Labor Day

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Genre: Drama

Director: Jason Reitman

Writer: Jason Reitman, based on the novel by Joyce Maynard

Cast: Kate Winslet, Josh Brolin, Gattlin Griffith, Clark Gregg

Running Length: 111 minutes

Synopsis: Labor  Day  centers  on  13-­year-­old  Henry  Wheeler (Gattlin Griffith),  who  struggles  to  be  the  man of  his  house  and  care  for  his   reclusive mother Adele (Kate Winslet) while confronting all the pangs of adolescence. On a back-to-school shopping trip, Henry and his mother encounter Frank Chambers (Josh Brolin), a man both intimidating and clearly in need of help, who convinces them to take him into their home and later is revealed to be an escaped convict. The events of this long Labor Day weekend will shape them for the rest of their lives.

Review: Sentimental to a fault, it’s hard to associate the director of Thank You For Smoking, Up In the Air and Juno to be behind the helm of Labor Day, a movie that would be perfectly at home in the canon of Nicholas Sparks movies, despite it not being a novel written by Sparks. Yet, Jason Reitman not only directed the film, but was also responsible for the screenplay, and it is such a stark departure from his previous work that it’s nearly impossible to reconcile.

Looking past that, it’s easy to see that Labor Day must have had some Oscar aspirations. The film is beautifully shot, and Kate Winslet once again hits it out of the ballpark with her portrayal of Adele. It’s a demanding role that requires the thespian to portray a broad spectrum of emotional states, and yet it has to be done with restraint, appropriate for a love-starved woman who has hidden away from the world. It’s a terrific, engaging performance. Josh Brolin puts forth one of his most charismatic turns ever, and it’s easy to see how anyone would fall for his Frank, who apart from being a convict, is about as perfect a mate as one could hope for.

Despite the great performances by Winslet and Brolin, Labor Day is really too schmaltzy for its own good, resulting in a film that becomes increasingly hard to take seriously. This is particularly apparent in the final reel, where there’s such a massive confluence of unfortunate events that the film firmly detaches itself from reality (and this potentially is more the fault of Joyce Maynard than Reitman, but having never read the novel I cannot say for sure). The film also suffers from mild schizophrenia, none more apparent than the pie-making scene, which seems to draw inspiration from the (in)famous pottery sequence in Ghost, and suddenly switches modes into a cooking program. It is almost as though Reitman couldn’t decide whether to make this a thriller, a romance, a drama or a Food Network special, and so he simply threw everything into the mix (pun not intended).

Labor Day ends up being a film that would work for a very narrow audience – if you loved the Nicholas Sparks movies, there’s a good chance that you will find Labor Day to be a gem amongst the testosterone-fueled pre-Summer flicks of late. One does hope that Reitman’s next project would bring his sharp, satirical eye back into focus, and not be another rather generic, near-mawkish film like this one.      

Rating: * * ½ (out of four stars)

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Need for Speed

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Genre: Action

Director: Scott Waugh

Writers: George Gatins & John Gatins, based on the videogame series created by Electronic Arts

Cast: Aaron Paul, Dominic Cooper, Imogen Poots, Scott Mescudi, Rami Malek, Ramon Rodriguez, Harrison Gilbertson, Dakota Johnson, Stevie Ray Dallimore, Michael Keaton

Running Length: 130 minutes

Synopsis: Based on the racing video game franchise, Need For Speed follows Tobey Marshall (Aaron Paul), a blue-collar mechanic, who is set on revenge when the wealthy ex-NASCAR driver Dino Brewster (Dominic Cooper) frames him for a crime he didn’t commit. Tobey knows the only chance to take down Dino is to defeat him in the high-stakes race known as De Leon. However to get there in time, Tobey will have to run a high-octane, action-packed gauntlet that includes dodging pursuing cops coast-to-coast as well as contending with a dangerous bounty Dino has put out on his car.

Review: It’s hard to imagine turning the Need for Speed videogame franchise into a movie – the games (numbering 20 or so installments) are very light on plot and focus mainly on the driving experience. Equally surprising is the choice of cast members – instead of the usual 6-foot hunk with a chiseled body and face, and a model-esque love interest with legs that stretch out to eternity, we have the small-ish Aaron Paul and the quirky-cute Imogen Poots as the central characters. And what’s truly intriguing is that it works pretty well – although the film runs way too long, the great acting chops and charisma from Paul and Poots is what makes the film much better than one would expect. That and the visceral stuntwork with the lust-worthy supercars, of course.

