstation eye and a whole PS3 bundle.

Playstation Move sub controller
- 2nd controller to assist the Move for use in traditional games.

Software

Eyepet:
- trailer shows off the PS Move adding new motion control actions to the game beyond the existing PS Eye movements.

LittleBigPlanet:

- demo showcasing the PS Move.

- one person controls the Sackboy while the other player uses the Move to manipulate the environment.

Gran Turismo 5:
- will ship in 2010.

Motion Fighters:
- black and white 3rd person fighting game where 2 PS Move controllers are used for each arm of the character.

Move Party:
- family title which uses the Move, PS Eye and mic.

- similar in design to the original Eyetoy games by including a bunch of mini games like hitting objects, painting and cutting hair.

Socom 4:
- includes support for the motion controls with use of the Move and sub controller.

Sports Champion:
- includes a variety of games including Gladiator Fight, table tennis.

Alice in Wonderland

2010-03-05T22:51:00.016+02:00

Late for tea ...

While attending a party on a Victorian estate, Alice Kingsley (Mia Wasikowska) becomes interested in an apparent white rabbit she sees. Upon following the rabbit, Alice finds herself caught up in a magical world unlike reality known as Underland. Alice believes she is dreaming, but with the help of the Mad Hatter (Johnny Depp) she learns that she is needed to help stop the Red Queen's (Helena Bonham Carter) reign of terror.

Alice in Wonderland can, on first appearance, seem like a remake of the original story on which it is based. But as the story develops it becomes clear that it is a sequel of sorts following the life of Alice now that she is older. The narrative is divided into two parts, namely the Victorian setting which opens and closes the film and that of Underland of which the film is mostly comprised. There is a very interesting point of departure in how both worlds become important for Alice's development as a woman in Victorian London but the relation is just poorly implemented on Tim Burton's part. Though, it must be said that Alice in Wonderland is merely Lewis Carroll's original story just with a Goth coating and with less thematic depth: in fact it is perhaps one of Burton's least original and weakest in terms of narrative fecundity but the feminist undertones are noticeable. It should be noted that character development is perhaps the weakest point of the film with no character really showing off any tangible development whatsoever. It could be argued that Alice does grow as a character and this is what allows her to make the decisions she does in the end, but these actions only portray her original feminist ideas, rather than any self-reflection on her part of the society in which she lives. In a rather bizarre twist, the seriousness of the final act of Underland is finished by a rather unappealing, albeit slightly funny, act which hurts the more film then it helps. Humour becomes a largely hit-and-miss affair with some being plainly unfunny, though the Red Queen allows for some good laughs.

That said, the acting is a mixed bag with some actors getting their respective character spot on and others seemingly unable to do so. Alice and the White Queen (Anne Hathaway) are sadly examples of the latter which is disappointing since it is with these two that the film carries itself. Wasikowska may be able to look the part but she is far too subdued in her emotion and tone range for the feminist Alice, while Hathaway gets herself wrapped up in poor overacting. On the reverse there are some great performances to be seen with the Red Queen and the Cheshire Cat (Stephen Fry). Both are wonderful performances and easily help elevate the film's overall quality as Carter shouts out the most hilarious line of the film over and over without any dulling effect as Fry oozes a charisma that is sure to put a smile on your face. Lastly, there is Depp as the Mad Hatter: Depp comes across as playing his usual eccentric character which feels a little tiresome at times these days. On top of this his character's vocal change shows hint of his Jack Sparrow character which breaks the illusion of the film. Nevertheless, Depp does showcase why he is a talented actor but he never really does anything exciting to make the Mad Hatter that much different to previous roles.

On the opposite side of the spectrum the physical nature of the film looks and sounds delightful with some good use of computer animation and music. It is never on par with the likes of Avatar in terms of lushness, but there is a distinct cartoon feel which resonates well for the film: just as great as Fry is as the Cheshire Cat, so is the physical manifestation of the character an appealing sight. There are however some shortcomings such as wonky movement animation on the rare character and some major texturing issues resulting in some average looking character models. The added 3D elements in the 3D version of the film lack life and are unimaginatively used for the sole purpose of having the film released at 3D cinemas.

The film contains no sex, nudity or language. Violence is in small dose with some sword fighting which results in a creature having its eye taken out and another losing its head but it is far from being termed 'violent'.

'Wonderful' would be far too much praise for Burton's adaptation of Lewis Carroll's classic story. Like Charlie and the Chocolate Factory before, Alice in Wonderland shows why Burton's version of an existing story is not always a good one. The narrative lacks depth with feminist dealings being the only core concern; character development is unheard of; and the overall acting ensemble do not do the overall cast justice. That said the computer animation serves the film's source material adequately enough; the musical score is worth noting and the film offers a potentially fun experience: it just lacks the wonder it so desperately needs.

6/10

Screen date: 06 March 2010
Release date: 06 March 2010

The Wolfman

2010-02-11T11:17:00.012+02:00

Incomplete transformation ...

After learning that his brother has disappeared, Lawrence Talbot (Benecio Del Toro), returns to his family estate to find that his brother was the victim of a ferocious attack. Lawrence decides to find out what happened to his brother all while trying to juggle relations with his brothers fiancée, Gwen (Emily Blunt), and his alienating father, Sir John (Anthony Hopkins). Inevitably, Lawrence is attacked in the same manner as his brother but manages to survive. This only leads to him being cursed with a transformation into a werewolf during a full moon.

1880's England is a lovely sight to behold from the opening minutes of the film and the gloomy weather, architecture and somewhat sombre tone of the film only go to visually highlight the very important Gothic themes with which the film will utilize. Thankfully this remains a constant throughout the film for the narrative does not. The story starts off interestingly enough with increasing debate as to whether a beast or lunatic is going around killing people. The plot thickens when it is discovered that Lawrence himself was placed in a mental asylum when he was younger and the introduction of Scotland Yard inspector Aberline (Hugo Weaving) gives the film the very sense of mystery it needs. Though Aberline does very little in terms of tangible investigation as the film's opening few arcs fall away to some very quick plot reveals. And this is one of the major problems with the film's story as a whole: so much is revealed so quickly that the last third to quarter of the film contains nothing for the narrative beyond a poorly conceived romance between Gwen and Lawrence. This, in turn, only happens because character development in terms of relations is not fully realized. If anything, the asylum arc of the film is very enjoyable next to some fun, albeit rather violent, action sequences. And the inclusions of some genuinely good horror elements add to the dynamic, even if lacking, narrative.

The acting performances are also somewhat on the weaker side. Del Toro and Blunt seemed somewhat distracted. Of course the death of Ben Talbot (Simon Merrells) lingers over both of them but their melancholy never feels real. Both do become progressively better by the films end but never really enough to show what both are capable of. Hopkins has an intriguing role as the protagonist's father who lives in the family estate by himself but his character lacks the emotional impact to allow much from Hopkins. Weaving is the best of the lot and gives his character the life he needs to appear as both a concerned inspector of the law, while also a figure that could potentially see his duty as above common humanity. Weaving's character is not explored enough so his screen time can feel limited at times.

On a better note the technical aspects of the film are quite compelling. The very bleak look of the films setting hits hard the atmosphere that is to be expected from the remainder of the film. The CGI and special effects are largely good enough to help capture the Gothic essence but there is the odd moment where it seems poorly implemented, such as when there is a close-up of the werewolf running at a high speed. Architecture is used well with costume design clearing indicating towards as faithful a recreation of 1880's England as possible. Lastly the look of the werewolf himself is workable and exudes a promising menacing force for a monster film.

There is no sex and almost as little use of language. There is no direct nudity but a female character is shown from behind without a top on. Violence makes up for what is missing however, with some violent, bloody and gory sequences involving decapitations and other more beastly attempts at mutilation. As expected, these are all done during the night which somewhat blankets the violence but nevertheless it can be quite explicit even though the deaths are not lingered on for long.

There is much to love in the opening half of The Wolfman as it sets itself up for a potentially thrilling finale. But for all the intense Gothic atmospheric inclusions that the film uses for its foundation, such as the costume design, CGI and scale of the visual treat that is 1880's England, it nevertheless falls apart by the films end. If you wish for a dark and bloody exposition on a werewolf then you should be satisfied, but that does not stop some underwhelming performances and a thin narrative from impending the transformation of excellent ideas into an excellent film. At one point Sir John exclaims: 'The beast will have its day' but for now The Wolfman will have to do until that day comes.

6/10

Screen date: 10 February 2010
Release date: 12 February 2010

Top 10 Films of 2009

2010-02-07T12:33:00.011+02:00

So I have finally come to my top 10 films of 2009. As before, these relate to films released in South Africa during 2009 and may include some that had a 2008 release elsewhere. And they are:

10. Knowing
Review not available.
8/10

9. Adam
Review not available.
8/10

8. Genova
Review not available.
8/10

7. Depatures
Review not available.
8/10

6. Drag me to Hell
Full Review
Drag Me to Hell is one of the most enjoyable horror films of recent times. It has an interesting, supernatural storyline with interesting characters; reasonably good acting, though it could have been stronger; and intriguing cinematographic design, even if a little overused. There is even well formulated social commentary which really adds wonders in allowing the film to appeal on an intellectual level. Raimi’s grip on horror makes for a great deal of suspense and the added humour only makes the film all the more devious. All this is achieved with a minimal level of objectionable content, making the film less conformist to the horror genre as it stands and showcases Raimi at what he does best. Though the shining achievement of Drag Me to Hell is that it does what a horror should: not just simply gross out the audience but rather aim to scare and entertain them.
8/10

5. Valkyrie
Full Review
Valkyrie can be considered Tom Cruise's return to cinema, and thankfully the end result is a positive one. He is backed up by a decent storyline and a superb selection of actors. Sure the film could have used with some better pacing, more depth and subtlety; and the lack of German accents do possibly ruin the experience if you allow it to do so, but these problems do not hurt the film in any serious manner. Valkyrie might lack the literary impact to allow it to be phenomenal, but that does not stop it being watchable and exciting.
8/10

4. Coraline
Review not available.
8/10

3. An Education
Full Review
There is a charming simplicity to An Education which allows the narrative to unfold without any hindrance. The acting is great, the direction is just as good, and the story has some important messages to impart to audiences. Though as a coming-of-age story, An Education steers clear of trying to have an impact with its core themes, and ultimately suffers for convenience.
8/10

2. District 9
Full Review
District 9 is being heralded as one of the best science fiction films to ever be showcased and its not difficult to understand why: it has a mature and exciting narrative, even if unclear at times, which brings about enough material to further the created universe in many directions. With a brilliant example of acting by Sharlto Copley, fascinating cinematography from Neill Blomkamp, high quality CGI, and engaging violence, District 9 is one of the most exciting films of recent years with only a few hitches. And as for this year, it easily relegates other recent blockbusters to the levels of mediocrity they deserve.
9/10

1.Still Walking
Review not available.
9/10

What were your Top 10 films of last year?

Top 10 Disappointments of 2009

2010-02-07T12:13:00.008+02:00

My first post of 2010 comes a little late due to some misfortune with internet, being busy and a little lazy at times. Regardless, here is my top 10 Disappointments of 2009. This list contains all films which either saw a commercial or film festival release in 2009 in South Africa. So some films may originate from 2008 due to their late release here and some films could seem clearly missing cause I never got to see them all. So here we go:

10. G.I. Joe: The Rise of Cobra
Review Not Available.
5/10

9. Transporter 3
Review Not Available.
5/10

8. New Moon
Full review
While somewhat enjoyable, New Moon lacks identity and this is solely based on the fact that it does little to enhance the Twilight formula. Richer mythology is added; the quality of acting has increased in the overall cast; and the special effects have undergone a needed retuning. But like Edward so blandly points about himself, the film lacks a soul. The brewing romance between Bella and Edward is lifeless with a general lack of development throughout all the characters. Likewise, the narrative never really seems to head in any viable direction and it is up to the lesser characters to get the film's blood pumping.
5/10

7. Night at the Museum: Battle of the Smithsonian
Review Not Available.
5/10

6. Passengers
Review Not Available.
5/10

5. The Haunting in Connecticut
Review Not Available.
5/10

4. Chandni Chowk to China
Full review
Simply put, Chandni Chowk to China is a disappointing film especially when its taken into consideration that it was delayed from its original release in October/ November last year. It is difficult to tell if any additions were made because nothing really gels well for the film as a whole. The acting is passable, with the Chinese actors being the highlight; the story is decent but is overshadowed by a mere subplot; and the music selection is shocking. That said the film has some of the best action sequences in a Bollywood film with the martial arts being fun to watch and the film is comedic throughout. However it should be advised that one's enjoyment of the film depends merely on their temperament for stupidity.
5/10

3. The Countess
Full review
The Countess is a surprisingly average film with a good sense of technical techniques being weighed down by some weak showcases of acting and a confused directional narrative. The beginning attempts to setup the film as a mystery thriller, something to get audiences debating the accuracy of events, but ultimately the film is so conclusive with what it wants audiences to believe that the film gets muddled up in its own creative process. It is an interesting movie with an exciting subject at its helm, but it is nonetheless a flawed film that just never gets going
5/10

2. Transformers: Rise of the Fallen
Review Not Available
4/10

1. Obsessed
Review Not Available

4/10

What were your disappointing films of last year?

Sherlock Holmes

2009-12-28T02:01:00.011+02:00

Fun yet misguided ...

Sherlock Holmes (Robert Downey Jr.) and Dr. Watson (Jude Law) successfully complete another case when they are able to capture Lord Blackwood (Mark Strong) who is responsible for a series of ritualistic killings. Blackwood is sentenced to death and buried but when it is discovered that Backwood has been resurrected from the dead, Holmes and Watson are compelled to reopen the case.

The story contained in Sherlock Holmes is interesting albeit untamed. Plot development occurs at an almost rapid pace thus making the narrative seem more complicated than it perhaps is. It does not help matters that by the end of the film, almost every single scene seems to play some part in Holme's investigation: it feels forced at times and interactions feel scripted rather than natural. And for a film based on a highly intellectual detective, the logic of some scenes walks on thin ice. Nevertheless, Sherlock Holmes does contain some characteristics that were prevalent to the character in the original novels, such as the ability to fight. What is presented is a Sherlock Holmes who is just as capable physically as he is mentally. At first this may appear to overshadow Dr. Watson considerably, but thankfully Watson is shown to be Holme's equal allowing for a fair exchange in solving their case.

One of the interesting dynamics of the narrative comes from a couple of short segments where the audience is introduced, though loosely, to how Holmes contemplates overcoming an obstacle. This comes about a couple of times but only before he proceeds to completely defeat an opponent in hand-to-hand combat. However, this sort of scene never occurs when you would most want it to: when Holmes is using his intellectual prowess to discover clues for his investigation. Instead, Holmes is left keeping his intelligence a secret, which seems rather absurd at times considering how rapidly he is able to deduce information. It only becomes slightly more annoying when it is taken into consideration that there is very little in aid for the audience in terms of trying to piece together the criminals plan. Sherlock Holmes is less a crime mystery and more an action adventure but regardless of one's preference the film is a fun watch for the most part.

Acting is a far steadier factor for the film with Downey and Law putting a lot of energy into their roles. This pays off with both having evident charisma about them and their screen time together is easily among the best in the film. McAdams is not quite as consistent with the rare poorly delivered line yet any fault she may have is never detrimental. Strong provides a formidable villain in theory, but for all his character's intellect he is far too weak a character to ever feel like possibly ousting Holmes. This mainly comes down to a script which does not allow more scope for the character of Lord Blackwood.

19th Century London is portrayed rather extravagantly with some great shots of the architecture and the attached gloomy atmosphere of a society still caught up in the industrial revolution period. Action sequences do not share the same flair and while they are workable they could have been better. Additional, music adds to the Sherlock Holmes experience but it never really enhances it and so feels more of an afterthought in the entire filming process.

The film contains no sex or direct nudity and language is just as mild serving only a couple of profanities. On the other hand, violence does make up a part of the film though it is never gory and hardly bloody as punches are thrown along with gunfire, hangings and explosions.

