• The Secret World of Arrietty
     
      http://bartybooks.com/the-secret-world-of-arrietty.htm
  • Gone
     
      http://bartybooks.com/gone.htm
  • Wanderlust
     
      http://bartybooks.com/wanderlust.htm
  • This Means War
     
      http://bartybooks.com/this-means-war.htm
  • Ghost Rider: Spirit of Vengeance
     
      http://bartybooks.com/ghost-rider-spirit-of-vengeance.htm
  • The Vow
     
      http://bartybooks.com/the-vow.htm
  • Safe House
     
      http://bartybooks.com/safe-house.htm

Movies under ‘Adventure’

Monte Carlo (2011)

If you had asked me who was Selena Gomez a few months back, I would have just blinked at you. If not for attending Justin Bieber’s 3D documentary film, being intrigued by his internet fueled meteoric success and inevitably feeding off the tabloids on his career, I would not have known who the lead actress was, but now I do. Based loosely on the novel Headhunters by Jules Bass, the release of Monte Carlo this week in the US and Singapore would probably be deemed suicidal, if not for its appeal to the intended demographic left out of the testosterone filled Transformers, and the more mature movie going audience who would likely flock to Larry Crowne starring Tom Hanks and Julia Roberts (opens in Singapore next week to avoid a three-way battle).

And appeal to that group it does, playing up to its favourite things that if I were a girl I would gobble this up hook, line and sinker. There’s travelling to Europe, Paris no less, with a BFF, and a sister you’d love to hate in tow, meeting attractive and more importantly, single guys at every turn, travelling in luxury from being ferried in private jets and limousines, rubbing shoulders with royalty and the rich and famous, as well as having an arsenal of gorgeous outfits to get into topped off by million dollar jewellery, participating in exotic games and attending the coolest parties. Sounds like fun, doesn’t it?

But that’s about it, with the film very much set in territory already explored in countless of films dealing with coincidental, mistaken identity, where the Prince and the Pauper switch places – this one being one sided and without permission – for the pauper to experience the high life, leading onto moralistic questions such as whether one will be enticed by things superficial and materialistic, or will one return to one’s humble roots with morals, principles and values intact. It’s the same old usual themes about wanting to fulfill personal objectives and dreams, whatever they may be, whether done so through hard work, or just by meeting the right people.

Selena Gomez takes on two roles here, although her role as the mean British heiress Cordelia Winthrop Scott looks like she’s suffering from a constant PMS. Her other main role is of course as Grace, the simple waitress from Texas who had graduated and is taking her graduating trip to Paris with best friend Emma (Katie Cassidy), only for her parents to get her half-sister Meg (Leighton Meester) to tag along despite their hating of each other’s guts. So begins the journey of self-discovery for all – Grace to decide whether she should keep up with the charade she and her pals find themselves in at the risk of being a fraud to Theo (Pierre Boulanger) of the Hotel de Paris, Emma to try and figure out if the high life and potentially rich royal-family linked acquaintance can be anything more than friends as compared to her troubled boyfriend Owen (Cory Monteith), and Meg learning to becoming less uptight while getting swept off her feet by Aussie tourist Riley (Luke Bracey).

Yes, that’s all the romance lined up, as they zip around the different places in luxurious Monte Carlo, having the second act centered around closure in and around a million dollar necklace meant for a charity auction. In some ways that was the best part of the film as finally there is a sense of purpose and urgency to try and resolve everything amicably and set their identities straight as their charade comes to the inevitable close, with well timed, expected comedy to pave the way to a finale that ends all too conveniently.

Naturally the landscapes make up the film with its far flung, beautiful locations that would just make you want to save up enough to jet set in the same fashion, trying very hard to make you forget the many plot conveniences and coincidences, for the very obviously predictable way this teeny bopper film is appealing to the teenage female population through the latest It girl making that transition from music to film. Strictly or the fans only.

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Transformers: Dark of the Moon

Man, so much stuff happens in this damn movie. One can only scratch the surface of what the movie has to offer when reviewing it. The best I can do is list the best and worst of it.