It is natural that Need for Speed will be compared to the Fast & Furious franchise, but the thing about this movie that it has no pretensions of trying to be a huge blockbuster. Its release date alone is indicative of this, and yet somehow this actually aids the movie since expectations while watching it are lowered. Instead of being fast and frenetic the entire time, Scott Waugh takes it slow and allows room for a bit more storytelling and acting. And this is where the film allows both Paul and Poots to really shine – Aaron Paul is a very, very good actor (anyone who has seen the Breaking Bad series already knows this for a fact) and he brings a gravitas to his role here that is seldom seen in an action film. Imogen Poots is the highlight of the movie, really, and her Julia is the most interesting female character that I have seen in an action film for a very long time. Sure, she still has to play the hapless damsel at times, but there is enough meat on the bone for her role apart from that.

Unfortunately Need for Speed goes against its own title and sacrifices a little too much speed for exposition, resulting in a film running over two hours long, definitely exceeding the attention span that most motorheads will bring to the cinema. Although there are three major action set pieces in the film, the final De Leon showdown actually feels like an anticlimax, especially when there’s really no mistaking how it would end. What’s truly great about the driving sequences in Need for Speed, however, is how real it feels, without the obvious digital manipulation that happens in so many movies in the same genre (Fast & Furious 6 was a particularly egregious offender). This is a film that has no CGI and should be respected for that fact alone. This is probably due to Waugh’s background as a stuntman, and the film ends up feeling more organic and comes across as being more believable. It’s not a stretch to say that this is one of the better video game adaptations I’ve seen, although that may or may not be a compliment since so many movies in the same genre have been essentially crap. Need for Speed is a reasonably entertaining diversion, which is about as good as it gets.

Rating: * * ½ (out of four stars)

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Oscars 2014 – The Predictions

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It’s a rare year when every major film nominated for the Oscars reaches our shores before the Awards ceremony proper. 2014 is such a year, and I have managed to “unlock” the achievement of seeing all the movies before the big event. Also, as I am going to be a live screening of the ceremony with an Oscar pool, I am breaking past tradition by doing a full (if uneducated) list of predictions this year. It’s been quite an interesting lead up to the Oscars, with some categories a virtual lock and some still seemingly quite wide open. Without further ado, my predictions:

Best Motion Picture of the Year
Should win: 12 Years a Slave
Prediction: 12 Years a Slave

Admittedly the more popular choice would be either American Hustle or Gravity, but I am not that big a fan of the former, and whilst I was very impressed by Gravity, I don’t think it’s managed to qualify (in my books) as the best movie for the whole of 2013. 12 Years a Slave was an engrossing, hard-hitting, well-rounded movie, and hence my pick for the nod in this category. However, this is one of the most wide-open races for Best Picture in years, so an upset is certainly possible.

Best Performance by an Actor in a Leading Role

Should win: Matthew McConaughey (Dallas Buyers Club)
Prediction: Matthew McConaughey (Dallas Buyers Club)

The Academy voters love extreme weight loss and gain, so McConaughey’s shocking weight loss for Dallas Buyers Club alone would have ensured a fair number of votes. On top of that, it is honestly an excellent, career-defining performance from McConaughey, and the lead up awards seem to indicate this as a near lock for him.

Best Performance by an Actress in a Leading Role

Should win: Cate Blanchett (Blue Jasmine)
Prediction: Cate Blanchett (Blue Jasmine)

It’s a very strong category this year, with plenty of deserving performances (Emma Thompson really ought to have been nominated for her excellent performance in Saving Mr Banks though). However, Cate Blanchett is simply astounding in Blue Jasmine and it’s practically in the bag.

Best Performance by an Actor in a Supporting Role

Should win: Jared Leto (Dallas Buyers Club)
Prediction: Jared Leto (Dallas Buyers Club)

A clear frontrunner in this category, Leto’s first role in 6 years has rewarded him amply with wins in almost every single award show so far (barring the BAFTAs in which Leto was surprisingly not nominated). His performance in Dallas Buyers Club is extremely memorable, and based on thespian quality alone, actually a notch higher than that of McConaughey. The remaining nominations are honestly a mixed bag, so it would really be an upset if Leto loses out in this category.