There is no denying that this new Sherlock Holmes adaptation is all about making the titular character appear more modern and exciting to the audience. The film is enjoyable with solid acting and a commendable story, yet the script has not appeared to have been scrutinized enough with its rapid nature and odd illogical mishap. You'd almost wish that Holme's himself had been asked to look over the script for the one second it would require of him: the film's story would be tighter and better for it.

7/10

Screen date: 26 December 2009
Release date: 1 January 2010

Avatar

2009-12-18T20:26:00.017+02:00

A spectacle without spark ...

In the distance future, the human race have discovered a unique planet, Pandora, in which a humanoid alien species, the Na'vi, exists. A highly valuable natural resource can be harvested from Pandora, and great lengths are taken to gain some control of the planet. Jake Sully, a paraplegic war veteran, is offered the chance to take part in a mission to help communication links between humans and the Na'vi by using an 'Avatar' which resemble the Na'vi in appearance. This involves him accidentally getting into the position of getting to know the Na'vi as well as possible in order to eventually persuade them to allow the humans to extract Pandora's valuable natural resource.

There is an obvious colonialist subtext which clings to the narrative of Avatar from the film's opening minutes and this is quite possibly the most rich the narrative ever becomes with little else to provide much depth to the films essence. The story for Avatar is interesting but it is far too cluttered with linear directions on how the film should flow from one scene to the next that by the credits it feels like Avatar has accomplished very little. This is mainly due to the lack of insight provided into the world of Pandora and even the nuances of the Na'vi themselves. Both are explored purely on a foreign viewpoint and it can be argued that this works in conjunction with the world being presented by the human character of Jake, but even when he begins to fuse his being with that of the Na'vi, not much more is presented to the viewer. There is a lot going for the film but it is disappointing that more is not made of it. Another problem lies with the Na'vi themselves. Their language, voices, dress code and cultural mannerism lack any distinct criteria beyond metaphorical elaboration. The Na'vi are, simply put, a mere fantasy retelling of the indigenous tribes of Africa or even American Indians. While this does help the colonialist theme of the film and in making the narrative appear more real, it nevertheless makes the story less unique and only disregards any originality the Na'vi could have as a species. It does not come as a surprise then that the human protagonists are mainly Caucasian and the Na'vi counterparts are African or Native American.

Acting is a slightly better department but the actors don't have much to work with as characters fall into defined stereotypes and the odd lines of dialogue lack consistency. Giovanni Ribisi is one of the more spirited actors but he plays a conventional power hungry executive: he becomes representative of the two-dimensional nature of the villains. Caricatures do not stop there but they are less identifiable in the heroes of the story. Worthington provides a more delicate approach to his character showing a clear distinctness in tone between his human and Na'vi selves. This does become questionable at times when even at times of unease his human self appears somewhat lackluster. Zoe Saldana is a pleasure to watch, even though she is a Na'vi, and this is purely because she is more in tune with her character than any other actor. At the end of the day, character development is on the weak side, with one character seemingly deciding to make certain decisions even when little evidence was provided for the character to do so. This also goes as far as character relationships being glazed over, even by the last third of the film where characters seem closer than originally expected.

From a technical standpoint the musical score and computer generated imagery work wonders. The music definitely adds to the emotion and feel of the film heightening the more sad and courageous moments while also aiding in scene transition. The computer imagery is staggering in scope encompassing an entire environment. There is the odd scene where textures lose their realistic look but it is in the quality of the animation of characters, creatures and flora where Avatar shines.

While sex is implied, there is no nudity beyond the Na'vi wearing little in terms of clothing. Language consists of mild profanities and the odd blasphemous term, while violence ranges from a variety of gunfire and stabbings among others; violence is never gory with minimal blood visible, though some acts can be a little extreme.

Avatar is an ambitious film and it deserves to be so with the majestic landscape of Pandora, and her inhabitants, nearly being adequate substitutes for reality. With the well conceived musical score, Avatar has the technical factors nailed but it all falls apart when the film's core narrative is added to the mix. For all the possibilities available, the film forgoes depth for simplicity and convention. If anything, Avatar is an enjoyable film but an enjoyable film with substance that does not equate to its hype.

6/10

Screen date: 18 December 2009
Release date: 18 December 2009

Paranormal Activity

2009-12-14T00:38:00.015+02:00

Slow chill ...

A young couple on the verge of engagement encounters what appears to be a supernatural entity in their house. Katie (Katie Featherston) makes note of being haunted by a shadowy ghost of some sort for her entire life and this spurs Micah (Micah Sloat) to decide that it would be a good idea to try and get video evidence of this phenomenon.

Paranormal Activity covers nearly a month period in which the protagonists attempt to film their experiences while being haunted. It starts off relatively slow and continues so until around the last third of the film. The narrative never covers everyday but only those in which some ghostly activity at night takes place and a few scenes documenting the next morning. As a result, the film ends up being slightly shorter than expected but the run time works well in condensing the overall experience into what it aims to achieve: uneasiness in the audience. Paranormal Activity is not devoted to scaring at every possible turn but rather in creating an overall tense atmosphere for its finale. Advertisements seem to suggest otherwise but anyone expecting the usual horror affair may be left disappointed, and deservedly so as the horror sequences are sporadic and short. However, the events that occur have a realistic nature to them, granted you believe in the supernatural, and this cranks up the uneasiness associated with the horror.

Though Paranormal Activity is more than just a documenting of some unexplainable event as it also provides an intriguing perspective into the breakdown of a relationship. Katie is completely horrified at what is taking place yet Micah never really takes it all that seriously until later into the film. This conflict of view begins to erode at their relationship and this becomes integral to the greater understanding of the film. The narrative is not entirely ambiguous as other supernatural texts, but enough will be left unanswered to prompt further discussion on certain actions and scenes in the film.

While not performed by complete professionals, the acting is pretty decent and believable enough. The contrast of views between Micah and Katie are easily apparent, and the nuances in each character is performed adequately by the respective actors as Katie is serious and scared while Micah wavers from being jocular to devoted concern. The level of acting does decrease at times but considering the offering at hand it is not overly problematic.

The film has a budget of around $15,000 and does obviously show with the hand-held camera perspective used for the film. With this sort of restrictive camera application horror scenes have to be quite calculated. Nevertheless, the style of the film results in longer than expected intervals between horror moments.

While language usage contains merely a handful of F-words amongst others and violence limited to one or two non-graphic scenes, there is no nudity or sexual content.

Unlike the horror genre in general, Paranormal Activity is never about its different parts but rather the experience as a whole. Combined with a somewhat slow narrative pace, Paranormal Activity becomes a film that is both interesting yet frustrating. This will surely result in a clear divide between those who appreciate it and those who felt that the activity of going to see the film was wasted.

6/10

Screen date: 12 December 2009
Release date: 11 December 2009

New Moon

2009-11-25T10:27:00.017+02:00

Soulless ...

As her 18th birthday approaches, Bella (Kristen Stewart) is finding it difficult to live a life where she would eventually become old while Edward (Robert Pattinson) retains his youth. When Bella's small birthday affair at the Cullen household threatens Bella's life, Edward decides that it is best if he leaves her fearing that he is causing her unnecessary danger. This results in Bella falling into a deep depression which her friend, Jacob (Taylor Lautner), hopes to relieve her from.

Continuing the novel adaptation of the Twilight saga, New Moon is a misfit of sorts in the series thus far. Regardless of how accurately the novel is followed, the narrative appears to present little new or different from the story presented in Twilight. Bella is still a sad and pathetic person who needs the love of someone else to keep her going. Instead of Edward being her source of love, it is Jacob this time around. And like the first film, Bella's life is under threat from a handful of vampires, and these happen to contain the remainder of the original group from Twilight. In essence, New Moon is just Twilight wrapped up in new skin, arguably paler this time, and it will feel like this for a good chunk of the film until the introduction of the Volturi, the royalty of vampires. This small arc in the film definitely ramps up the narrative into more interesting territory outside the lifeless romance of before, and the characters this romance entailed. Though the story does have one thing going for it and that is humour, and the genuine kind to boot. The film is constantly comedic enough that you may even forget that it was meant to be a tragic romance of sorts akin to Romeo and Juliet, which the narrative blatantly tries to intertextualise with. Inevitably, the story has little substance and feels like a bridge between Twilight and the remaining sequels to come. This is because all the intriguing mythology added to the series in New Moon, such as the Volturi and werewolves, contribute nothing to the film but rather that they could be useful for the sequels.

The acting is largely a better affair in the Twilight sequel but this mostly comes in the form of the lesser characters. Of the lot the more noticeable supporting performances come from the charm of Ashley Greene, the acute coldness of Dakota Fanning, and that rather mysterious elegance of Michael Sheen as the Volturi leader Aro. Of the three protagonists, it is only Lautner who makes any commendable effort at acting: he starts off rather low-key but gets himself into a decent position. It is disastrously unfortunate that neither Stewart nor Pattinson become anything more than simply dull. Both their respective characters are meant to be pained at the loss of being separated from one another but they always appear somewhat bored when in scenes together and show little conviction in their emotions. On the other hand, Stewart's scenes with Lautner have more going for them even when Stewart loses her gaze to Lautner's abs.

Director Chris Wietz brings a commercial feel to New Moon which was lacking in Twilight, yet New Moon ultimately feels less unique than Catherine Hardwicke's efforts. This does not help the film in any way as it has less going for it than its predecessor did. Music is a love-hate affair: it feels way too forced in helping create a certain mood that at times the music feels oddly misplaced. The special effects are much improved and now look far from awkward. While the CG is never overly convincing, it is integrated well enough as to not be a distraction.

For a film based on vampire romance, New Moon is pretty sexless in appeal beyond Lautner being shirtless. There is the odd use of mild language and while violence is more abundant than in Twilight, it is never harrowing enough considering the vampire and werewolf mythology.

While somewhat enjoyable, New Moon lacks identity and this is solely based on the fact that it does little to enhance the Twilight formula. Richer mythology is added; the quality of acting has increased in the overall cast; and the special effects have undergone a needed retuning. But like Edward so blandly points about himself, the film lacks a soul. The brewing romance between Bella and Edward is lifeless with a general lack of development throughout all the characters. Likewise, the narrative never really seems to head in any viable direction and it is up to the lesser characters to get the film's blood pumping.

5/10

Screen date: 24 November 2009
Release date: 27 November 2009

Blood: The Last Vampire

2009-10-10T21:37:00.015+02:00

Life sucked dry ...

Working with a mysterious organisation known as the Council, Saya (Ginanna Jun) is on a quest of vengeance to kill the most powerful demon in existence, Onigen (Koyuki). Saya's search leads her to a military base in Tokyo where she befriends Alice McKee (Allison Miller), a student whose persistence leads her to discover that demons are living amongst humans.

The narrative of Blood: The Last Vampire is an on-and-off affair. The initial setup is quite intriguing but the potential for a deep narrative sadly never materializes into anything tangible. The film does have a lot going for it, combining past segments with Saya's search for Onigen while factoring in political tension between the military and the Council. None of these elements go beyond the simple matter of establishment and the core reason for this is a weak script. By the film's end it becomes obvious that the script is undeveloped and the final running time of a mere 90 minutes becomes evident of this claim. The film needed to be longer by at least 30 minutes so as to allow the core elements of the story to be developed. Saya's past is glazed over, especially with one character that is pivotal to Saya's younger life being mentioned only to be dismissed as unimportant by the script a minute later. More back story would have only helped develop Saya as a character but as far as characterisation goes, the film gets the job done. The internal politics and the detective mystery nature of the film which are hinted at could have added wonders to the plot enhancing Saya relationships with other characters while trying to build mystery to the demonic forces at hand. Nevertheless the film does attempt some fleshing of the plot with the help of the character Alice McKee. The problem with this is that Alice works too much as this voice of reason, with two noticeable scenes where it is difficult to understand how she knew exactly what was going on or what to do. All-in-all, the narrative works well until the 3rd quarter of the film where events begin to enter the fray at random; it also doesn't help that the ending is on a weak note but the film, nevertheless, carries a unique enjoyment factor to it.

Acting is perhaps one of the better elements of the film. There is no award winning performances but the actors convey the emotion required of their characters. Jun is both brooding and lonely; Miller is spunky and afraid even though her scenes of enlightenment are somewhat stale; Koyuki has a stint of subtle evilness; while Cunningham is aptly suited as the cool headed lead investigator for the Council.

Disappointingly, and easily a nod to a low budget, is the very poor standard of computer graphics. The two main uses of this are when the demons turn into their true forms and when blood sprays during fighting sequences. The latter is forgivable since while the blood does not look genuine by any means it gives the film a stylized appeal. However, the CG for the demons is truly bad and almost unwarranted. The demons are lazily designed and considering that the adaption does not stick true to the source material, the demons could have easily been changed as well. Demons have three forms throughout the film: a human form; a demon form; and a semi-demon form which is easily more menacing and believable then the demon form itself.

In fact the fight scenes which involve the CG demons are easily the most poor of the lot: there is no vigour to them and they feel more like filler than anything else. However the remainder of the action is pretty well handled. The camera can be jerky at times but never to point where you'll be left wondering what happened. Unfortunately, the final action sequence is a let-down resulting in little in terms of raw action and the best action scene does not even involve Saya. In the end, the fighting in Blood: The Last Vampire is both part good and part bad and it is saddening that it does not remain at an adequate level of quality.

There is no sex or nudity to be found in the film, and language is used rather sparingly while including the odd blasphemous term. Nevertheless, the film sports quite a lot of violence and while it is never overly gory as some films in the same genre, it is still pretty violent. Violence includes some gunfire and sword fighting, with the latter including a collection of normal strikes, stabbings, beheading, decapitations and a character having is hands cut off. Most of these scenes include the spraying of blood though as mentioned earlier these are done in with stylised computer graphics.

Blood: The Last Vampire is a 90 minute film of an original 45 minute animation, and is easily 30 minutes too short. All the basics are covered, such as the acting, action and narrative but they are never explored with much depth or diligence. The acting is workable with a few sore spots; the action can be quite fun to watch when the director seems to care; and the narrative falls somewhat short after having many promising points for discussion. There is niche likeability to the overall structure of the film which helps it chances, unfortunately this structure is lacking in substance resulting in a film which could easily have been so much more.

6/10

Screen date: 09 October 2009
Release date: 09 October 2009

TGS 2009: Sony Conference Overview

2009-09-23T21:40:00.013+02:00

Playstation3

Software

Gran Turismo 5:
- March 2010 release; new physics and damage text/ voice chat online; youtube export feature; export videos to PSP.

Hardware
Final Fantasy 13 bundle
- Lighting edition; comes in pink and white with a 250gb HDD
Motion controller
- Jun Takeuchi from Capcom shows off Resident Evil 5; dualshock in one hand with motion controller in the other; LittleBiGplanet also shown; games list includes the likes of Eyepet, Flower, High Velocity Bowling and PAIN

------------------------------------

Playstation Portable

Software

ROOM:
- Home for PSP, cuter looking style

Hardware
PSP 3000:
-priced at 16800 yen from October 1; +- $184/ R1350; Gran Turismo and Winning Eleven bundles planned
PSP go:
-November 1 launch in Japan; 400 - 450 titles planned for launch

-------------------------------------

PSN
Comic service:
-Manga titles in catalogue; available in December; titles include Dragonball and One Piece
Home
-v1.30
Music service.
New PSN service:
-Focus on Mainichi Issyo
PS1 Classics:
-Final Fantasy 8 hitting PSN

-------------------------------------

Keynote

Home:
-user base doubled from 4 million at start of year to 8 million currently.
The Last Guardian (PS3):
-new trailer shown.
PSPGo:
-launches November 1 in Japan; will be 700 titles available for download on launch in US; 400 for Japanese launch.
PSN Video store:
-will be available to all Europeans by Spring 2010.

District 9

2009-08-28T20:52:00.020+02:00

A fascinating delight ...

