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Showing posts with label Greatest Movie. Show all posts

FAST FIVE  

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Fast Five (alternatively known as Fast & Furious 5 or Fast & Furious 5: Rio Heist) is a 2011 action film written by Chris Morgan and directed by Justin Lin. It is the fifth installment in the Fast and the Furious film series. It was released first in Australia on April 20, 2011, and then in the United States on April 29, 2011. Fast Five follows Dominic Toretto (Vin Diesel), Brian O'Conner (Paul Walker) and Mia Toretto (Jordana Brewster) as they plan a heist to steal $100 million from corrupt businessman Hernan Reyes (Joaquim de Almeida) while being pursued for arrest by U.S. Diplomatic Security Service (DSS) agent Luke Hobbs (Dwayne Johnson).
When developing Fast Five, Universal Studios deliberately departed from the street racing theme prevalent in previous films in the series, to transform the franchise into a heist action series involving cars. By doing so, they hoped to attract wider audiences that might otherwise be put off by a heavy emphasis on cars and car culture. Fast Five is considered the transitional film in the series, featuring only one car race and giving more attention to action set pieces such as gun fights, brawls and the heist of $100 million. The production mounted a comprehensive marketing campaign, marketing the film through social media, virtual games, cinema chains, automobile manufacturers and at NASCAR races.
Fast Five achieved financial success, breaking box office records for the highest-grossing April opening weekend and the second highest spring opening weekend. It surpassed Fast & Furious (2009) to become the highest-grossing film in the franchise and overtook Rio to become the highest-grossing film of 2011, holding this title for fifteen days before being replaced by Pirates of the Caribbean: On Stranger Tides. Fast Five has grossed over $616 million worldwide, making it number 59 on the all-time worldwide list of highest-grossing films, in unadjusted dollars.
The film was praised by critics, who liked the combination of comedy and "action sequences that toy idly with the laws of physics, some labeled the film the best of the series. Johnson was singled out for his performance, critics calling him "the best thing, by far, in Fast Five" and remarking that scenes shared by Johnson and Diesel were often the "best moments". Despite the positive response, many were critical of the film's running time, considering it too long, and others criticized the treatment of women, stating "[Females] cameo strikingly in buttock form. Others actually have first names. South American reviewers were critical of the film's portrayal of Rio de Janeiro as a haven for drug trafficking and corruption, labeling it a "stereotype".

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The Dark Knight is a 2008 superhero film directed, produced and co-written by Christopher Nolan. Based on the DC Comics character Batman, the film is part of Nolan's Batman film series and a sequel to 2005's Batman Begins. Christian Bale reprises the lead role of Bruce Wayne/Batman, with Michael Caine, Gary Oldman and Morgan Freeman returning as Alfred Pennyworth, James Gordon and Lucius Fox, respectively. The film introduces the character of Harvey Dent (Aaron Eckhart), Gotham's newly elected District Attorney and the cohort of Bruce Wayne's childhood friend Rachel Dawes (Maggie Gyllenhaal), who joins Batman and the police in combating the new rising threat of a criminal calling himself the "Joker" (Heath Ledger).
Nolan's inspiration for the film was the Joker's comic book debut in 1940, and the 1996 series The Long Halloween, which retold Two-Face's origin. In addition elements of Steve Englehart and Marshall Rogers' Dark Detective miniseries as well as the unpublished follow-up were reportedly cannibalised along with other elements of Batman mythology for the story. The Dark Knight was filmed primarily in Chicago, as well as in several other locations in the United States, the United Kingdom, and Hong Kong. Nolan used an IMAX camera to film some sequences, including the Joker's first appearance in the film.
On January 22, 2008, after he had completed filming The Dark Knight, Heath Ledger died from a toxic combination of prescription drugs, leading to intense attention from the press and movie going public. Warner Bros. had initially created a viral marketing campaign for The Dark Knight, developing promotional websites and trailers highlighting screen shots of Ledger as the Joker, but after Ledger's death, the studio refocused its promotional campaign.
The Dark Knight was released on July 16, 2008 in Australia, on July 18, 2008 in North America, and on July 24, 2008 in the United Kingdom. The film received critical acclaim, it set numerous records during its theatrical run and is currently one of only three films to have earned more than $500 million at the North American box office. With over $1 billion in revenue worldwide, it is the tenth highest-grossing film of all time (unadjusted for inflation). The film received eight Academy Award nominations and won for Best Sound Editing and Best Supporting Actor for Ledger's performance.
The film will be followed by a third and final entry titled The Dark Knight Rises, with Bale, Caine, Oldman and Freeman returning in the original roles.