Best Performance by an Actress in a Supporting Role

Should win: Lupita Nyong’o (12 Years a Slave)
Prediction: Lupita Nyong’o (12 Years a Slave)

Although this category has been awarded often to newcomers, it almost seems like an impossible task for Nyong’o to win out against Jennifer Lawrence, who worked so hard at delivering her performance in American Hustle that it was literally exhausting to watch. There seems to be an increasing backlash against American Hustle, and hence I’m going with Nyong’o as the dark horse winner here.

Best Achievement in Directing

Should win: Alfonso Cuaron (Gravity)
Prediction: Alfonso Cuaron (Gravity)

Given that Cuaron has won almost every award out there for his work on Gravity, this category is virtually locked. The only possible upset would be Steve McQueen, but even that seems like a remote possibility.

Best Writing, Screenplay Written Directly for the Screen

Should win: Her
Prediction: Her

I totally enjoyed Her but it is way more “out there” than the other nominees. Hopefully the Academy would recognize the brilliance of Her and give it the nod it deserves.

Best Writing, Screenplay Based on Material Previously Produced or Published

Should win: Before Midnight
Prediction: 12 Years a Slave

I have been an ardent fan of the Before… series and found Before Midnight to be hugely enjoyable. However, it has not been nominated for anything else so the chances of a win here is rather slim. 12 Years a Slave seems to be the more obvious choice, but Philomena was a delight and could be a dark horse as well.

Best Achievement in Cinematography

Should Win: Inside Llewyn Davis
Prediction: Gravity

Inside Llewyn Davis was a gorgeously shot movie but will probably suffer from lack of exposure. Gravity is an equally handsome movie and is a much higher-profile film, meaning its chances are exponentially better here.

Best Achievement in Editing

Prediction: Captain Philips

The natural choice would have been Gravity, but given that ACE awarded the win to Captain Philips, there’s a good chance this would be repeated for the Oscars.

Best Achievement in Production Design

Prediction: The Great Gatsby

If nothing else, The Great Gatsby was a sumptuous celebration in art direction (renamed production design this year) and costume design. More deserving of these two awards in my opinion than any of the other nominees.

Best Achievement in Costume Design

Prediction: The Great Gatsby

The only potential upset would be American Hustle’s daring 70s costumes, but I should think The Great Gatsby will have more of a wow factor.

Best Achievement in Makeup and Hairstyling

Prediction: Dallas Buyers Club

I honestly don’t think the Academy will have the chutzpah to give Jackass: Bad Grandpa an Oscar even if it really was the most deserving amongst the three. I don’t understand Lone Ranger’s nomination here and so it will have to default to Dallas Buyers Club.

Best Achievement in Music Written for Motion Pictures, Original Score

Prediction: Alexandre Desplat (Philomena)

This is a category that could go any of 5 ways, but given the number of nominations that Alexandre Desplat and Thomas Newman have garnered, I think it will be one of them clinching the award. Saving Mr Banks’ only nomination is here and it is thus unlikely for it to really gain any traction and win this award.

Best Achievement in Music Written for Motion Pictures, Original Song

Prediction: Let It Go (Frozen)

Let It Go has become a pop culture phenomenon and there’s clearly no other contender that even comes close.

Best Achievement in Sound Mixing

Prediction: Lone Survivor

War movies have always done well in this category and I’m guessing that will be the only reason the film stands a marginally higher chance than Gravity in this category.

Best Achievement in Sound Editing

Prediction: Gravity

I actually preferred All Is Lost but it’s unlikely to beat out Gravity, which is far more visible and should be bagging most of the technical awards.

Best Achievement in Visual Effects

Prediction: Gravity

This one is a dead lock.

Best Animated Feature Film of the Year

Prediction: Frozen

Again, nothing else comes close.

Best Foreign Language Film of the Year

Prediction: The Great Beauty

Full disclosure – I have not seen any of the five nominated films here. It seems the buzz is either for The Broken Circle Breakdown or The Great Beauty and I’ll just pick The Great Beauty as the synopsis seems more appealing.