After over 20 years of keeping a mysterious alien race, referred to as Prawns, in check in an area known as District 9 in Johannesburg, South Africa, Wikus Van De Merwe (Sharlto Copley) is given the job of relocating the aliens away from the city so as to ensure that they pose no threat to the citizens of Johannesburg. But during a raid on one of the alien's shack, Wikus comes into contact with a substance that causes him to become the number one person of interest throughout the world.

District 9 is a remake of sorts of a short film from 2005 known as Alive in Joburg, and is filmed in two manners; the traditional film-making process and a documentary approach. The latter is mostly used for the first arc of the films narrative. It combines interviews and news reports, with documentary segments relating to Wikus and the relocation work he will be doing with the aliens. This film perspective is masterfully controlled by Neill Blomkamp and the integration of, and eventual change to, a more formalized camera work seems effortless and natural. This also provides the narrative with some added depth: instead of a linear exposition of Wikus and his reassessment of the whole situation, the audience is provided with history prior to the events taking place, even recalling vital information as to why the aliens are informally referred to as 'Prawns'. However the greatest strength of the narrative is how it parallels Apartheid. While the events in District 9 could relate to events such as the Holocaust, it is quite obvious that Apartheid is the core starting point of interest. This even goes as far as replicating the xenophobia which is strife within South Africa. For instance, replacing the African majority being subjugated against, are the technologically superior aliens. And even though the film is science-fiction, great strides have been taken to make the material as real as possible. These include the poor living conditions; an almost picture perfect representation of shacks through South Africa; and even finer details such as the African SWAT member calling Wikus by the term 'boss'. These are not just randomized stereotypes, but rather real life occurrences of South African living. This combined with the well structured story results in an entertaining and engaging narrative. However there are some points of interest which seem to get very little attention and any audience without an understanding of Apartheid might be feel something is amiss. For instance, the aliens who are clearly superior to humans seem to show little resistance to the poor conditions they are forced to live with. This may appear as a plot-hole, but essentially is only mimics how the White apartheid government were able to exert control over every other racial group, even when they were outnumbered nearly ten-to-one by the African population.

Continuing the believability of the South African context is the actors department, most notably Sharlto Copley who uses an incredibly authentic Afrikaans accent. Wikus is clearly a second language English speaker and Sharlto replicates this well, combining his characters need to speak English with instances of resorting to Afrikaans when swearing. Sharlto is only a first time actor in District 9, which is incredible to note considering how believable his acting is. Wikus goes from being a jerk to desperately fearful for his own life because of how the odds change against him. Regardless of how Wikus develops, Sharlto conveys his character with great realism. The remaining cast are all essentially secondary, and while they perform good jobs of keeping the level of acting high, they do at times falter a bit, but thankfully very rarely.

There is no nudity and sexual activities are only talked about and on a rare basis. Language is strong and consistent with a variety of expletives being used with the F-word uttered at least around 70 - 90 times. Most of these are spoken by Wikus and in Afrikaans, but considering how the F-word sounds similar in both Afrikaans and English, it is not difficult to know what is being said. The language is contextually fit though there is the odd scene where it does feel a bit too much or unnecessary. The intensity of violence matches that of the language with some fairly graphic scenes. Granted many of the deaths happen at a very quick pace but people are essentially vaporized into bloody matter or hacked apart, and this does not even account for the many instance of gunfights and psychosocial cruelty which takes place. Unlike the language at times, the violence is very fitting for contextual purposes in order to emphasis the brutality that existed during Apartheid and even in current day South Africa. South Africa is a violent country, and Neill Blomkamp does not shy away from this.

Both cinematography and the CGI are stunning. Neill Blomkamp is slightly experimental at times, such as filming from just above the barrel of a gun. He never does so frequently, but they surprisingly work. Another factor which is nicely executed are the action sequences which are viewable enough for the action to appreciated, but also slightly frantic to heighten the atmosphere. Accompanying this is some stellar CGI which blends into reality very well: the alien mother ship is the best example as it appears so natural while hovering over Johannesburg.

District 9 is being heralded as one of the best science fiction films to ever be showcased and its not difficult to understand why: it has a mature and exciting narrative, even if unclear at times, which brings about enough material to further the created universe in many directions. With a brilliant example of acting by Sharlto Copley, fascinating cinematography from Neill Blomkamp, high quality CGI, and engaging violence, District 9 is one of the most exciting films of recent years with only a few hitches. And as for this year, it easily relegates other recent blockbusters to the levels of mediocrity they deserve.

9/10

Screen date: 28 August 2009
Release date: 28 August 2009

GC 2009: Sony Conference Overview

2009-08-18T19:33:00.003+02:00

Playstation3

Software

Eyepet - bundled with the PlaystationEye
Heavy Rain - new character
Home - Singstar space with video jukebox and music quiz; Audi space ;new dance moves, animations, character customizations and a camera item
Uncharted 2

Hardware
Motion controls - Teaser video for now but fully shown at TGS 2009
Playstation 3 Slim - 120gb, 33% smaller, 36% lighter, available 1st week September at 299 Euros

------------------------------------

Playstation Portable

Software
Eye of Judgement
Minis - New titles for PSP on the PSN store with a 100mb size limit; 15 titles on launch October 1st with 50 titles through 2009. Includes Tetris, MiniGore, Fieldrunners, and Hero of Sparta
Gran Tursimo PSP - Anyone who registers their PSPGo in the first 10 days from launch get GT PSP free!
Loco Roco Midnight Carnival - exclusive download title

Hardware
PSP 3000 - new colours -- Turquoise Green, Lilac Purple and Blossom Pink.

-------------------------------------

PSN

Digital Reader - graphic novels, indie titles; includes Marvel; not just for comics.
Firmware 3.0 - interface changes; whats new section; animated themes

PSN - relaunch design for September 1
Video Download Service - Rent and buy films - PSP and PS3; launches November
Vidzone - expanding to new PAL territories

An Education

2009-08-03T18:08:00.013+02:00

A cushioned lesson ...

Jenny (Carey Mulligan) is a 16 year-old girl who is attempting to get into Oxford University and has high promise of doing so due to her exceptional intelligence. However, she feels that life is far too linear and she wishes to be able to express herself by listening to French music and going to the cinema and theatre whenever she can, but her parents forbid this for the most part. On a chance encounter Jenny meets David (Peter Sarsgaard), an older man who allows her the freedom to live life the way she wishes to do so.

An Education is adapted from the memoir of the British journalist Lynn Barber, and is a coming-of-age drama set in 1960's London. The story unfolds in a very standard fashion but it is the very core themes of the narrative which keep it engaging. The main theme of the film revolves around the importance of a rationalized living, such as getting a formal education and having the chance of being boxed into a typecast, versus living life to the full and having an existence on the foundation of enjoyment. The films is also evenly paced and while it is a fun and interesting watch, there is a slight mishap to the overall narrative structure which hinders the film greatly. While the film is set up by trying to understand how Jenny feels about her current life compared to the life she could have, the film does little to dwell on the realistic consequences of the actions made by many of the characters, especially Jenny. Any poor decisions she makes in her life are gazed across far too quickly, and those by other characters are none the better. It is a disheartening aspect to the story, and one which would have made the film more cohesive with it's message.

Nevertheless, there is not much else to criticize the film for. The acting, for instance, is superb with some natural performances. Most of the screen time is dominated by Mulligan and then Sarsgaard. While the chemistry between both never really works all the time, they are still appear amply suited. The rest of the cast all support these two and even the likes of the talented Emma Thompson and Alfred Molina never imbalance the fine equilibrium. Each character also comes across as unique. For example, where Mulligan's Jenny is rational and tries to act sophisticated, Rosamund Pike's Helen is ethereal and frivolous. These contrasts seem simple but they work in addressing the core concerns of the film.

Director Lone Scherfig does an amazing job with her creative vision of the script even though she does not create a unique cinematic experience. For the majority of the film, the camera work is understandably controlled, and helps to convey the characters as they ought to be. However, as if to aid the thematic notion of the film, when Jenny in introduced to a more a world of artistic expression, Scherfig is quick to make the camera work more loose and free, heightening the film's very premise of rationality versus emotion.

Beyond some implied sex and nudity, An Education contains little in terms of content with violence and language.

There is a charming simplicity to An Education which allows the narrative to unfold without any hindrance. The acting is great, the direction is just as good, and the story has some important messages to impart to audiences. Though as a coming-of-age story, An Education steers clear of trying to have an impact with its core themes, and ultimately suffers for convenience.

8/10

Screen date: 31 July 2009
Release date: N/A (Durban International Film Festival 2009)

The Countess

2009-07-31T11:25:00.016+02:00

Ambling on ...

In the 17th Century, the Hungarian Countess Elizabeth Bathory (Julie Delpy) and her husband, General Ferenc Nadasdy (Jack Berglund), are regarded as one of the most powerful couples in Hungary. Soon after Nadasdy's death, Elizabeth begins a passionate relationship with Istvan Thurzo (Daniel Bruhl), who is nearly 20 years her junior. When Istvan leaves her, she believes it is because of her age. This ultimately leads to her believing that the blood of virgin girls can help her remain youthful, and Elizabeth starts a mysterious killing spree to satisfy her vanity.

The issue surrounding Elizabeth Bathory makes for an interesting narrative in the cinematic format. The story is told in a rather linear fashion, beginning with Elizabeth as a child and how politics deemed who she should marry in her older age. Politics is perhaps the best dealt with theme in the film: while not shown in a refreshing manner, politics still has an overriding importance into understanding how arranged marriages were so important for families in regards to gaining new ties and allies and, more importantly, how these marriages ultimately develop characters in order to enrich the story. Yet it is disappointing that nothing helps strengthen the plot: the life of Elizabeth Bathory is open to much speculation with there being a debate as to whether she really is the 'Blood Countess' or whether she was trapped in a political conspiracy. But none of this is even questioned until the very end of the story, but by then it is so incredibly obvious that the filmmakers have wanted to portray Elizabeth as a cold-hearted murderer, that the alternate paradigm briefly introduced serves little purpose. Another problem with the narrative is how the film's underlying philosophy, as emphasized by a voice over from Istvan at the very start of the film, is in conflict with the film's main story. Istvan believes that the true story of Elizabeth was never revealed but as shown from the films intention, it clearly is.

There is a reasonably strong cast in the film but it never shows. Both Delpy and Bruhl lack emotion and their portrayed relationship is not any better. In Delpy's defence it can be argued that her character lacked any real emotion but nevertheless, there is nothing really compelling about the performance. William Hurt features at points throughout the film but he rarely makes much of an impact. The best of the lot is Annamaria Marcina who feels more believable then her co-stars, and does a good job as a supporting actress.

Julie Delpy does shine in her role as director with the film being, for the most part, eloquently shot. There are some interesting scenes of symbolism with the heightened ominous atmosphere of the film starting off early and is carried along until the end. Considering the subject matter, the film is neither as gory or bloody as you would expect, but the acts of cruelness still have a haunting presence to them, and Delpy must be congratulated for this. Likewise the musical score appears to compliment the film though is forgettable by the end, and the costume design has a real sense of reality to them though they lack extravagance as shown in other similar period films.

Sex is implied with upper female nudity appearing at times in the first half of the narrative. Language is almost unheard of but violence is shown in various manners: there is some decapitation, and piercing of skin from sharp items. None of the violence is lingered upon but their buildup has a threatening quality to them; blood does appear throughout.

The Countess is a surprisingly average film with a good sense of technical techniques being weighed down by some weak showcases of acting and a confused directional narrative. The beginning attempts to setup the film as a mystery thriller, something to get audiences debating the accuracy of events, but ultimately the film is so conclusive with what it wants audiences to believe that the film gets muddled up in its own creative process. It is an interesting movie with an exciting subject at its helm, but it is nonetheless a flawed film that just never gets going.

5/10

Screen date: 29 July 2009
Release date: N/A (Durban International Film Festival 2009)

Surviving Evil

2009-07-17T20:00:00.006+02:00

Decent horror flick deserving of better ...

A TV documentary crew, responsible for a wide selection of programmes on surviving in different terrains around the world, attempt their latest shoot on a remote jungle island in the Philippines. While filming, the crew come across some strange sightings unknown that the island is home to the bloodthirsty Aswang.

From the opening credits it is evident that Surviving Evil was filmed on a low budget and very little is done to hide this fact, however the film does get slightly in quality after the first few minutes. The story itself is nothing new and is reminiscent of the Hills have Eyes 2 combined with Cannibal Holocaust, though it never gets near as gory as either. There are a couple of subplots, one of which helps the main plot along, but they have very little impact on the story as a whole and serve more to add depth to the characters and their relations with one another. Though even this is a lost cause with there not being enough screen time for true character interaction to occur. The plot is ultimately thin but with the workable pace and real intent on scaring the audience, it is never as glaring a problem as it could be.

The acting side of things is fairly competent. While Billy Zane, Colin Moss and Natalie Mendoza take up the bulk of acting, the other actors persevere in making as much of the script as possible. Still this doesn't stop some weak acting at times but on a whole the cast are reasonable and definitely make up for the films other shortcomings.

The biggest of which happens to be the cinematography. Director Terence Daw is unfortunately no professional having directed only television series many years ago. He attempts to do justice to the locales but to little effect with little effort going into wide or panning shots. Still he is able to gt the ferocity and quick tension of the violent attacks well enough without having to resort to full on bloody violence gore. His build up to the climax is fairly paced and the barrage attack with occurs to the crew makes for an exciting watch.

There is no sex or nudity though violence and language are constant throughout. Violence is bloody but most gore is shown from corpses with the horrors sequences raining from quick cuts to darkened views on the action. Language variety is low though the F-word is muttered a good few times, mostly in bunches.

There is a peculiar likability to Surviving Evil even when it is clearly far from being the best in its genre. And perhaps this is due to an acting ensemble that really try to make more of the film then there should be. When you factor in some fairly entertaining horror moments, even though they're mild by modern comparisons, you have a film that deserved a more experienced director and more money for production. It is a pity that the film is getting little in terms of publicity and this is most likely due to the film being half produced by a South African company. If the chance arises you should give Surviving Evil a chance: it's not great but you may be pleasantly surprised.

6/10

Screen date: 17 July 2009
Release date: 10 July 2009

New York

2009-06-27T11:31:00.008+02:00

A terrorist film lacking spark...

With the advent of 9/11 forcing the American government to clamp down on terrorism, innocent Muslims live in fear that they may be suspected of terrorist attacks when in reality they do not even condone the act itself. Omar (Neil Nitin Mukuesh) is arrested by the FBI but not because he is a terrorist suspect, but rather so that he can be used to spy upon the leader of a terrorist group working within New York. Omar soon discovers that he has to spy upon his best friend from college, Sam (John Abraham), but does so in order to prove his friends innocence.

The 9/11 wave of films have more or less past and New York happens to be one of the first Bollywood films to tackle the subject. This becomes a slight problem as the film's core theme lacks the contemporary nature to truly challenge political alignments. Though, the film still uses its narrative to good effect by highlighting the jadedness of Omar's current predicament with the lightheartedness of his college years. It is a well formed juxtaposition of Omar's life and highlights just how different the world has become for him. But beyond this the narrative is fairly simple while Omar attempts to become accustomed with Sam's life in order to aid the FBI with their investigation. There are no musical and dance sequences, which would have detracted from the experience, but the cued music in certain scenes do not work to full effect. There is a track in the first half which losses vibrancy a good few minutes before the scene ends, and another track in the latter half of the film which does not suit the mood at all. Though the film never becomes a tight thriller, these oversights lessen the chances the film does have. Finally the film suffers from an overload of political views: first America is seen in a negative light for torturing Muslims and then the films moves to Muslims standing up against terrorism to make a better life for Muslims in America, to name but a few of the issues. These two core messages keep playing until the conclusion and whenever the film appears to be pro Muslim it undercuts this peaceful tone with America hate before Obama as president. The film's themes are muddled, but worse yet they are themes that have already been debated: New York offers nothing new for audiences to engage with.