The Good

The best thing about these movies is how they look, how well the transformers integrate into the real-life footage to make a compelling action sequence. Here it’s cranked to eleven, and the CG is very impressive. On the larger shots, even tiny transformers far in the background look convincing.

There a several action set pieces (specifically towards the end) which are easily some of the best of the trilogy. The whole scene with the collapsing building and the tracking shot of Optimus slicing and smashing his way through a bunch of decepticons are colossal showstoppers.

This is also one of the best 3D movies to date. One major critique of 3D is that 3D glasses make the film darker, but here they do a very smart thing, the film itself is brighter than your average movie and this problem evens itself out. Another thing that worried me before I saw it is that if there was so much high-speed action maybe that and the combination of 3D would give me motion sickness, end of the movie: no problems.

The Bad

The villains suck. Megatron does absolutely nothing throughout the whole film until right at the end, and even that was a let down. Shockwave appears briefly at the start and vanishes for two hours, he himself doesn’t actually do much, it’s all down to this big nameless tentacle-clad decepticon he works with. Starscream does nothing, but then he never did anything anyway. I’m not even going to mention Patrick Dempsey. But the biggest let down is with the movies main villain “Sentinel Prime”. Basically he is Optimus’ predecessor but he changed sides to the decepticons and made a deal with Megatron to bring life back to their home planet Cybertron. This is the driving element of the movie, but there are many plot holes from this. Early in the film Optimus basically says he wants to make Sentinel Prime leader of the autobots again, and offers him the matrix (an item that brings dead transformers back to life) but Sentinel Prime declines. Then he changes sides. Why did he decline taking the matrix? it would in definitely be a help in his ploy. Sentinel Prime gets numerous chances to kill Optimus once and for all, but like all lousy villains he delays his hand and Optimus lives.

The product-placement is out of control. I am not joking when I say there is a scene where Shia LaBeouf stops the movie to recite a Mercerdes Commercial

The annoying characters from the last movie are gone, save one. The little autobot who humped Megan Fox’s leg makes a return. Just be thankful there’s no Skids and Mudflap

The Down-Right Ugly

The acting here is a range from Tolerable to Impossibly-Bad. There are actors here that have been in some high quality material that just blatantly signed onto this because A) they wanted a paycheck B) they have nothing else on their schedules I mean John Malkovich and Frances McDormand are Oscar nominees who are so unbelievably bad in this movie they make Shia Lebeouf look like Laurence Olivier and Rosie Huntington-Whiteley is the stiffest most wooden actress i’ve seen in ages. John Turturro is awkward but after three movies I don’t care anymore.

Stereotypes a-hoy, not as prominent as before but it’s here. We have: Tyrese Gibson and some other black guy fist-bump and ridicule one another. We have LeBeouf call a Japanese man “Moto-Mushi-Ichi” and decepticons with dreadlocks. Plus that gay guy from the hangover makes an appearance as some loony scientist, but luckily Michael Bay had the sense to drop him out of a window.

Some visceral “American” moments, like using the moon landing to spark the movies plot. Also blowing up the statue of Lincoln to let Megatron sit on the chair instead. Since i’m British I didn’t care for these scenes that are obviously meant to say to American audiences: “These decepticons are blowing up America! Damn Them!”

In Conclusion, I may have some major complaints with this movie but it is a ton of fun. The movie delivers on everything it promises and everything you expect and not a single dull moment. If you loved the first movie, and loved the second movie (god help you) I can guarantee you will love this movie even more. I’d say the definitive summer film this year has been made clear.

So.. Viewing Audience.. Roll Out…

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Cars 2

We hoped it would never happen, but no one is perfect. Even the best can stumble. This had to happen eventually. Even the string of terrific Disney’s classic films and the 90s Disney Renaissance didn’t last forever. I’m afraid that, yes, Pixar has made a bad film.