Best Documentary Feature

Prediction: 20 Feet from Stardom

Given that the voting rules have changed this year for the category, The Act of Killing would probably lose out to the much more feel-good documentary about backup singers.

Best Documentary Short Subject

Prediction: The Lady in Number 6: Music saved My Life

Best Animated Short Film

Prediction: Get a Horse!

It’s a new Mickey cartoon and very enjoyable (and innovative) – I don’t think the rest of the nominees would be able to take that combination down.

Best Live Action Short Film

Prediction: The Voorman Problem

It’s the only English-speaking film in the category plus it stars Morgan Freeman, so on a very superficial level this should likely be the winner.

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Anchorman 2: The Legend Continues

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Genre: Comedy

Director: Adam McKay

Writers: Will Ferrell & Adam McKay

Cast: Will Ferrell, Paul Rudd, Steve Carrell, David Koechner, Christina Applegate, Meagan Good, Dylan Baker, James Marsden, Greg Kinnear, Kristen Wiig

Running Length: 119 minutes

Synopsis: With the 70’s behind him, San Diego’s top rated newsman, Ron Burgundy (Will Ferrell), returns to the news desk in “Anchorman 2: The Legend Continues.” Also back for more are Ron’s co-anchor and wife, Veronica Corningstone (Christina Applegate), weather man Brick Tamland (Steve Carell), man on the street Brian Fontana (Paul Rudd) and sports guy Champ Kind (David Koechner) – all of whom won’t make it easy to stay classy… while taking the nation’s first 24-hour news channel by storm.

Review: It is now undeniable that the original Anchorman (way back in 2004) has become a cult classic, chock-full of quotable quotes and finding an extended life in home video. The fact that it took almost ten years for the sequel to be made means that there’s a fair bit of pent-up demand for the movie (myself included, being a fan of the first installment). Although Anchorman 2 remains a very entertaining movie, there are more misses this time round, and an overly long running time means that Ron Burgundy and crew nearly outstay their welcome.

No one who willingly enters a theatre to watch Anchorman 2 would be surprised by what the film has to offer – essentially it’s more of the same, and that’s mostly a good thing. There are some side-splittingly hilarious sequences in the film, and much like the first movie there are some truly unfunny skits as well. The biggest problem Anchorman 2 presents, however, is that it’s running at almost two hours, and the places where the film falls flat feels much longer (and more painful) this time round.

It’s clear that Will Ferrell had employed his clout in Hollywood to amass a truly impressive list of cameos in Anchorman 2, albeit mostly contained in the finale which is a retread of a scene in the first Anchorman (and honestly, it was better the first time). Set in the early 80s, the film boasts an excellent retro soundtrack that would be instantly familiar to anyone acquainted with the period. Attention to detail also seems pretty spot on, and thus the film not only hits the funny bone but also plays into a nostalgia factor.

Amidst all the tomfoolery, the film actually makes a pretty astute comment about broadcast news that remains valid to this day. It’s not all low brow and juvenile humour, but the same can be said of the original Anchorman so it’s really not that surprising. However, the true intent of Anchorman 2 is clear: to strive to be a funny movie. Even though it’s not a great movie, it does manage to deliver a good number of laughs. And ultimately, that’s all it really needs to do to get a pass.

Rating: * * ½ (out of four stars)

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Dallas Buyers Club

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Genre: Drama

Director: Jean-Marc Vallee

Writers: Craig Borten & Melisa Wallack

Cast: Matthew McConaughey, Jared Leto, Jennifer Garner

Running Length: 118 minutes

Synopsis: Matthew McConaughey stars in Dallas Buyers Club as real-life Texas cowboy Ron Woodroof, whose free-wheeling life was overturned in 1985 when he was diagnosed as HIV-positive and given 30 days to live. These were the early days of the AIDS epidemic, and the U.S. was divided over how to combat the virus. Ron, now shunned and ostracized by many of his old friends, and bereft of government-approved effective medicines, decided to take matters in his own hands, tracking down alternative treatments from all over the world by means both legal and illegal. Bypassing the establishment, the entrepreneurial Woodroof joined forces with an unlikely band of renegades and outcasts – who he once would have shunned – and established a hugely successful “buyers’ club.” Their shared struggle for dignity and acceptance is a uniquely American story of the transformative power of resilience.