The ensemble of actors in New York is good but the skill rarely exceeds expectations, but rather all are merely competent enough to see the film through. Abraham is more believable with his fun-loving college self then he is as a man who could be running a terrorist group. However praise must be given to him with his scenes involving him locked up for being a suspected terrorist: the anguish and pain he expresses feels real, but it is just a pity this sort of emotion is not carried throughout the film. Mukesh has a similar transition feeling more believable when defending himself and trying to fix everything then he is in other scenes. Kaif's role, while prominent compared to other films, is still lesser compared to her two male counterparts. Though she does feel more comfortable in this role then she has in previous where it feels like she is wasting any talent she may have. Rounding off the cast is Irrfan Khan as FBI investigator Roshan: he is not the lead but you sort of wish he was. He is a far more the more capable actor and he brings a pedigree to a film which deserves to better then it ends up being.

Considering its subject matter New York is not quite as violent as expected. There is no sex or nudity and language is virtually unnoticed.

New York is an interesting film or should be: its subject matter and political messages all seem rather unnecessary these days. It is great to see a Bollywood film dealing with post 9/11 experiences but it is geared in the wrong way and even confused at the ideology it wishes to have. The narrative shows signs of artistic nature but is too linear in its approach. The actors work with their respective roles but besides Kahn they are not consistent in delivering at their best. New York is a competent film but it is just not refreshing.

6/10

Screen date: 26 June 2009
Release date: 26 June 2009

Drag Me To Hell

2009-06-13T00:05:00.012+02:00

Horror returns in fine form ...

With a promotion on the line for the role of Assistant Manager, Christine Brown (Alison Lohman) is hoping to fill the position; however she has some competition for the role and decides to prove to her boss that she is capable of handling any situation with falls her way. One such situation arrives when Mrs. Ganush (Lorna Raver), an elderly woman, arrives to appeal for a third extension for a mortgage on her house. Christine ultimately decides to decline the woman’s request resulting in the old woman cursing Christine to damnation.

It is a strange storyline it must be said, but it works regardless of how ridiculous it may become. For many years American horror has gone the route of a serial killer or psychopath tormenting victims, but few rely on the plot device of the supernatural. The film starts on a note of suspense and continues to its end in this manner, and the fact that Christine is cursed to go to hell in a few days ensures that horror does not remain sporadic, but the norm. Plot development flows allowing for Christine to shuffle her curse with her personal life: she is virtually in every scene so the audience becomes caught up in her life. That said there are no subplots to distract from the main story arc: Christine is going to hell and she needs to stop that happening. This is slightly disappointing in regards to narrative depth but the film has clear indications into commentating about society at large. Christine has to struggle with her choice and whether self-gain is more important than the well being of others. Additionally a discussion is created about whether putting on a certain image to impress certain people, changes who you fundamentally are, or exposes your true self. There are fascinating levels of depth to the linear storyline if viewers so wish to engage with the text, but if not the audience will still be greeted with a favourably pleasant experience.

The acting front is workable in the film’s structure: it is never of a high level but it is commendable in giving the respective characters some life. No one actor cements their presence but it is Lohman’s character that rightly gains the most depth. At first it is difficult not to dismiss Christine’s predicament, but the story and Lohmans’ acting ability allows a new angle to be considered. Relating to Christine is never easy: while she is not an entirely virtuous person, she comes across often as too stuck up for her own good. This runs well with the films thematic factor which Raimi is able to explore but it does lessen Christine's overall charazizaton somewhat.

Cinematography is a fairly interesting facet for the film with many scenes being presented in a 1980’s horror manner. This could be easily frowned upon but Sam Raimi, who is clearly appealing to fans of his Evil Dead series, has a keen sense for direction making for sharp scene interaction and crazy imagery. This creates some great moments of horror and complementary sly humour: it is a unique blend but Raimi gets it spot on and the comedy does not go to dim the horror’s effectiveness. If there is a problem it is that some techniques are a little overdone, but ironically the horror scenes only keep getting better.

Horror films usually have certain expectations on regards to content, but Drag Me to Hell seems to disobey such notions. There is no sex or nudity, and language is almost non-existent. Violence is triggered through some suspenseful showcases and while they do have a factor of being grotesque, they are hardly close in realization to the all out gore and sadism of modern titles.

Simply put, Drag Me to Hell is one of the most enjoyable horror films of recent times. It has an interesting, supernatural storyline with interesting characters; reasonably good acting, though it could have been stronger; and intriguing cinematographic design, even if a little overused. There is even well formulated social commentary which really adds wonders in allowing the film to appeal on an intellectual level. Raimi’s grip on horror makes for a great deal of suspense and the added humour only makes the film all the more devious. All this is achieved with a minimal level of objectionable content, making the film less conformist to the horror genre as it stands and showcases Raimi at what he does best. Though the shining achievement of Drag Me to Hell is that it does what a horror should: not just simply gross out the audience but rather aim to scare and entertain them.

8/10

Screen date: 12 June 2009
Release date: 12 June 2009

E3 2009: Sony Conference Overview

2009-06-02T13:22:00.027+02:00

Playstation 3:
Hardware:
Motion control - similar to Wii remote but requires eyetoy; true 1:1 tracking; first person shooter demoed; RTS demoed;

Software:
Agent - Rockstar PS3 exclusive; late 1970's espionage
Assassins Creed 2.
Final Fantasy 13.
Final Fantasy 14 - PS3 exclusive; online like FF11
God of War 3 - first public demo shown.
Gran Turismo 5 - rally, nascar, car damage.
Infamous.
The Last Guardian - Trico project.
LittleBigPlanet - new Disney costumes coming;
MAG - first public demo shown.
ModNation Racers - kart racer, LittleBigPlanet esque; PS3 exclusive
Uncharted 2: Among Thieves.

------------------------------------------------------------

Playstation Portable:
Hardware:
PSP Go - no UMD; does not replace PSP 3000 or UMD; 16gb internal flash memory, built-in wifi, bluetooth support; $250.
Hannah Montana PSP 3000 bundle - new lilac colour.
Rockband Unplugged PSP 3000 bundle

Software:
Assassins Creed: Bloodline.
LittleBigPlanet.
Gran Turismo - full scale game, 60 frames per second, 800 cars, 35 tracks; many single player modes such as time trial and drifting; ad hoc for up o 4 players; trading of cars with other players
Metal Gear Solid: Peace Walker - 10 years after MGS3; Kojima deeply involved with script and producing; made by MGS4 team
Resident Evil Portable- new title.

Media Go - simpler way to connect the PSP to the PC in order to receive PSN content.
Sense Me - sense listening habit, recommend playlist.
Video PSN - native for PSP; includes new channels such as E!, Manga and Showtime.

White Wedding

2009-05-03T16:11:00.011+02:00

An enjoyable though simple tale...

The soon-to-be-wed Elvis (Kenneth Nkosi) and his best friend and best man Tumi (Rapulana Seiphemo) are on route from Durban to Cape Town to attend rehearsals for Elvis's wedding. However their journey does not go according to plan as both Elvis and Tumi struggle to find their way across the country, and they meet up with Rose (Jodie Whittaker), a doctor from England, who is trying to return to home.

The narrative for White Wedding is not exactly something unheard of but it makes for a refreshing tale in traditional South African cinema, usually concerned with Apartheid, crime or other negative aspects of modern society. Instead, White Wedding is far more casual and relaxed though this is not to say that its issues are not serious. The central three characters all suffer from some form of anxiety in regards to relationships. Elvis is devoted to his wife Ayanda (Zandile Msutwana) but as the story progresses he becomes jealous that his wife might be spending too much of her time with her ex-boyfriend. Tumi has no interest in marriage and his flirtatious habits make his prospects at a long term relationship difficult. Rose, on the other hand, learned that her fiancée was being unfaithful. Evidently it is relationships which become the film's prime concern. Another issue at the heart of White Wedding is racism and the ideal of an equal society.This issue is played upon by much of the comedic nature of the film. Strangely, while the film has comedy throughout and is marketed as such, the comedy never overrides the dramatic elements of the text. In many respects, the comedy becomes situational, playing upon South African societal norms, such as Elvis and Tumi vising a bar in an Afrikaans town. It all makes for good, clean fun even if the film proves too idealistic for its own good. The acting is, in general, quite good. Nkosi feels comfortable with his role though he tends to overact on the odd occasion, and Seiphemo is as solid as always. Whittaker is a surprise casting, giving the film somewhat of an international appeal, and while she is not acting at her best she does her job well enough. Msutwana is the only of the cast who appears somewhat off-putting. Throughout she is workable but she goes through the odd scene once and while as monotonic.

The cinematography feels too simple and expected, though strangely this is not a bad move on part of the director Jann Turner with her directorial debut. Turner goes about refreshing African cinema, and proves to rather make a sound film instead of allowing it to be plagued by a poor script, story or acting. She will undoubtedly free her style once she gets more used to creating movies instead of her usual television shows.

Apart from the occasional mild swearing, there is no content which sensitive viewers would disapprove of.

White Wedding is not an excellent comedy but as the sum of it's parts, its worth a watch. The story is simple though lacks subtly in explaining its messages and the acting is commendable though it does wane at times. While strictly a comedy to be enjoyed by South Africans it does have some international appeal. However the film should be viewed as a drama with a good does of comedy rather then a strict comedy, and perhaps by not being so conservative with style and form, White Wedding could be enjoyed by all.

6/10

Screen date: 03 May 2009
Release date: 29 April 2009

X-Men Origins: Wolverine

2009-04-30T23:05:00.009+02:00

A slice of fun, a dice of technicalities ...

Origins: Wolverine gives a glimpse into the history of one the most iconic characters in the comic book industry showing events before the first X-Men film. Brothers James Logan (Hugh Jackman) and Victor Creed (Liev Schreiber) have, with their unique gift to rapidly heal their bodies, served together in countless wars throughout the 20th century until being recruited into a special ops programme by William Stryker (Danny Huston). Logan begins to tire of this group as he opposes the overly violent tendencies of the operations, and eventually he leaves the group. Years later, Logan is approached by Strkyer to help with a task of national security all while Logan's girlfriend Kayla Silverfox (Lynn Collins) is murdered by Victor, which results in Logan seeking revenge.

The origin of Wolverine is a rather intriguing story, especially since Wolverine in modern times suffers from amnesia. Of course the adaptation is not entirely faithful. The introduction begins to quickly settling the arrival of Logan's abilities in a few minutes and then flashing to well conceived opening credits. The story continues this fast pace but once Logan leaves the special ops programme the films pacing begins to slow. This becomes symbolic in the change of lifestyle for Logan but after the first half the film begins to become somewhat fragmented, resulting in a story whereby Logan is forced to fighting another character just to move the story on for a few minutes: the dramatic elements begin to lose their importance as the film develops but thankfully the story's finale synthesizes the action and story in a similar manner to the film's beginning.

Many facets to Wolverines life are kept while others, especially in regards to characters are given certain changes. One such change revolves around Deadpool: it is a change which ardent fans may disapprove of but since this is an adaptation, the film works like a retelling of the overall Marvel universe, a concept synonymous with the comic book industry. In fact, Origins: Wolverine becomes indicative of how adaptations should be perceived as a imagining and not always as a as carbon copy of the original text.

The actors and their respective characters are, for the most part, well received. Jackman continues his excellent form as Wolverine, but is able to portray him as a character filled with an internal struggle to do what is right while having a capacity for evil. Schreiber, Jackman's counterpart, proves a useful adversary and an excellent binary opposite to Jackman; where Logan is conflicted, Creed is bloodthirsty. Huston performs a good job as a subtly menacing and smug official who wishes to wipe out mutants while Collins is delicate, if not underplayed in the film. The remainder of the cast all perform adequately and their respective characters are suitably added to the films plot. However, this does not stop a couple cameos being more fan service then actually being truly relevant to the overall plot.

Another person to be complimented is director Gavin Hood (Rendition) who does a delightful job with his cinematography. Granted, he tends to stay on the conservative side of film making, but this never stops him completing some beautifully shot scenes. Though some of the fight sequences are more muted then they should be and it becomes saddening to think that the film's action, while entertaining, could have been more ferocious. An uncut release could remedy that but hopefully the sequel, if there is one, will allow for the actions scenes to all be equally as enjoyable.

However, if Wolverine is to be faulted in area it would be its mixed bag of special effects and CGI. CGI tends to be worse off with the odd action scene looking either too blurry or unrealistic, and even Wolverine's trademark claws appearing far too cartoon-like. The special effects are not too bad with a characters energy beam being very impressive, but another characters defense mechanism being poorly textured. The end result is a mixed bag, and while none of the problems areas truly distract from the overall experience, it is evident that the film required a longer post-production phase.

There is no sex or nudity, with language at a low. Violence is abundant throughout the film but it is never bloody, even with one character being decapitated, though this is never graphic by any means.

X-Men Origins: Wolverine is a highly pleasurable film: the story is engaging; if lacking in depth; the acting is commendable; the directing is workable and the action scenes are fun to watch. It is a pity that the film is not as violent as it could have been and even more so that the technical aspects, something so well polished in other superhero films, appears incomplete. This plus a few slight niggles to the overall film still allows Wolverine to be among the better half of the superhero genre.

7/10

Screen date: 30 April 2009
Release date: 29 April 2009

Dragonball Evolution

2009-04-17T22:41:00.013+02:00

Fun, but weak and short...

As an apprentice, Goku (Justin Chatwin) is under the guidance of his grandfather, Gohan (Randall Duk Kim), in martial arts but finds it difficult to adjust to a normative social life. While trying to balance his training with his inept attempts at flattering Chi-Chi (Jamie Chung), Goku becomes caught up in a search with Master Roshi (Chow Yun-Fat) and Bulma (Emmy Rossum) for seven Dragonballs which are to help him save the world from Piccolo (James Marsters), a creature bent on destroying the world.

Based upon a manga and anime, Dragonabll Evolution is not going to win praise for faithful adaptation. Much has been altered, mainly due to the medium being used, but ardent fans will be disappointed. That said, the story is not anything wholly original: Goku is an apprentice who is given the almighty task of saving the world from an evil tyrant, nevertheless the adaptation is intriguing. This film has been given a more close-to-home feel with Goku attending a normal high school and everyday cars are driven, but many elements are amiss. Characters become caricatures of themselves: Bulma is too Lara Croft and Yamcha comes across as too much of a beach bum, and as such characters become less like their original versions. The adaptations work as far as giving an alternative universe to the Dragonball universe, though Goku's most powerful energy attack is given a rather strange twist.

Nevertheless the core problem with Dragonball Evolution is time: the film is simply too short to tell the tale it wishes to tell and a consequence of this is that story arcs develop way too quickly. For instance, the love story between Goku and Chi-Chi, as cute as it may be because two individuals were able to fall deeply in love in such a short time, in not conducive to the overall story as their quick fall into love serves no purpose whatsoever. Even the mystery around the Oozaru lacks any buildup and gets answered under two lines of prose. These are just two of countless elements which occur far too quickly and are never given time to mature, like character development and motivation, making the film far too aimless. Paradoxically enough, the editing department is far too loose and never strict enough to keep scene integration fluid and quick. This all adds up to a film which clearly did not have enough time in its post-production phase: Dragonball Evolution was released earlier than it ought to have.

The acting department is commendable with the actors seeming as if they enjoyed their roles somewhat, but this does not stop some noticeable bland acting. Chatwin begins off on a slow note and, like a few of his peers, appears to act in a rather scripted way. The acting becomes more natural as the film develops but it's disheartening that Fat and Kim overshadow the entire cast. Of course some strange dialogue choices and overemphasis on characters quirks makes it difficult for the actors to truly make their respective character work.

In many respects, director James Wong tries t to make the film feel like a cartoon when he should be focusing on making it a straight live-action. He is not a bad director by any means but his cinematography does not make the action scenes, in which little there are, feel explosive. They feel weak in order to seem non-violent and in here is another gave mistake in the film: it aimed at a younger market then it ought to be.

There is no sex or nudity, except from Roshi's appeal into swimsuit magazines, and language is rare with violence being far too tame to warrant the term 'violent'.