Cars 1 was their least ambitious film. The story was predictable and character development obvious making it their most mediocre film. It was good but it lacked that little extra touch that made their films great. However, they had some great side characters, a heart, and wonderful scenes that elevated it up beyond most other films. But ever since this film’s announcement I always wondered why. McQueen had his story and there’s not much else to tell. Like Finding Nemo, where else is there to go? And I’d rather see sequels to better movies like The Incredibles, even Bug’s Life seems to have more potential. It’s easy to see why they made a sequel to it, since all you need to do is go to Disneyland or any Disney Store and see it covered in McQueen and Mater, which happened to be two my of three year-old cousin’s first words. Off all the Pixar films, Cars made the most with the merchandise.

The biggest problem is the story. Cars 1, while predictable, was touching. Cars 2 has almost no heart or character development. The focus shifts from McQueen to Mater. McQueen had his story in the first and there’s little to tell here. He has one character moment that’s essentially the same realization as the first film’s. The problem with Mater is that he’s such a simple character. Everything about him is on the surface for all to see. He’s the same person throughout the movie, with one predictable realization which goes no where, that he doesn’t warrant his own film. He’s like Kronk from The Emperor’s New Groove. They’re both terrific side characters but lack enough complexity for a full story. And Larry the Cable Guy has always been better with the other Blue Collar guys rather than on his own.

While Cars 1′s highlight was its side characters, this movie almost abandons them. They do nothing. McMissile is a moving plot device and little more. Shiftwell is supposed to be a love interest but lacks any interesting moments. The rest of Radiator Springs basically sit back while McQueen and Mater have all the fun. Their stories and character are pushed aside so Larry can have fun being Mater. Because of this, there are almost no funny little side scenes where characters just have fun being themselves. Instead, most of the humor is derived from seeing Mater do silly things.

The look is impressive but not more than anything else Pixar’s done. With each movie, the studio has pushed the graphics into new levels. Each movie has had some wow moment where audiences can’t help but be amazed by what they’re seeing. There were times in Cars 1 when it looked almost real. Cars 2 lacks any wow factor. One of the most impressive sets, Tokyo, were already spoiled by the Tokyo Mater short. This more than anything makes me wonder if Pixar was even trying to up the ante or if they were just using what they had to make a movie a year.

Spies and Cars seems to work well together. After all, any Bond or Bourne film will easily demonstrate why the two go together. Indeed, the opening scene on the drilling platform is easily the best with the fast chase and cool gadgets. But they weren’t able to properly combine the racing and spy elements, almost as if you’re watching two movies at once. There’s too much spy stuff for the racing to be interesting, which becomes pointless against the overpowering and overly clichéd spy story. Perhaps Pixar should have set it as simply a spy movie set in the Cars universe and had McQueen and his friends in cameos or as a background story.

Another lousy spot is the music. Cars 1 had a terrific soundtrack with excellent uses of popular songs like Life is a Highway and Route 66. But there’s not one memorable song or music cue in this movie. Giacchino usually does terrific work like with The Incredibles, Ratatouille, and Up. But he too fumbles the ball here. Perhaps he was just uninspired by what he had to work with.

Cars is Lasseter’s pet project. But I think he’s too close to it. He’s got that Lucas Star Wars prequel trilogy problem. The people around him either were in awe of the man who made Pixar and Toy Story or they were afraid to hurt his feelings since he loves the Cars franchise so much. Pixar efforts have been so well done because they were collaborative efforts, each fixing each other’s problems to make a better project. But with Lasseter off working more directly with Disney, he really should have had a co-director or perhaps given the reins to someone else like he did with Toy Story 3.

I almost rated this movie higher. It is fun while you’re watching it, even if as soon as it’s over it becomes too easy to pick apart the problems. But this is Pixar. They’ve dominated the animation market since Toy Story and have been pushing the boundaries at the Academy Awards ever since. To see them stumble with a not-so-great film would be one thing. But they’re coming off from two Best Picture nominees to a movie that’s simply flashy but with little substance. Kids will love the bright colors and silly antics, but parents will hate having to then buy twelve new Mater toys. Cars 2 is stalled and in need of a tune-up.

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