Review: There really are only two reasons to watch Dallas Buyers Club – Matthew McConaughey and Jared Leto. Yes, the “based on a true story” account of Ron Woodroof is a somewhat interesting movie, but without the amazing performances from the two leads, the movie would probably have felt much more generic. It’s not a stretch to say that McConaughey in particular carries the movie on his shoulders throughout, and it’s no surprise that he’s the frontrunner for the awards race this year.

McConaughey’s last appearance on the big screen (for most cinemagoers) would have been Magic Mike in 2012, and in Dallas Buyers Club he is a literal shadow of the muscled male stripper portrayed previously. McConaughey lost more than 40 pounds to play Woodroof, but it isn’t simply the weight loss that impresses – this is bar none his best performance in his entire career, a nuanced, ferocious and at times truly moving portrayal of a man stricken with what was then seen as a terminal illness.

Then there’s Jared Leto, who has taken an extended break from the big screen for a number of years to focus on his singing career with 30 Seconds to Mars. Yet he seems to have not lost his previous thespian form, and in his portrayal of the emotionally vulnerable transgender Rayon, we have a wonderful foil to McConaughey’s Woodroof. The movie’s most enjoyable moments are the interactions between the two, and the gradual shift in the dynamics of their relationship convinces because of the excellent chemistry between the two. These are transcendent performances, projecting the film into a whole different league on their own.

Perhaps understanding that this is a performance-driven movie, Jean-Marc Vallee displays very little flair at the helm of the film, and it unfolds pretty much as a straight biopic. There are interesting elements to the plot, especially the protracted “battle” that Woodroof and the FDA engage in, but it does seem to somewhat underplay the paranoia and difficulties that surrounded HIV positive patients in that era. Woodroof’s overcoming immense odds to triumph (somewhat) holds a universal appeal, however, and although the subject matter may not be all that popular with cinemagoers, anyone who’s willing to pay the price of admission will likely find themselves with a rewarding cinematic experience.

Rating: * * * (out of four stars)

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The Hobbit: The Desolation of Smaug

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Genre: Fantasy

Director: Peter Jackson

Writers: Fran Walsh, Philippa Boyens, Peter Jackson & Guillermo del Toro, based on the novel “The Hobbit” by J. R. R. Tolkien

Cast: Martin Freeman, Ian McKellan, Richard Armitage, Luke Evans, Orlando Bloom, Evangeline Lilly, Lee Pace, Stephen Fry, Benedict Cumberbatch (voice)

Running Length: 161 minutes

Synopsis: The Hobbit: The Desolation of Smaug continues the adventure of the title character Bilbo Baggins (Martin Freeman) as he journeys with the Wizard Gandalf (Ian McKellen) and thirteen Dwarves, led by Thorin Oakenshield (Richard Armitage), on an epic quest to reclaim the Lonely Mountain and the lost Dwarf Kingdom of Erebor. Having survived the beginning of their unexpected journey, the Company continues East, encountering along the way the skin-changer Beorn and a swarm of giant Spiders in the treacherous forest of Mirkwood. After escaping capture by the dangerous Wood-elves, the Dwarves journey to Lake-town, and finally to the Lonely Mountain itself, where they must face the greatest danger of all—a creature more terrifying than any other; one which will test not only the depth of their courage but the limits of their friendship and the wisdom of the journey itself—the Dragon Smaug (Benedict Cumberbatch).

Review: Peter Jackson is in an enviable position – the first Hobbit movie, An Unexpected Journey, had already clocked more than a billion dollars in revenue, effectively paying for the entire franchise. Any box office takings for Desolation of Smaug and There and Back Again is pure icing on the cake. Perhaps if this was anticipated beforehand, there wouldn’t have been a need to draw out the film adaptation into three installments instead of the originally-planned two, because although The Desolation of Smaug is better than An Unexpected Journey, what cannot be denied is that there is a massive amount of bloat in the franchise, which is even more apparent in this second outing.