Dragonball Evolution is not a very good film, but it is neither a poor film. There is a clear desire to make the film as successful and enjoyable as possible but the planning and execution is heavily flawed. The story feels ripped from countless other martial arts film, albeit the grandeur of powers the main characters can wield, and the acting or direction never impresses on a high level. The adaptation is not faithful but it needn't be, for Dragonball Evolution ultimately fails because there is not enough time to tell the story it wishes too. With some clear direction and better planning the sequel can be a better received film, but for what it is worth Dragonball Evolution is enjoyable enough on its own terms.

6/10

Screen date: 17 April 2009
Release date: 09 April 2009

Fast and Furious

2009-04-12T16:37:00.015+02:00

Original parts need reworking...

When an oil truck hijacking goes wrong, Dom Toretto (Vin Diesel) is forced to leave his girlfriend, Letty (Michelle Rodirguez) and his current crew. However it is not long until he is brought to Los Angeles in order to infiltrate a high speed delivery service under the control of Ramon Campos. At the same time, Brian O'Conner (Paul Walker), an FBI agent, has been following a trail of drug deliveries and his investigation leads him to Campos.

A sequel to 2 Fast 2 Furious and a prequel to Tokyo Drift, Fast and Furious brings back the cast of the original to give the series a reboot of such, as if Tokyo Drift did not attempt the same feat already. As such, Fast and Furious is very much on par with the first two films: it goes back to home territory in America, and ditches the drifting for pure speed racing. Though there is only a single race in the entire film with various chase sequences, so the main appeal of the film, street racing, is not entirely utilized to full effect. Nevertheless, Fast and Furious does attempt to tell a reasonably interesting story. Reasonably because it never really works by the film's end. The story does not take long to give an emotional pull for the audience, but it pans out rather uninterestedly. Toretto and O'Conner have their own agendas' in the main story arc but it becomes far too neatly wrapped. Any calamities brought about by the first two films, such as O'Connor's betrayal of Mia, are brushed aside and given far too conventional, and easy explanations. Make no mistake, Fast and Furious is all about style over substance.

The acting department is not entirely better, but credit must be given to a cast that does indeed try to get the film's feel right with their respective characters. But neither Rodrigruez, Brewster, or the main two, Walker and Diesel, feel anything more then caricatures. And this is a great pity as the script wants to give them more depth but it becomes overshadowed but moderate acting and a weak attempt at story telling; an average script with some weak dialogue doesn't help matters for the actors either.

Though while the film lacks depth it does make up for in its method. The entire film oozes sex appeal from the main cast, the many scantily clad women engaging in rather intimate situations, and the lineup of vehicles. The latter does not play as much of a visual importance as seen in Tokyo Drift which is an indication of the film's more character driven narrative. Car sequences mainly revolve around chases with only a single race event taking place. While races would have made for more exciting set pieces the chases do their job at entertaining. Credit must be given to director Justin lin, who provides some stunning cinematography. He is also quite knowledgeable to invoke symbolism into his filming style for a few scenes. One such has O'Connor, on foot, chasing after a man: the scene is shot in quite a jumpy and jagged manner. However the car sequences are far more smooth, as if the main characters are more in their element while riding a car, then they are as themselves.

There is no sex or nudity, beyond two focuses on two different sets of lesbians kissing and fondling and many provocative outfits and dancing. Violence is never intense but the car sequences show enough wrecked damage. Language is kept down to mostly scatological terms with no hard swearing.

It might be cliched, but Fast and Furious is both fast and furious though it becomes painstakingly obvious as the film develops that it lacks self-control. It is great to see the old cast return but it all feels like a rather forced effort to relive the glory days of the original. The story tries too much to make all characters comfortable with one another; the acting is never up to standard; and there is sadly only one race scene. The director is really the only person who kick starts the films engine: it is a decent film, but it requires a good load of tuning if it wants to score big.

6/10

Screen date: 11 April 2009
Release date: 09 April 2009

Changeling

2009-02-21T14:07:00.011+02:00

Interesting, if not a simple, example of a mother's desperation...

In 1928, Christine Collins (Angelina Jolie), a single parent and working class woman in Los Angeles, leaves her son, Walter (Gattlin Grifith), at home to attend a last-minute work schedule. By the time she returns she discovers that Walter is missing and files a missing child's report. Over the next few months Christine attempts to search for her son by any means possible, yet the LAPD discover a stranded boy who they believe to be Walter. Upon being reunited with her son, Christine's joy turns to dismay as she discovers that the boy is not her son, even though he claims to be.

Based upon true events the film automatically gains a shocking realism in conjunction to it's subject matter, which develops into a frightening case as the film progresses. What starts off as a simple case of a child going missing, turns into a complex matter of police incompetence and the desperate struggle of a mother. But this is not to say that the film flows from point to point without any hitches. While the first three quarters are intriguing to watch, especially with the addition of a hint of horror elements adding spice to the drama, the first half the film's final quarter drags the film to a standstill. The main reason for this is that by the time the last quarter starts, you'll already know how the film is going to end, even if you have no idea about the events on which the film is based. It's predictable what will happen to Walter, what becomes of Christine, and what becomes of the LAPD, but the film attempts to drag its run time by making these issues seem suspenseful. This falls directly within the film's major problem, the lack of ambiguity. From the very outset we know what Walter looks like ,and the boy claiming to be him later in the story only partially resembles him. Clint Eastwood never allows for the audience to question the integrity of Christine, such as many people at the time would have most likely done as well. The very chance to make the film more believable is never played upon.

But beyond that there is very little to criticize the film except for the fact that Christine never really places any blame on herself for leaving her child alone in the house at a time when many children were going missing. It's a small thing, and her self-blame could be read into her actions, but it appears that she is too willing to blame outside factors and never really accept that she should have done more then just have the neighbours go over to check on Walter, which itself is never played upon because it is never stated whether the neighbours did or did not.

Nevertheless, the acting which is top notch. Every major character does a great job of showcasing their respective character with realism. Angelina Jolie steals the show: her bodily expressions in conjunction with the pure veracity of her emotions and speech is breathtaking. When she is happy, Jolie has a glow to her; when she is desperate and angered at the loss of her child, Jolie is every inch the mother you would expect her to be. Jeffrey Donovan, as Captain Jones, is smug as he should be and annoyed at the constant plea from Christine. Michale Kelly comes across as interested and sympathetic as his character, Detective Ybarra, should have been when investigating the cases of missing children. If there is a little disappointment it would be John Malcovich as Reverend Briegleb, but not because he underachieves but because there is not enough screen time to allow Malcovich to really play with the role. He comes across as a little stifled, but this doesn't stop some good acting on his part.

There is no sex, nudity and minimum language. Violence is kept for the latter half of the film but is performed in flashbacks, occur very quickly and the victim is off-screen, though that doesn't stop them being quite haunting.

The Changeling is a good film, though not quite one of Eastwood's best. Yes the acting ensemble is really good, especially from Jolie, and there is an interesting plot. However this does not stop the film being predictable and not as suspenseful as it ought to be, and the main case of this is the lack of ambiguity. Everything in the Changeling is far too stated which, for the real life events themselves, was not the case.

7/10

Screen date: 20 February 2009

Release date: 20 February 2009

Valkyrie

2009-01-30T21:31:00.009+02:00

An interesting idea backed by a top cast...

Colonel Stuaffenberg (Tom Cruise) is one of the few men in the Nazi party who feel that their leader, Adolf Hitler (David Bamber), is more a threat to German instead of her saviour. He regrets the oath he took for Hitler and feels a desire to help Germany in any way possible. When a surprise attack on a German camp in Tunisia leaves Stuaffenberg seriously wounded, he becomes recruited into a group bent on killing Hitler at any cost.

While based upon real-life events, Valkyrie's soul is that of an action thriller and not a biopic. This is not to say that director Bryan Singer skews history but he merely doesn't try to authenticate the film in its entirety. The most obvious claim to this would be the lack of German accents from the main cast. Besides the German introduction from Cruise, all major characters keep their American or British accents intact. This is by no means problematic for the film, and many other greats have been in the same boat. A recent example is The Boy in the Striped Pyjamas: a stellar film where the cast was easily identifiably for their strong English accents even though they were German. The fact of the manner is, is that authentic accents would not enhance either films' core message, with Valkyrie's being about bravery in an unforgiving situation.

The story itself follows a fairly consistent flow with the odd moment being stretched out far longer then it ought to be or a story segment which is not developed enough, such as the lack of screen time to develop the relationship between Stauffenberg and his wife Nina (Carice van Houten) and their children. That said, it should be noted that there is an obvious lack of true twists in the story, unless you have no idea about Operation Valkyrie, but this forms a truly impressive feat from Singer, the story and the actors: there is a genuine feel in the film that there is a chance that Stuaffenberg could actually succeed and this only heightens the suspense.

The acting front is laden with experience and it shows. Cruise proves commendable as his role as Stuaffenberg and expresses the same level of vigour he has shown many films before. He is not the most ideal candidate but that does not stop him. However Cruise does have the rare weak moment where his delivery of a certain line comes across as stiff and out of character. The British cast is simply fantastic and virtually faultless. The likes of Kenneth Branagh, Bill Nighly and Tom Wilkinson bring a level of believability to the film that could have otherwise been lost and their presence is easily felt. Smaller, though not unimportant, roles go to von Houten, who shows a real sense of love for Stuaffenberg, and Bamber, who is just as every inch as creepy and menacing as the infamous Hitler himself. As noted, the entire cast is impressive and lift the film as a whole.

The music ensemble, while not overly memorable, supports the film at all times. The direction is no different. Bryan Singer brings a neat fluidity to the scenes which help the film's pacing but it is evident that he is not confident to allow the story or characters speak for themselves in many situations, and instead of being subtle, prefers to make sure the audience understands everything as it happens. In this respect the film loses much of its intrigue and naturalness.

Sex and nudity play no part in the film's proceedings with language being brief, if not strong on the odd occasion. Action sequences show off the violent content but there are far and few, never graphic and is comprises mainly of firearms with a suicide scene.

Valkyrie can be considered Tom Cruise's return to cinema, and thankfully the end result is a positive one. He is backed up by a decent storyline and a superb selection of actors. Sure the film could have used with some better pacing, more depth and subtlety; and the lack of German accents do possibly ruin the experience if you allow it to do so, but these problems do not hurt the film in any serious manner. Valkyrie might lack the literary impact to allow it to be phenomenal, but that does not stop it being watchable and exciting.

8/10

Screen date: 30 January 2009

Release date: 30 January 2009

Chandni Chowk to China

2009-01-19T00:07:00.022+02:00

Too Much Hustling in this Kung Fu...

When a Chinese village becomes fed up with the dictatorship of tyrant Hojo (Gordon Liu) they decide to free themselves by finding the reincarnation of a legendary Chinese warrior. Their search takes them to India where they stumble upon Sidhu (Akshay Kumar) who bears a similar resemblance to the warrior of old. Sidhu is looking for a way to turn around his poor luck but is tricked into going to China when Chopstick (Ranvir Shorey) purposely mistranslates what the Chinese have to say.

You wouldn't be wrong if you think Chandni Chowk to China is akin to Kung Fu Hustle. Both are about martial arts, and both are parody films that parody subject matter even outside that of martial arts. In fact Chandni Chowk mimics the story and various situations found in Kung Fu Hustle, but it is not quite as masterfully conceived. The story is a fairly standard affair of martial arts films where the protagonist needs to rise to the occasion, learn some killer moves and defeat the enemy. Luckily the scriptwriters did attempt to add some additional subplots to give the film some depth and, in this regard, it works but perhaps a little too well. Besides the journey which is undertaken by Sidhu there is a smaller plot regarding the character Chiang Kohung (Roger Yuan) who has been trying to bring down Hojo but met a sad fate in the process. Kohung's story is used to help Sidhu's along but by the film's end this subplot abundantly more interesting than the main plot. Sadly the characters lack the story's depth and are far more one dimensional except for, would you believe it, Kohung.

In fact Kohung would not be such an amazing character if it were not for the equally amazing acting by Roger Yuan. Not only does he act confidently but his martial arts talent is fluid and precise. It's difficult to imagine that he has landed so few roles in his career and hopefully Chandni Chowk gets him more exposed. Yuan's opposite, Gordon Liu shows off his abundant knowledge of the film industry with a performance that emphasizes his characters subdued evil. It becomes a strange occurrence indeed when these two Chinese actors have better performances in a Bollywood film than the two titles stars: Akshay Kumar and Deepika Padukone. Padukone has a double role as both Sakhi and Meow Meow but her screen time is surprisingly limited and it's obvious that she is eager to explode her roles into something more then she is allowed. And then there is Kumar, who does not perform badly for he is suited to his role, but he overacts far too much. Presumably to heighten the comedy, the problem Kumar faces by the films close is that he never has control of it. He is so busy trying to find ways to make people laugh that he forgets that he is playing what is possibly one of the most annoying characters ever to grace cinema.

That said, the humour is abundant, regardless of whether Kumar exaggerates his role or not. But this is not to say that the humour is of a high level throughout, for most of the time the humour is based on sheer stupidity. This is not exactly problematic but anyone expecting something akin to Kung Fu Hustle, which itself also had its share of stupidity for laughs, might be a little peeved at the little genuinely original comedy.

Though what doesn't help matters is the poor implementation of CG. From the introduction showcasing the Great Wall of China to the water effects used for a special move Sidhu learns, the CG is always out of place. The special effects tend to work better but are used sparingly.

On top of that the music selection for the film is very poor and the dance sequences themselves are not any better. Sure Deepkia Padukone can look incredibly sexy during these sequences but the music is only goes to make the worse then what it actually is. Coupled with the fact that music is used inappropriately in some scenes, such as in the final fight, the end result is a Bollywood film which should have gone against the norm.

Chandni Chowk is an all round family film with no sex, nudity or language. Violence is mostly in the form of martial arts and one character does have a weapon that he uses to slice the neck of some victims but this is quite tame.

Simply put, Chandni Chowk to China is a disappointing film especially when its taken into consideration that it was delayed from its original release in October/ November last year. It is difficult to tell if any additions were made because nothing really gels well for the film as a whole. The acting is passable, with the Chinese actors being the highlight; the story is decent but is overshadowed by a mere subplot; and the music selection is shocking. That said the film has some of the best action sequences in a Bollywood film with the martial arts being fun to watch and the film is comedic throughout. However it should be advised that one's enjoyment of the film depends merely on their temperament for stupidity.

5/10

Screen date: 18 January 2009

Release date: 16 January 2009

WarDevil news coming Q1 2009

2009-01-06T10:51:00.011+02:00

WarDevil was one of the first HD-gen titles to ever be showcased. A few years later and the title seems to be headed nowhere. Out of concern I contacted Digi-Guys to see what was hapening with the title due to the rumours of it being cancelled; when the next set of news would be displayed to the public; and when footage of an in-game HUD would be shown.

The response, as of the 31 December 2008:

Hi
WarDevil is still in production and on schedule :)
We're hoping to show something in Q1 next year - also, remember that not all games have traditional HUD's ;)
Thanks for your interest!
The WarDevil Team

So it seems that Playstation 3 owners no longer have to worry about the cancellation of an intriguing new IP. If this still has a 2009 release then 2009 only gets better for Sony fans but I think a solid early 2010 release could give Sony some momentum after an exclusive-laden year in 2009, and allows Digi-Guys new IP to not get lost among such titles as God of War 3, InFamous and Ratchet and Clank.