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TRANSFORMERS: DARK OF THE MOON Review  

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A Michael Bay movie cannot be measured by the same standards as a normal movie.  A Bay movie cares not for compelling characters, narrative cohesion, or realistic emotions.  Instead, a Michael Bay movie must be judged on its “Bay-ness”.  How gigantic are the special effects?  What levels of homophobia, sexism, and racism can the humor reach without being outright offensive?  How long can the camera linger over the curves of the sexually-charged lead female character without starting to feel like really expensive porn?  Transformers: Dark of the Moon is about as Michael Bay as Michael Bay can get within the confines of a PG-13 movie (his gold standard in the R-rated realm is Bad Boys II).  The movie is far more successful in its action sequences and its humor (homophobic, sexist, and racist as it may be) than 2009′s abysmal Return of the Fallen), but lacks the charm of the first film in the franchise.  But since “charm” can’t be digitized and bought for millions of dollars, Bay is all about the set pieces and judging by that metric, the final hour of Dark of the Moon is his masterpiece.
In the war for control of Cybertron (home planet of the Transformers), the Autobots had a secret weapon to defeat the Decepticons.  However, the spaceship carrying the secret weapon, pillars with the power to teleport objects through space and time, was shot down as it attempted to escape.  Despite Cybertron being a distant planet, the ship somehow managed to make it all the way to our moon where it crash landed.  The Apollo 11 mission wasn’t one of discovery but one where a comical JFK impersonator laid out a secret mission to explore the wreckage.

Cut to the present day where Decepticons are trying to retrieve the final pillars and the pillars’ Autobot creator, Sentinel Prime (voiced by Leonard Nimoy).  While the Earthbound Autobots are trying to uncover this plan, human “hero” Sam Witwicky (Shia LaBeouf) struggles to find a job because that makes him “relatable”.  However, the quirks that made Sam an endearing character in the first movie have made him unbearable by this point.  He seems selfish, unimaginative, and feels entitled to meaningful work after saving the world twice.  Another movie might try to explain how Sam can receive the Presidential Medal of Honor and take a photo proving he recieved that honor, but he’s not allowed to tell people why he won the medal.  Instead, the script ignores that obvious logical conflict (as it does so many others), and simply has Sam whining about wanting to “matter” like he did when he shouted “Optimus!” all those times and then let the Autobots destroy monuments and cities.
Sam only gets to spend what feels like an eternity complaining about his insecurities and under-appreciating his Megan Fox-replacement girlfriend Carly (Rosie Huntington-Whiteley) before coincidence throws him back into the Transformers war through too many convoluted and contrived developments to name here. The battle once again comes down to a fight between Autobots and Decepticons over a Cybertronian power item.  The twist this time is that the Decepticons actually have the upper hand, manage to start an invasion of Earth, and this is where Bay gets to give his grand finale to his tenure as the director of the series.

I’m no fan of 3D but the gimmicky technology is perfect for a director like Michael Bay who can now not only fill the width of the frame with mayhem, but now can also fill its depth.  The 3D really allows the visuals to pop and show off the level of detail in the Transformers and their gigantic set pieces.  More importantly, Bay has far more success in choreographing and designing the action scenes due to the technical restrictions and meticulous planning that shooting in 3D requires.  While the Decepticons and the lesser-known Autobots tend to blend together among themselves, when they’re fighting you can mostly follow the action and it’s not the incoherent mess of gears we saw in the second movie.  Dark of the Moon is really all about its final hour of destruction and in that regard it’s a smashing success.
Unfortunately, there’s still an hour and a half of movie to sit through before we reach the orgy of special effects and pyrotechnics.  For the most part, Bay doesn’t care about character development, smart humor, or about making sure the plot holes aren’t so big that a Transformer could walk through them.  But he cares a little bit.  If he didn’t care, he would have brought back the racist Twins from Revenge of the Fallen instead of replacing them with diminutive, less-racist versions that serve as slightly-stronger comic relief (although the entire film is comical so there’s not much point to them).  It he didn’t care about jokes, he wouldn’t ask respected actors like Francis McDormand, John Malkovich, and John Turturro to be in the movie and chew every piece of scenery in the world.  If he didn’t care about plot…well, there’s nothing in this movie to indicate that he cares about plot beyond its ability to lead him to a new action scene or cheap joke.
And Dark of the Moon has to muddle through these jokes, Sam’s “character development”, and threadbare excuse for a plot like a kid forced to do his chores before he’s allowed to play video games.  Sometimes, like when LaBeouf has to ham it up and scream like a girl or when the film respects the boundary between silly (an Autobot that needs reading glasses) and the stupid (almost everything else), the jokes work.  But when it needs to have Ken Jeong play another weird, creepy Asian guy (such specific and pitiable typecasting) or when Sam refers to his off-screen break-up with Mikaela as “She dumped me.  I moved on to something better,” (because in Bay’s twisted world, hot women aren’t “someones”, but things—more specifically, sex objects), the movie shifts back to that uncomfortable place Revenge inhabited for the majority of its runtime.
You have to grind through 90 minutes of tedium to get to the chewy, chocolate-y center ofTransformers: Dark of the Moon.  There are moments where the jokes work and the earlier action scenes are kind of cool, but the movie’s sole purpose is to drive you to the spectacle at the end of the 3D rainbow.  It’s the rare film I can point to and say “If you’re going to see it, see it in 3D” because the silliness of the technology is perfectly matched to the silliness of the movies that Michael Bay makes.  Swerving wildly between the insultingly stupid the ironically idiotic, Dark of the Moon is Bay at his worst and at his best.

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