Instead of being true to the novel, what Peter Jackson has done is to use the source as an outline for the movie. In fact, half or more of The Desolation of Smaug is not found in the novel, with entire sequences and characters being crafted from the collective imaginations of the writing team and from the notes of Tolkien himself. Splitting such a short book into three three-hour excursions has necessitated this, and plot wise The Desolation of Smaug is about as spare as it can get. It’s a telltale sign when the most interesting and well-developed character is Tauriel (Evangeline Lilly), who is not even part of the novel, and the remainder dwarves are still as featureless and unmemorable as before, excepting Kili (Aidan Turner), who is really only made interesting because of his involvement with Tauriel. The ostensible leads of Gandalf, Bilbo and Thorin are stagnant in terms of character development, and the actual plot development is minimal – in fact, one can simply sit through just the final 30 minutes of The Desolation of Smaug and be completely up to speed with the plot leading into There and Back Again.

That is not to say that The Desolation of Smaug is a bad film by any measure. Peter Jackson showcases his mastery in action sequences, and there are a number of action set pieces that are extremely well done in the film, particularly the water barrel sequence involving Legolas (Orlando Bloom, who unfortunately looks older despite playing a younger version of Legolas) and the showdown with giant spiders. The visuals presented in Jackson’s vision of Middle-Earth is as stunning as ever (I’m still undecided on whether HFR is a good or bad thing, however), and Smaug, finally unveiled in his full glory, is a marvel of CG imagery.

However, there are just as many segments in the film that drag, particularly the hour between the water barrels and Smaug’s appearance, and only the most ardent fans or tolerant moviegoers would not feel some sort of impatience at the plodding pace. And of course, it then ends abruptly, giving no resolution to the storyline till the next installment in December 2014. While most people would have had some inkling of the plot progression and the series’ conclusion, the lack of a conclusion of any sort may still frustrate some audience members.

Perhaps the biggest problem with The Hobbit franchise is the impossibly high standard that Peter Jackson and crew had set with Lord of the Rings. While The Hobbit bears a resemblance to that franchise, it is plagued with problems that the three Lord of the Rings movies did not face, particularly the paucity of the source material and the desperate attempts to pad out the films to justify a trilogy. Somewhere beneath the bloat is an excellent movie (or two, at most), and one hopes that instead of a further extended edition heading to home video, that Jackson and team would be able to produce an abridged version that will distil the films into a more refined whole.

Rating: * * * (out of four stars)

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The Hunger Games: Catching Fire

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Genre: Sci-Fi / Adventure

Director: Francis Lawrence

Writers: Simon Beaufoy and Michael Arndt, based on the novel by Suzanne Collins

Cast: Jennifer Lawrence, Josh Hutcherson, Sam Claflin, Woody Harrelson, Donald Sutherland, Liam Hemsworth, Jena Malone, Philip Seymour Hoffman, Jeffrey Wright, Elizabeth Banks

Running Length: 146 minutes

Synopsis: Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson) become targets of the Capitol after their victory in the 74th Hunger Games sparks a rebellion in the Districts of Panem.

Review: Being the middle installment of any book or movie franchise poses a unique problem – there’s no start and end to the story, and many audience members will leave the cinema feeling dissatisfied at the lack of a denouement. This is the case for Catching Fire, the follow up to last year’s box office blockbuster The Hunger Games (although now that they are splitting up Mockingjay into two films, Catching Fire doesn’t exactly sit right in the middle any more), but it’s very interesting to see where the film has brought the franchise to. It’s a much darker, broodier movie, and sets the tone for the even bleaker events unfolding in Mockingjay.

Armed with a much larger budget ($130 million versus the first film’s $78 million) and a new director who cut his teeth on music videos before moving to film, it’s almost a given that Catching Fire will be the handsomer movie. Coupled with impressive performances all round, particularly that of Jennifer Lawrence’s, and the compelling screenplay, it’s readily apparent that as the title suggests, the box office for the film would be quite fiery indeed. Catching Fire belongs to a rare breed of page-to-screen movies which would please both fans and non-fans alike.

A caveat – it is essential to have prior knowledge of The Hunger Games (whether in novel form or from the first movie) because Catching Fire jumps right into the narrative without any preamble. Anyone not initiated in any way before watching the movie would certainly find it hard to navigate around the multi-layered plot (masterfully put together by lauded scribes Simon Beaufoy and Michael Arndt) and figure out exactly what is going on. This is not a film that will be coherent on its own.