Top 10 Films of 2008

2009-01-05T16:09:00.003+02:00

I have decided to run through my top 10 films of last year which were released in South Africa. This is important as some films that have already debuted in America in 2007 and only saw a release in South Africa this year and, ironically enough, some films have shown in South Africa will not be released in America until later this year. Many excellent films I have missed out on seeing this year and with that in mind my top 10:

10. The Unseeable
Review not available.
8/10

9. The Mourning Forest
Review not available.
8/10

8. Fashion
Review not available.
8/10

7. Dostana
Full Review
Dostana is a film which wants to break away from the norm but ultimately cannot, and as such the latter arc of the story is a slight disappointment. The story turns into a typical romance after it promised such a unique premise, and the second half lacks the overall strength of the first. Nonetheless, Dostana is a brilliant film which infectious humour and sex appeal, though lacks the ability to truly target its core message.
8/10

6. Iron Man
Full Review
Iron man is a wonderful example of a good comic book-to-film creation. While lacking the same maturity of Batman Begins, Iron Man proves to be the best Marvel film available, ousting out the likes of the original Spider-man and X-men 2. And this is because the film doesn't attempt to dumb itself down to appeal to a greater audience, or focus itself on too many elements: it keeps things relatively simple. Instead Iron Man tells the story of Tony stark, a man callous about the world in general, transforming into a man who respects not only himself, but those around him. With very good acting, a well structured story, Iron Man’s only problems are a few inconsistencies and its inability to support a dual personality approach. It's no Batman Begins, but then again, it doesn't need to be.
8/10

5. Miss Pettigrew Lives for a Day
Review not available.
8/10

4. Taken
Full Review
As perhaps gathered, the film is not exactly realistic though it is the sort of film which could and deserves to be so if it wishes to rank among the best of cinema. This aside, Taken is a thoroughly enjoyable film with intense action, marred by a few inconsistencies and lack of foresight into the film's overall image.
8/10

3. The Boy in the Striped Pyjamas
Full Review
The Boy in the Striped Pyjamas is a cinematic wonder which easily deserves a watch from any avid moviegoer. While there are a few niggles, none of which truly affects the overall quality unless you allow it to do so, the film is laden with reasonable acting and story-telling at it's very best with director Mark Herman cementing this with a conclusion so filled with brilliance that it is difficult to think of anything of late that quite matches it. In fact there are few films of late which can even match the cinematic wonder that is The Boy in the Striped Pyjamas.
9/10

2. The Dark Knight
Full Review
Regardless of whether you you believe Spiderman, Batman Begins or the recent Iron Man to be the benchmark of superhero movies, there is no denying that The Dark Knight excels in the genre. It is an excellent example of good directing, acting and story advancement, but what makes The Dark Knight a superb superhero movie is not that it is able to recreate its comic book form so aptly, but that it makes a great cinematic piece. Whether you are a fan of superhero films or not, The Dark Knight deserves attention not only for building upon the success of Batman Begins, but for shattering the preconceptions of superheros in cinema. Does The Dark Knight surpass its former incarnation? For better or worse, both are on equal terms.
9/10

1.There Will be Blood
Full Review
There Will Be Blood is, in short, masterly conceived. Be it the story, acting, music, cinematography, or multi-layered depth of the film in general, every department excels to the point where the film is virtually flawless. It does, however, suffer a little from the lesser casts presence, and the selection of music feels, on the rare occasion, inappropriate. Nonetheless these two elements do not spoil what is easily not only one of the best films ever created, but one of the rare few that will never be forgotten.
10/10

What were your Top 10 films of last year?

Top 10 Disappointments of 2008

2009-01-05T15:36:00.005+02:00

For my first post of 2009: my top 10 Disappointments of 2008. As I do not have time to see every film, this list might appear a little off, but these only count what I have seen. It should be noted that these are not necessarily films which had hype but failed to live up to expectations. The disappointment factor here is that they did not make for good cinema.Last I apologize for the lack of reviews available in this list: as a varsity student I have little chance to write reviews for every film I see.

10. Gardens of the Night
Review Not Available.
5/10

9. Bachna ae Haseeno
Review Not Available.
5/10

8. Mehbooba
Review Not Available.
5/10

7. Journey to the Centre of the Earth
Review Not Available.
5/10

6. The Mummy: Tomb of the Dragon Emperor
Review Not Available.
5/10

5. God Tussi Great Ho
Review Not Available.
5/10

4. Max Payne
Full Review
From bad editing to lack of character development to an action film with little action: one can only wonder how a video game which could so easily be translated to the cinema medium went so wrong. And while it is an adaptation, the film bares little resemblance to the source material's complexity, even nullifying the staple slow motion scenes which was popularized in the Matrix trilogy. Still it is possible that an uncut release can be seen on DVD, and could possibly fill in the many problems of the theatrical run. Nevertheless, Max Payne is not entirely devoid of entertainment, with the actors at least trying to portray their respective characters and some fun action sequences, of the little there was. The post-credit scene hints at a sequel, which should include a new director, and hopefully the sequel will make up for the mishaps of this.
5/10

3. The Eye
Review Not Available
5/10

2. Love Story 2050
Full Review
I will admit that Bollywood films are not exactly my cup of tea, but I have enjoyed, to some degree, all of which I have seen, especially loving the recent Sakar Raj. But Love Story 2050 is such a mismatch, that it's impossible to even understand how the film ended up so badly. The acting is not good, though sympathy must be given to both Chopra and Baweja because they didn't have a decent script to work with, and the production design was clearly not well thought through. Love Story 2050 has so much potential to be a worthy attempt at standing toe-to-toe with Hollywood, but doesn't even begin to scratch at this potential. Instead of the futuristic sci-fi flick which was supposed to hit cinemas, what has shown its place is a Bollywood film that will have even Indians embarrassed, and that is saying a lot.
5/10

1. Yuvvraaj
Full Review
Yuvvraaj is an important film coming in the final months of the year and it has some big stars to back up the film's much anticipated release. Coming close after the release of Fashion and Dostana, Yuvvraaj had a lot to stand up against, sadly nothing comes together to create a cohesive product. There are major flaws in every aspect of the film, be it the story, the characters, the acting, the general direction: every important component is compromised in some way. Though it has good moments: there are some nice set pieces, Anil Kapoor is stunning to watch and the finale, coupled with a generally good musical score, is excellent. Sadly none of these save the film from being a complete disappointment.
4/10

What were your disappointing films of last year?

Ghajini

2008-12-26T16:31:00.016+02:00

A faltering tale of revenge...

Sanjay Singhania (Aamir Khan) is a wealthy business man who falls in love with Kalpana (Asin Thottumkal), an up-and-coming model who's popularity is due to her relationship with Sanjay. But during their courtship disaster strikes when Asin is killed and Sanjay is left with serious brain damage which results in him having short term memory loss, and this makes his revenge a difficult task.

Regardless of what Aamir Khan might profess there is no denying that Ghajini is a remake of Memento, though it is more accurately a remake of a Tamil film by the same name which itself is a remake of Christopher Nolan's masterpiece. The similarities are obvious, from the protagonist's condition of short term memory loss, him searching for his lover's killer, the use of photographs and tattoos to help him remember, amongst others. That said it does attempt to tell its story in a different, more logical, way and this works exceptionally well. The film is divided between the modern day and past, both representing the stories of revenge and romance respectively, and for the majority of the film both do work in unison.

The revenge story is presented well enough but is marred in a few ways. Firstly there are elements which are used to deepen the story but are actually unneeded in the greater scheme of things. Then there are the few questionable dialogue choices which come off as out of place. Lastly the film seems to lose track of its own internal logic. In the final arc of the story, Sanjay's short term memory loss, which occurs every fifteen minutes, is thrown out the window for a good period of time until it's needed for a very contrived introduction into the final duel. Sanjay also develops superhuman-like strength out of completely nowhere resulting in him mowing down man after man with no injury becoming him in any form. It's a strange arc indeed for the film, and for a short while catapults the film out of its reality to some fantasy. That said, the love story is truly excellent. It starts off childish and ruins the mature storytelling of the revenge storyline but once in full swing, the romance becomes more interesting and exciting to watch than any other aspect of the film. Thankfully it is the romance section which ends off the film and it is an amazing ending and truly cements the story's example of undying love, and allows the odd lapse of logic which occurs mere minutes before, to appear as a distant memory.

But as a remake it becomes disheartening to see Aamir Khan use his method acting skills because they ultimately develop into nothing out of the ordinary. This is mainly due to the fact that his skills of method acting are not being used to allow himself to become an original character to make the film more poignant, but because he is developing himself into a persona which has been used before. Nonetheless, Aamir is a wonder to watch and he becomes the perfect example as to why the romance story is superior to that of the revenge. When Aamir's character falls in love with Asin's, it is quite evident. The chemistry they share is a highpoint with both complimenting one another. Asin's Bollywood debut is helped by her work in the Tamil movie industry and she is delightful to watch. Her portrayal as the bubbly, happy-go-lucky Kaplana mimics Kajol's Angali in Kabhi Khushi Kabhie Gham. Though when Khan portrays his present self, he tends to overact and makes his character far more untamed then he ought to be, even making animal growls at one point. Pradeep Rawat continues his experience at playing villains with a character who truly is without a heart. However he does not receive enough screen time and this is partly to do with the portrayal of Jiah Khan's character Sunita. Sunita is a medical student who is interested in Sanjya's condition. However she is completely irrelevant to the main storyline but her character is forced with integral scenes nonetheless, at some points mimicking Kalpana, not in character but in situational context. While this is a good way to create symbolism, Sunita is far too irritating, and distorts what should be a story about fated lovers and a villain. On top of this, Jiah is not a convincing actress and is out of league in a cast of who know what they have to do.

Other disappointing avenues of the film are the musical and action sequences. The music is not exactly the most memorable but does a decent enough job. However there is one too many sequences and they go to flaw the film. In many respects Ghajini should have most likely gone the route of Sarkar Raj and skipped adding music to the production. Yes this might lower the audience intake but would have helped make the film a cohesive package. Action sequences are sadly misfit at times. This is not because they are bad, but because the director, A.R Murugadoss, makes the scenes and the film as a whole, feel far too much like a Tamil film. Tamil films have their own unique feel to them but it is arguable whether this feel is worthwhile. The action sequences in Ghajini are actually very good if it were not for the constant need to slow the fights down by a few frames. This artistic design does not make the fights any better but in fact make them less dynamic, less aggressive, and ultimately less fun to watch.

There is no sex or nudity and language goes by virtually unheard. Violence is not particularly bloody but is quite intense at times.

Ghajini is a film of many things but it fails to reach its potential of being a truly excellent title. The story has some inconsistencies even though it tells an amazing tale of love and revenge. The acting is likewise very good, but some performances damper the whole affair. Sadly the music lets the film down and the questionable action sequences don't help either. Ghajini will not be the best Aamir Khan film you'll ever see and is definitely not the best Bollywood film for the year, but it is a treat to watch, even if only for the romance.

7/10

Screen date: 24 December 2008
Release date: 26 December 2008

Twilight

2008-12-20T01:59:00.004+02:00

Blood draining...

Moving to Forks, Washington to live with her father, Bella Swan (Kristen Stewart) becomes interested in the Cullen siblings. One sibling does catch her attention, Edward Cullen (Robert Pattinson), but his quick and apparent mood swings begin to annoy her. After much pushing for information, Bella learns that Edward is a vampire.

Being an adaptation from a novel which has become quite popular among teenagers, mostly female, one would expect the story's translation to hold true to its source material as best as possible. It's hard to believe that it does at all because the story contained in the film is ultimately bland. There is no depth, no complexity to the plot, no intriguing characterizations: just a simple love story which doesn't hold much in terms of credibility. And this is because character motivations are never fully established. While the love Edward and Bella have for one another is easily based on outwards attraction and grows into something meaningful, the haste at which both characters are able to confide in and accept one another is unreasonable. At one point Bella is attracted to Edward, just to have him act cruel to her, then to find out he's a vampire and still place her complete trust in him that he won't harm her. While their love is touching in a Romeo and Juliet sort of way, that does not stop it passing off as completely illogical and idiotic. Still there is a certain quickness to it all that does make for an interesting watch at times for the concept itself is a fascinating one.

The acting doesn't fare any better. Side characters are merely caricatures and the main characters are underdeveloped so it is no wonder that the level of acting is average. Kristen Stewart comes off as far too disinterested in absolutely everything. At first it seems acceptable when she doesn't which to be bothered much by people at school or her father, but when she is somehow madly in love with Edward her monotonic representation remains static. There are times where she attempts to put some life into her character but this is rare. Pattison fares better and seems to get the nervousness of Edward fairly well, and the same applies to when he is intent on saving Bella. But his constant exchanges at love for Bella are not entirely convincing. That is not to say that there is no chemistry between both Stewart and Pattison for there is. It is just not in the form you would expect but more like both are forced to be in love.

From a technical standpoint the direction of the film works at times but the music and special effects do not. Director Catherine Hardwicke has a very unique way in her vision of the novel. Her direction yields a simple naturalness to it, losing the classic constructed feel of most films. It does come across as appealing to watch at times but it does become a bit much by the films end. You'll either enjoy the direction to wish for a more natural feel. Regardless of preference neither would have made the film any better. The music is also another love-hate item. The music selection sounds far too forced, as if trying to capture a certain mood for the film's atmosphere which doesn't work. There's a classical element to it, as if yearning to have a connection to Bram Stoker's Dracula and is nice distraction from the angst feel of the film. Lastly there are the special effects which are noticeably unrealistic. There is a blur given to any vampire character that moves fast, but it looks more like blurred fast forwarding and thus rather unnatural looking.

No vampire film is really all complete without some sexual connotations and violence: both are included in low form. Language is also kept low and nudity is a no-go area considering the target audience.

Twilight is a vampire story which is caught in a midst of smoke. With its average story, average acting, average music but interesting direction, it has neither the cruel seductiveness of Dracula nor the morbid fascination of Interview with the Vampire. With its superficial layering Twilight presumes to be more valuable to modern day teen life then both but, simply put, is not.

5/10

Screen date: 19 December 2008

Release date: 19 December 2008

Rab Ne Bana Di Jodi

2008-12-16T22:02:00.020+02:00

Delightful tale on love...

When Surinder's (Shakrukh Khan) mentor dies of a heart attack, Surinder is forced to fulfill his mentor's dying wish: to marry his daughter. Surinder complies with his mentor's wishes however the marital bond between himself and Taani (Anushka Sharma) is merely for the sole purpose of allowing Taani a place to live and not one of love. As an introvert, Surinder finds it difficult to express his deep love but finds a solution when Taani joins a dancing competition: transforming himself into Raj, an extrovert and flamboyant man who catches the attention of Taani.

The story gets off to a slow start and steadily gains pace as the film progresses and this greatly mimics how Surinder's life changes from routine to excitement. At heart the film is a simple love story, echoing how Surinder fails to attract the attention of someone he loves and having to become someone he is not in order to do so. There is a nice, simple message to be learnt here and the love story is not entirely clichéd so the film does have a somewhat refreshing take on the ingrained romance tales of Bollywood. This does not however stop the many scenes where Surinder is battling with his love for Taani becoming a little repetitive by the film's end. With a little tighter editing on these parts the film would have also cut a little off its long run time but the film's length is a minor disturbance at best. The film is also fairly humourous, but not quite like Dostana's minute-by-minute comedy. As well the humour does not feel constructed but instead natural giving the context of some scenes a fairly real undertone.

There is a slight mishap on the subtitling for English viewers. There is the odd spelling mistake and there are a few moments where the subtitling makes some comments from a single character appear as if one character begins and another ends of the sentence, when it is evident that is not the case. Sadly the credit sequence lacks subtitles altogether and the credits are important in gaining an understanding into the aftermath of the ending with a monologue. While it can be accumulated as to what is being talked about, the monologue itself is fairly humourous and English viewers will e missing out.

Surprisingly the acting ensemble is stronger than expected with even the minor characters being more than adequate to the job. Of course Shahrukh Khan is as amazing as ever and anyone who thought he might be losing his shine will discover he is not. In the film Khan has to portray two different personalities for the same character as he attempts to live a double-life. His nuances in the shy and uncertain Surinder are heavily contrasted by his performance as the outgoing and hip Raj, and Khan does so with consistency. The biggest surprise is Anushka Sharma. Her debut performance is delightful, full of vigor and, most importantly, believable whether her character is full of joy or sadness. You would be hard pressed to say she was an amateur. In fact she embodies a top notch Bollywood actress with good acting coupled with a natural prowess for dancing. Sharma makes the music sequences she is in far more enjoyable to watch then they ought to be.

That said the music, and accompanying dances, is a slight disappointment. Neither category is bad by any means but they don't reach the optimal level of excitement to truly heighten the love story. But as said Sharma does appear in her element in these sequences and Khan's experience shows through so any sequence with these two dancing together is a worthwhile watch.

There are no sexual connotations, violence and very little use of language, making the film a true family treat.

Rab Ne Bana Di Jodi is an amazing film which tells an equally amazing, albeit simple, story. With stellar acting, especially from newcomer Anushka Sharma who compliments Shahruhk Khan well, and good detail to creating a natural context, it becomes a pity that the film is let down by its musical sequences. They are not bad but not up to par with the rest of the film, and when coupled with other niggles the film is unable to be as moving as it potentially could. Still it's a worthwhile film and not one to be missed.

8/10

Screen date: 16 December 2008
Release date: 12 December 2008

Available on Channel24

The Day the Earth Stood Still

2008-12-12T21:20:00.011+02:00

More an ad than movie...

As an unknown force begins to rapidly make it's way to Earth, the United States government attempts to thwart the object with the help of various well established scientists, one such being Helen Benson (Jennifer Connelly). With just over an hour to devise a plan the scientists come up empty handed and are forced to witness the destruction of Washington. Must to their surprise the unknown force slows down and settles on earth with little destruction and is seen in the form of a gigantic sphere. A humanoid figure going by the name Klaatu (Keanu Reeves) leaves the sphere and impresses upon Benson the imminent eradication of humankind.

The opening of the film, set may years before the events which occur in the present time line, is meant to serve as a sort of teaser to the main story. However the opening is not engaging and lacks any form of mystery. The scene itself could have been shorter and better used in the middle arc of the film in the form of a flashback or explanation. This would have cut a few minutes off the run time as the film feels a little too long for almost no reason. As for the story itself, it is quite simplistic. Even with the global warming undertones the film presents there is little to engage audiences on an intellectual level. The story does have some noteworthy moments, such as when it is discovered as to the real reason for Klaatu visit Earth and his role in this plan. But far too little is developed and the film suffers for it. The ending is as well quite contrived and doesn't give the full impact of the environmentalist messages. As such the story feels washed out and more like an an attempt at holding a protest sign then actually going out and physically doing something about the problem at hand.

On the acting front the film delivers a fairly decent effort. Reeve's character is essentially emotionless, and while Reeves himself is not the most talented actor it does feel harsh to say that he was aptly suited for the role when he has shown at times in his career his ability to act. That said, he was aptly suited for a being who could not feel, but merely decipher the world through sheer logic. This is a contrast Connelly's character who is dealing with some emotional situations, especially with the death of her husband. Connelly performs well enough but due to script problems it becomes difficult for her to make the character more believable. The last of the in actors is Jaden Smith. Jaden's character is in a nutshell, a brat. But a brat who does undergo development. Jaden does a pretty decent job with the role but like the previous two actors, the script really falters in allowing the audience to have a connection with the character. Ultimately the characters feel more like tools just to get some theme across. That theme is pretty blatant and materialises into nothing audiences haven't been exposed to before. As such, the plan to replace character involvement for another aspect of the film does falls flat.

From a technical aspect the music does work though it is nothing special. It is perhaps not eerie enough when it should be eerie, or jolted enough in scenes of panic and action. However the CG elements range from good to mediocre. When special effects are added the CG can be quite appealing to the eye, such as the sphere which is used for transportation by the aliens. But the countless CG models used on military helicopters, mainly, is quite bland. While it is not evidently noticeable, praise must be given to the 3D modelers for hiding the bad CG behind an array of smoke and/ or darkness so that the models look more adequate then they ought to. at said, the CG used towards the end of the film is consistently good.

There is no sex, minimal side nudity with is not at the least graphic, minimal language and minimal violence, which involves mainly military procedures.

The Day the Earth Stood Still is a film which falters because of its direction. Yes there are factors in the film which don't work but these mainly occur because of the director's approach to the subject matter. The script is not fueled enough to give life to the characters and this becomes an evident difficulty for the actors. The story is far too linear focusing more on tying to masquerade environmentalist messages, instead of trying to intertwine these messages into a story with some substance. Even the CG is a touch-and-go sort of situation. That said the film is not a total failure: it has it's moments. The special effects do look nice at times, and the script does up itself at the rare moment, but it all could have been so much more.

6/10

Screen date: 12 December 2008
Release date: 12 December 2008

Yuvvraaj

2008-11-22T16:12:00.017+02:00

An awful tale not saved by a great climax...

As an unsuccessful singer, Deven Yuvvraaj (Salman Khan), has only one desire: to marry his girlfriend Anushka (Katrina Kaif). However Anushka will not be married unless her father, Dr. Banton (Boman Irani) gives his blessing for the union, something he is not willing to do. When Deven's wealthy father dies, he decides to make a contract whereby if he is not a billionaire within 40 days, then he will not marry Anushka. However this proves difficult for Deven when he discovers that all his father's wealth has be given to Deven's brother: Gyanesh (Anil Kapoor), a man with the mental capacity of a child.

There is an interesting story brewing in Yuvvraaj touching upon ides of wealth and family, and individual gain versus the collective. However while the story seems intriguing, especially with its orchestral music backbone, it is simply terribly executed. The script is a shocker and is infested with poor dialogue, poor story advancement, poor characterisations and this results in a mature theme being displayed in the most childish manner. As shown from the start of the film, the overall atmosphere one of immaturity, not because it is important to the context of the story, but because that is how it is being displayed. Even the direction is not great, resulting in some amateur cinematography. One such example is the first musical segment in which Deven is fantasizing about how he will catch the attention of his girlfriend and marry her. In this segment the audience is exposed to Salman Khan flying and Katrina's face being exposed over the sun and sky. It is all rather horribly conceived and does nothing except make a mockery of itself. Did countless love songs in Bollywood films not allow the protagonists to wish themselves off to extravagant locales such as Egypt and Switzerland while making their imagination seem real? These are what is expected of love songs, not some poorly edited scenes you'd expect in a child's programme. And so it becomes difficult to relate to any character because nothing is well executed. However this is not to say that the film's story is entirely bad. There are brief moments throughout that base themselves in the maturity if the film's themes, and the second half picks up on this. Yet it is the final 20 or so minutes that are a wonder to watch, and also shows how pitiful everything before it really is.

Acting is pretty substandard, mainly because of how childish everything everything is and because of how often it is difficult to truly understand a character feelings and actions because their depth is vastly limited. Salman Khan is convincing when he is is in a position to be conniving but his attempts at love are not. Zayed Khan spends most of his time overacting, but when he does get the right balance of emotion he pulls it off well enough. Katrina Kaif has a delightful role and is adequate to her task though it is a pity that she has still received a rather limited role. It'll be interesting when she land a more prominent role in future films. Kaif, like the other actors, are nonetheless eclipsed by the ardent experience of Anil Kapoor with the portrayal of a grown man whose mental growth remains that of a child is really good. The realism he brings to role is a complete contrast to the rest of the cast, albeit Ms. Kaif, and this is perhaps why the others appear so incapable that that are ultimately caricatures. While Kapoor's performance doesn't lift the film from mediocrity it is definitely worth a watch.

The musical score is pretty impressive at times. There are songs which really hit all the right notes and then there are a few others which don't. Regardless the score is not the most accessible which doesn't help the film at all and makes it less inviting. Yet if there is a positive to come out of Yuvvraaj besides Anil Kapoor, it is definitely the music, and thankfully so, or the film would have been one incredible excruciating experience.

Yuvvraaj is a pretty clean film besides some slight language and violent tendencies from various characters.

Yuvvraaj is an important film coming in the final months of the year and it has some big stars to back up the film's much anticipated release. Coming close after the release of Fashion and Dostana, Yuvvraaj had a lot to stand up against, sadly nothing comes together to create a cohesive product. There are major flaws in every aspect of the film, be it the story, the characters, the acting, the general direction: every important component is compromised in some way. Though it has good moments: there are some nice set pieces, Anil Kapoor is stunning to watch and the finale, coupled with a generally good musical score, is excellent. Sadly none of these save the film from being a complete disappointment.

4/10

Screen date: 21 November 2008
Release date: 21 November 2008

Available on Channel24

The Boy in the Striped Pyjamas

2008-11-20T23:14:00.019+02:00

A subtle performance with a landmark crescendo...

During World War 2 Bruno (Asa Butterfield), a German of eight years, leads a somewhat sheltered life in the comforts of wealth in Berlin. When Bruno's father (David Thewlis) is promoted to a high ranking officer of the Nazi regime, Bruno and his family have to relocate to his father's new post, which happens to be nearby to a concentration camp. After many frustrating days of boredom Bruno journeys to the concentration camp, thinking it is a farm, and starts up a friendship with Shmuel (Jack Scanlon), a Jewish boy.

From the very start the story is displayed in a very linear and uncomplicated fashion. There is no extravagant storytelling, no attempts to make the story more than it is. However this is not to say that the film is devoid of depth, because it has plenty and can stir up many symbolic and thematic explanations which help enrich the viewing. But the simple process of the story is more the director's attempt in keeping with the innocence of Bruno to help relate the viewer to him. The reason this is perhaps done is because while the film is relatively faithful to the original novel, many details have been altered. One such is the literary device of a process of discovery from the reader into the true context of the story just as Bruno begins to learn more of the real world. As such the film adaptation will inevitably make it more difficult for the viewer to relate to Bruno because we become the out-group to his innocence. The simple storytelling works though it could have been more complex, including many details that were omitted. But the film's crowning moment comes in its final 15 or so minutes in what is a harrowing, emotionally poignant affair, and perhaps one the most draining, yet overwhelmingly crafted endings ever to grace cinema. It alone is worth the admission of seeing this film. Authenticity also becomes a slight problem once again in regards to how the concentration camps would have actually worked, but this is never the point as the film bases itself merely on thematic elements.

The level of acting is not astounding by any means. But it is generally favourable. Each actor and actress seems to aptly suit their respective character, but Butterfield must be commended for doing a great job of making the innocence of his character appear so real. It must be said that none of the characters speak in a German accent though they are portraying Germans. While this seems like a setback, it really is not much of an issue as it does not make the experience any less riveting as it already is, but for those truly adamant on authenticity they might be a little disappointed.

There is no sex, nudity or language. Violence is more figurative then literal as the film's subject matter pertains around a concentration camp. The final scene is haunting though not visually shown. While the PG-13 rating is apt, it is difficult to think that any child at that age could truly comprehend the film's content.

The Boy in the Striped Pyjamas is a cinematic wonder which easily deserves a watch from any avid moviegoer. While there are a few niggles, none of which truly affects the overall quality unless you allow it to do so, the film is laden with reasonable acting and story-telling at it's very best with director Mark Herman cementing this with a conclusion so filled with brilliance that it is difficult to think of anything of late that quite matches it. In fact there are few films of late which can even match the cinematic wonder that is The Boy in the Striped Pyjamas.

9/10

Screen date: 20 November 2008
Release date: 05 December 2008

Available on Channel24

Quantum of Solace

2008-11-19T19:52:00.020+02:00

A disappointing second leg after an amazing start...

Beginning very soon after the events of Casino Royale, James Bond (Daniel Craig) has kidnapped the notorious Mr. White (Jesper Christensen), only to learn that there is a secret organization which has infiltrated various levels of social order around the world. Seeking revenge for the death of Vesper and more information on this organization, Bond goes on a rampage and discovers an interesting connection to philanthropist Dominic Greene (Mathieu Amalric).

Continuing off the intriguing storyline left from Casino Royale, it was expected that Quantum of Solace would continue to showcase quality story telling. With a run time that is 40 minutes less and with more action sequences, it becomes painfully obvious three quarters through the film, that the scriptwriters had no real intention of telling a cohesive story, and even less desire to create any characterization, the most prominent perhaps coming from Felix Leiter (Jeffrey Wright) but even then its only because we knew so little of him from the previous film. All Quantum of Solace ends up showing is that there is indeed a bigger organization of villains. The events which are undertaken in the story are interesting to a point yet instead serves more as a backstage for the side story of Camille (Olga Kurylenko), which itself is very unimportant to the greater scheme of things, though it's nice to see a Bond woman get a more fleshed out story then in previous incarnations. Even the story arc that relates back to Vesper seems unimportant until the films end: it was a major arc going into the film but is somewhat underplayed. Another slight problem comes from scene advancement being inadequate a times. In one scene Bond will have no access to any money, and in the next he'll be driving a new vehicle with a new suit. While this is not exactly what happens, the description is not far off: there are just too many scenes which don't gel logically. But there are a few noteworthy additions to the story. M and Leiter seem more important to the story this time around, M a little too much perhaps. Leiter's character is more ambiguous this time and has a story arc of his own; in fact it should be said that lesser characters are given some story time but neither of them truly affect the plot much. On another positive note there is more humour in the story this time around, especially involving the expected Bond quip after a dispatch. It is just a pity that the film doesn't use up more time to flesh out the story more. However it is very possible that the film is merely a bridge to the third entry. If this is the case, then Quantum of Solace serves it's purpose as the action story that connects the two more story focused entries. However this will only work if the next film brings back the intrigue of Casino Royale and allows for some character development.

Thankfully the action sequences are bigger and better then those in Casino Royale. While the chase scene feels awfully ripped from the previous film, there is more variety in what is shown, such as the various vehicle scenes. Though at times the action does seem somewhat muted. It looks good most of the time, but it feels like the director is trying to much to make Bond feel like other modern spy flicks, such as the Bourne trilogy, instead of trying to make Bond feel like Bond. So while the many action sequences are fun to watch, they do not help give the film a distinct feel. There is no major problem to the Bourne-like makeover Bond has gotten, especially for the character at this time in his career, as it allows him to come across as more brutal, but this nonetheless takes away from his charm. Even the recently released Taken with Liam Neeson proves more viable at this type of action then James Bond.

Sadly the staple intro sequence of the film is underwhelming, both with its music and animation, which had far too much of Craig holding a gun, but thankfully had the female silhouettes missing from Casino Royale's intro.

On the acting front, Quantum of Solace is adequate. Dench is once again amazing as M, and Craig portrays his Bond well. But aside from the minimal character development his character has towards the end of the film, it is still debatable whether he could pull off a traditional Bond instead of a normal action hero as he is currently doing: problematic since the currently written Bond feels nothing like James Bond, and hasn't developed from his prior outing. Giannini and Wright are as good as they were before. Kurylenko is an interesting addition and her character, Camille, gets a lot of time to be developed as a feasible character in the Bond universe. Her motivations in the story are somewhat clichéd and forced, and Kurylenko is not the best actress for the role, but she does a decent enough effort to make the character passable. Her most intriguing aspect is her somewhat similar situation to Bond. There is a nice scene shared by the two, mimicking a scene between Bond and Vesper a little too much, but it helps develop Bond as still having some form of humanity. Mathieu Amalric as the villain Dominic Greene, is also another decent affair. He is no where near as villainous as Le Chiffre and as such there's little for Amalric to do with the character except play him out as more of a caricature, and in this sense, he succeeds.

There is some sexual content, along with some language and violence. The latter involving vehicle crashes, gun fire and melee combat, but none of which is overly violent.

Quantum of Solace is a fun film to watch but don't expect to hold the same level for depth as Casino Royale. The film is a disappointment since it had so much to expand upon but ultimately doesn't. The action is great, if unoriginal at times, and the acting is solid. But the film fails in the story and character departments, two elements which made Casino Royale so refreshing, though there are a few facets which make Quantum of Solace a better title such as the added humour and extra action sequences. As a standalone, the film does not quite not work, feeling seemingly out of place, but as a bridging film it does, and hopefully it is. But this will only work if the third film can correct the mistakes in this title, either via technique or narrative, and thus allow a potential trilogy to be solidly sound.

7/10

Screen date: 19 November 2008
Release date: 21 November 2008

Dostana

2008-11-14T20:40:00.008+02:00

Sexy though not without some smears...

After bumping into each other by accident Kunal (John Abraham), a photographer, and Sameer (Abhishek Bachchan), a nurse, end up wanting to rent the exact same apartment. Due to the limitations that no men are allowed to rent out the apartment, Sameer comes up with an idea that both Kunal and himself pretend to be a gay couple. However while this plan allows them to get the apartment, it proves to be a problem as they both men become interested in their other roommate, Neha (Priyanka Chopra), a gorgeous and intelligent woman who works for a fashion magazine.

The story for Dostana is a combination of unique and unoriginal. While the gay couple idea is not commonplace for Bollywood films, it does share some similarities with a recent Hollywood film. But beyond two guys pretending to be gay, Dostana does very little to differentiate itself from the flock of romance films, and this has to be attributed to post-Interval which is slightly disappointing. The second half of the film is not bad by any means, but the humour, vigour and originality which makes the first half of the film an absolutely wonder to watch becomes dampened somewhat due to the strange change of the leads becoming somewhat childish. Thankfully the musical score, acting and choreography never falter, so the film does have a strong structure throughout.

The characters themselves are very well detailed and the writers have done a good job to distance the characters of Kunal and Sameer while giving them common ground. Where Kunal is immensely handsome with a built body, Sameer's charisma helps him attract the women. This is deepened as the film progresses with both have separate forms of interaction which are easily acknowledged from their specific personalities. Neha is a bit more stereotypical and not quite as complex as would have been hoped. In fact, this could be the films one flaw: a lot of the depth is merely skin deep.

The film begins with a musical segment and a very upbeat one at that. As mentioned, the level of music and choreography never wanes and remains a welcome addition whenever a segment does appear. Dostana also bases itself in humour and a lot of it to boot. While the level of humour dies out in the second half, the quality does not. The majority of the humour is based around the gay relationship and what makes it work so well is the acting. In one scene where both Sameer and Kunal devise a story on how they met, their attempts at acting gay are not exaggerated so as to mock, but done so because of how both Sameer and Kunal think gay people act. Another aspect which makes the humour so much fun is the constancy at which is portrayed.

The acting quality is high as well with excellent performance from the entire cast. Abraham showcases why he is a highly capable actor though there is the rare occasion where he does not feel quite up to par with either Abhishek or Chopra, who are more easily able to gel given their recent pairing in Drona. Abhishek continues to find his peak acting ability when he needs its most and Chopra's continues her wonderful form from Fashion and nears the end of the year on a high note after a few mediocre efforts in Love Story 2050 and God Tussi Great Ho. The supporting cast of Boman Irani, Kiron Kher and Booby Deol compliment the leads with some genuinely good acting, with Irani and Kher adding to the intense humour of the film.

No violence or nudity though sex is a thematic element to the film. Language is minimal in scatological form.

Dostana is a film which wants to break away from the norm but ultimately cannot, and as such the latter arc of the story is a slight disappointment. The story turns into a typical romance after it promised such a unique premise, and the second half lacks the overall strength of the first. Nonetheless, Dostana is a brilliant film which infectious humour and sex appeal, though lacks the ability to truly target its core message.

8/10

Screen date: 14 November 2008
Release date: 14 November 2008

Available on Channel24

Beware Bale, a new Batman Beckons!

2008-11-02T20:42:00.008+02:00

A tip from my sister has sparked some new outrageous information regarding the third of Nolan's reinvented Batman trilogy. According to my sister, DC Comics came to the decision with Warner Bros. to have Christian Bale dropped. Who is taking up the cape after Bale? My sister's son. And from what she gathered, the sudden dismissal of Bale was not about the money! Sadly, Bale is going to be missing out on the arrival of the Riddler, who currently has no attached actor, or actress. Yes that's right, alternate early drafts of the script are being written to have the Riddler as a female in case an 'Edwin A. Salt' problem occurs. Here are some pictures she took of the casting event on October 31st:

The exhilaration of getting the role sure shows!

The light is blinding him... he is perfect for the role of the dark knight!

*script spoilers*
"Rachael... you're alive?"

Is... is that a gun?!?!?!?

Apparently Nolan wants a fight sequence where Batman has to adjust his mask during combat... it will add to the "cool factor" so he claims.

Hope you all enjoyed Halloween :)

Max Payne

2008-10-27T22:39:00.009+02:00

A painful re-telling...

Working the cold case unit, Max Payne (Mark Wallberg) has undergone a major character change after he was unable to protect his wife and child from being killed in a robbery gone wrong. After Max's former partner, Alex Balder (Donal Logue), finds some evidence off a killed woman leading to the killer of Max's family, Max begins his journey of revenge, assisted by the unlikely source of the murdered woman's sister, Mona Sax (Mila Kunis).

Max Payne is a simple, yet vastly altered, re-telling of a complex story which is one of the first of many problems for the film. There is a basic premise to which holds the film together but the very scenes which tell the story are often disjointed and unrelated to one another. In one scene, Mona is at her home/ office/ hideout place in civilian clothing, only to end up in the very building Max is in so she could save his life. She then promptly leaves. Another being how Max is in the cold case unit, but in the three years since his wife's death he never ever bothered trying to discover what her job entailed: imagine how the rest of the poor sods feel knowing their cases were probably tossed away due to laziness. Things like this occur in the film, and it's very difficult to understand character motivation for most of what's going on. The film goes as far as having a couple of scenes which serve no purpose to the film: they do not expand the story or characters; they do not provide any action; they do not provide any titillation. Simply put, Max Payne feels abstract like it is a part of whole, and it might be safe to assume that a lot got cut out of the film to get a PG-13 rating... in fact a lot should have been cut out or the director has honestly chosen the wrong vocation.

This also results in characters being awkwardly out of place. For starters there are way too many characters for what is meant to be occurring in the film. Characters will appear for an important story advancement moment, say a line or two just to never be seen or heard of again. Even the character of Mona Sax feels vastly underplayed, and could have easily been cut from the film with virtually no bearing on the story whatsoever. The only character with some purpose is Max himself, but that is to be expected. Nevertheless, Kunis brings an interesting seductiveness to Mona, but is never the femme fatale she should be, and Wahlberg gets the lone wolf mood right while never ever really able to capture the grief which haunts Max or the insightful nature of the character either. The former is more difficult when it takes so long for the story to present the death of his wife and child in its entirety. In the end, both are adequate enough to make their characters seem interesting in some fashion. The other main roles are all short lived and definitely not fleshed out enough to have them have a real impact to the film.

Another aspect of the video game original which did not translate well was the action sequences. First off, there is too little action in the film, and it's not a well-rounded affair. There are moments, such as the SWAT shoot off and the finale sequence, especially the start of it which is breathtaking. Sadly there a lack of the staple bullet-time, and even inappropriately used when one man throws himself to his death. One scene with uses the technique is ruined: while Max tries to shoot a man who is firing at him, the director made the terrible mistake of making it appear as if the assailant was blind: it is evident that the bullets being fired land no where near Max.

There is no nudity, though a woman without a top on can be seen from the back. Sex is hinted at but never show or even performed by any characters. Language is kept to a minimal and violence is not gory and hardly bloody.

From bad editing to lack of character development to an action film with little action: one can only wonder how a video game which could so easily be translated to the cinema medium went so wrong. And while it is an adaptation, the film bares little resemblance to the source material's complexity, even nullifying the staple slow motion scenes which was popularized in the Matrix trilogy. Still it is possible that an uncut release can be seen on DVD, and could possibly fill in the many problems of the theatrical run. Nevertheless, Max Payne is not entirely devoid of entertainment, with the actors at least trying to portray their respective characters and some fun action sequences, of the little there was. The post-credit scene hints at a sequel, which should include a new director, and hopefully the sequel will make up for the mishaps of this.

5/10

Screen date: 28 October 2008
Release date: 25 October 2008

Lakeview Terrace

2008-10-25T01:32:00.013+02:00

Playing it safe...

Chris (Patrick Wilson) and Lisa (Kerry Washington) Mattson are a married interracial couple who decide to start their new life by settling in a new house. While having a police officer as a next-door neighbor seems like a bonus, it turns out that the police officer, Abel Turner (Samuel L. Jackson), is greatly opposed to Chris and Lisa's interracial relationship. Turner begins to terrorize the Mattson's, forcing Chris to retaliate.

Lakeview Terrace presents a unique concept but decides to portray the story rather simply, and so it is via the characters that the film keeps itself alive. The two most interesting are Chris and Abel who showcase much of the racial tendencies of the film. Chris is married to an African woman, listens to rap music and dedicated to his work and wife. Abel is a very rule orientated man, trying to protect his children from the evils of society. Both Wilson and Jackson portray their respective characters with ease, but neither feel distinguished in doing so. Nonetheless, both have a certain charm which makes for engaging viewing. Washington portrays her character with well, but she lacks the dynamic nature of her male counterparts.

One of the film's greatest strengths, also ends up as one of its greatest flaws: depth. On one hand, Lakeview Terrace pays homage to, and can be well intertexted with John Milton's Paradise Lost. The synopsis and previews simply appear to be about an a police officer harassing his new neighbors, but what director Neil LaBute does so well is to make Abel Turner seem in the right for the first third of the story. The film begins with Turner as he shapes into the film's protagonist, mimicking the appearance of Satan in Paradise Lost. The viewer sympathizes with Turner, like Satan, but as the film progresses, we begin to learn that Turner is very much Milton's Satan - his reasoning becomes perverse and illogical. And like Paradise Lost, the text shifts to Chris and Lisa, who become the Adam and Eve figures. It is this sort of intertextuality which makes Lakeview Terrace a compelling watch especially when it shares many other similarities to the epic poem Paradise Lost. However the film also lacks the very depth it requires. The race issue is not as hard hitting as it can be: racial tension is perceived from a black perspective and while an interesting view take on events it is still nonetheless not as tangible as racism from a white perspective. There are also two other elements which are underplayed. Abel's police partner Javier (Jay Hernandez), comes across as pivotal somehow but has minimal impact in Abel's favour. The film also has a side plot of the nearby forest fires. While easily metaphorical of tension and the escalation of problems which exist between both Chris and Lisa, and Abel, the fires get way too much attention that the metaphor either becomes too stated, or that the director somehow forgot how to correlate the subplot to the main plot beyond being a means-to-an-end approach.

There is no nudity, but sexual themes do crop up once and a while. Violence is fairly tame while language does appear every once and a while.

Lakeview Terrace is a good film; it is just not a great film. The acting is good; the story is interesting; there is a decent level of social commentary; and is suspenseful. Though nothing ever reaches a level of excellence, with some smaller elements being of a lower caliber to the main. In essence, Lakeview Terrace is the type of film that has easily been simplified as as to appeal to a wider audience which is a great pity since it had all the makings to be a topnotch, thought provoking thriller.

6/10

Screen date: 25 October 2008
Release date: 25 October 2008

The Summary that is South Africa

2008-10-23T00:01:00.007+02:00

As a South African there has always been one thing I've always hated: South Africa. It all really started with the whole Hansie Cronje debacle and then I no longer supported the national cricket team. But it stems further then that: for all the great scenery that encompasses South Africa, relatively warm weather throughout the entire year, and the whole vibe of Durban, my city, there is also a whole lot of mess. Be it the insane level of crime and violence, the even higher failure rate to lower the levels of crime and violence, the awfully inadequate government with the supposedly next president facing corruption charges.. heck, we don't even have a Starbucks. Regardless I think it's pretty obvious that South Africa is caught up in a flux of dire circumstances.

What you are about to see is a live news broadcast with the financial department (the local currency is doing severely worse then normal compared to foreign markets... no wonder Playstation 3's cost double the price than in America). While funny, I still feel sorry for the humiliation which follows (and you should to), but nothing summaries the instability of the country more then the following video:

Luckily Mr. Nhlanhla Nene took the situation well:
'The wheel came completely off'

Nene chuckled at the thought of the number of people who had watched the 26 second clip. "It was quite embarrassing because you know you can imagine when the millions are watching..."

He said colleagues had teased him about it since.
News24 article

Good on you Mr. Nene, at least something is right in South Africa :)

PS3 DivX Video on Demand compatible sites

2008-10-21T01:11:00.006+02:00

So firmware 2.5 brings a new feature to the PS3 which can easily rival Microsoft's Netflix deal: DivX Video on Demand support. However it does not appear to be the easiest feature to use. While you get it working, here are a few sites which appear Divx VoD compatible:

Greencine

SugarDvd (adult only)
The Movie Library (offers DivX encoded files)

Not much, but it's a start to all curious PS3 owners who wish to have access to a large number of films.

Drona

2008-10-08T20:48:00.015+02:00

Unexpected fantasy adventure falls short...

Aditya (Abhishek Bachchan) lives with his adoptive parents but is only cared for by his father, with his mother and brother treating him as a subordinate. Unbeknown to Aditya, he is actually part of a lineage of male warriors who protect the universe from demons, and each comes to be known as Drona. He discovers his true identity when he is rescued by Sonia (Priyanka Chopra) after he is attacked by forces from the Demon Riz Raizada (Key Key Menon).

Drona shares may similarities to other films, such as the humble beginnings of Harry Potter, to Lord of the Rings, though most notably with Prince of Persia. With a few name changes and a title change, anyone could have been fooled into thinking Drona was the film adaption of the popular video game series. Nevertheless Drona is the first Bollywood film deal with the realm of fantasy on such a large scale. Earlier this year the science fiction genre got a first with love Story 2050, but where Love Story faltered in ever way, being only watchable due to the fact that it was a science fiction Bollywood film, Drona actually has some substance going for it. The plot is nothing amazing, and fairly simple. Luckily, it doesn't take Drona to the intermission to get into the fantasy realm, but does so rather soon in the film. Though what Drona lacks in story, it makes up for in mythos. The opening, which is done in a comic form, builds up potential for future films as it appears there is so much left to tell in the world of Drona. Regardless of whether you enjoy the film or not, there is definitely hinted at for potential sequels.

The acting side of Drona is not as good as hoped. Jaya Bachchan is underused, and Priyanka Chopra is not entirely up to scratch, though her performance is thankfully better then that from love Story 2050. Abhishek starts off slowly and seems out of sync with his character. He gets better as the film progresses but seems more capable of the silent hero type than the normal everyday person. Whether this is indicative of how well his acting is, is difficult to gather from Drona, but its very possible that his acting skills won't be viewed greatly by the masses even though he definitely has the ability.Though it is Kay Kay Menon who steals the show: his role as the creepy, clownish, and somewhat nervous Riz Raizada is very fun to watch. His character is similar to the likes of Kefka from the popular video game Final Fantasy 6 - he is a villain who seems somewhat maniacal, and Menon plays the part well.

Drona's weakest aspects is definitely its special effects and music. Beyond a few scenes, the CG looks either too cartoon like, or just not well textured. There are however a few gorgeous special effects spotted every once and a while, but for a big budget fantasy film like this, everyone once and a while just does not cut it. The music is also disappointing, though thankfully quite unique to the usual Bollywood selection. There are a select few tracks which are listenable, with the rest being on the forgettable side. One such track also happens to occur during one of the most boring parts of the film making it a very slow preliminary to the final arc of the story.

No sex, nudity or language, Drona does depict some violent acts with a fairly decent amount of sword fighting involving stabbings. While none of the throat slitting occurs on screen the after effects are shown briefly, and blood does make an appearance.

Drona 2 is apparently ready to roll when ever Goldie can get to it., Honestly,he should do a film or two before proceeding with the sequel. The biggest factor in Drona not being as good as it should be is because it is evident that Goldie is still trying to find his feet in the directing world. With some more experience, Drona 2 can shape up to be quite a worthwhile experience. He'll be able to rectify the music selection, special effects and even his own cinematography. It was not everything it was marketed to be, but Drona has created a decent enough mythos for potential sequels. It is not a bad film at all, and a great individual in a flood of clichéd romance offerings.

6/10

Screen date: 08 October 2008
Release date: 03 September 2008