However, anyone who is already familiar with the Hunger Games backstory would find that Catching Fire has managed to elevate the franchise to way beyond a mere film catered for young adults (yes, Twilight, I’m looking at you). Yes, there’s a pseudo love triangle, and yes there are the occasional moments that lapse into pouty teen movie territory, but thankfully these are few and far between. Catching Fire is a somber movie dealing with rather adult themes, and even the Hunger Games itself is a more joyless event this time round – it’s clear that no matter who survives the Games, the victory will be a pyrrhic one. The film also concludes on a grim note, almost identical to how the Catching Fire novel ended.

Jennifer Lawrence reprises her role as Katniss Everdeen, and once again proves that she is definitely one of the best young actresses of our time. Katniss has been emotionally damaged after the conclusion of the first Hunger Games, and Jennifer Lawrence manages to flesh the character out further along this line. She manages to craft a tangible, strongly identifiable character out of Katniss, and commands the full attention of the audience whenever she appears.

The rest of the ensemble cast are very capable as well, particularly Woody Harrelson and Donald Sutherland, who both shine in the small number of scenes they have. The male heartthrobs Josh Hutcherson and Liam Hemsworth are the weakest links in the movie, but that may have been a construct of the script rather than due to a lack of thespian skills.

Costume design and art direction is superlative in Catching Fire – the costumes in particular are stunning, well worthy of many nominations (and potentially, wins) in the upcoming awards season. The increased budget also shows in the set design and effects, especially during the Quarter Quell itself.

Catching Fire is a complete package, even though the storyline isn’t – it boasts everything that the original Hunger Games has, and ups the ante in almost every way possible. The film has set the tone for the franchise, and it is now with great anticipation that I await the next two films in 2014 and 2015 to conclude the franchise.

Rating: * * * ½ (out of four stars)

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Perfect Mothers

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Genre: Drama

Director: Anne Fontaine

Writer: Christopher Hampton, based on “The Grandmothers” by Doris Lessing

Cast: Naomi Watts, Robin Wright, Ben Mendelsohn, Xavier Samuel, James Frecheville

Running Length: 111 minutes

Synopsis: A pair of childhood friends and neighbours falls for each other’s sons.

Review: Perfect Mothers is one of those movies with a pretty high “ick factor” – after all, it is about two lifelong female friends who fall for each other’s sons, which almost toes the lines of incest. However, viewers who can see beyond this point will find a movie that has strong visuals, is relatively well directed (although the film would have worked better with a tighter edit) and boasts some very strong central performances, particularly that of Robin Wright. It may not be everyone’s cup of tea, but at the very least it’s a beautiful movie to look at.

French director Anne Fontaine chose to film Perfect Mothers in Australia, and the cinematography is lush and sun-drenched, with an almost dreamy quality that at times seems at odds with the more serious tone of the screenplay. There are plenty of beach scenes – perhaps a little too many – and plenty of bare skin for audiences to ogle at. Although based on a novella named “The Grandmothers” (by the late Doris Lessing), both Robin Wright and Naomi Watts are simply a little too shapely and youthful to convince as grandmothers, more like women coping with a mid-life crisis.

However, what cannot be denied is that there are some very good performances to be found in the film. While Naomi Watts is given the somewhat flashier role (which she performs capably in), Robin Wright is the one that truly stands out with her restrained performance, perfectly nailing the vulnerabilities of her character without having to resort to theatrics. For the younger set, Xavier Samuel also puts in an excellent job as Lil’s son, wounded repeatedly by those he loves the most, and bridling with a silent rage that seems to intensify as the movie progresses.

 It’s tempting to dismiss Perfect Mothers outright simply because it deals with quite a taboo subject – is it right to lust after your friend’s son (and vice-versa)? It is definitely true that the film can’t really hit the right note in handling the subject matter, at times being overly melodramatic, and at other times coming off as being a little too flippant about the whole thing. There is more than a handful of unintentionally funny sequences, and given how serious the screenplay seems to want to be, very jarring and damaging to the tone of the movie. However, credit has to be given that at least Anne Fontaine managed to craft a decent film out of the subject matter – in less capable hands this may very well have come off as a much worse movie.

 Rating: * * ½ (out of four stars)

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Tom Yum Goong 2

Genre: Action

Director: Prachya Pinkaew

Writer: Prachya Pinkaew

Cast: Tony Jaa, Petchai Wongkamlao, Jeeja Yanin, Marrese Crump, RZA

Running Length: 105 minutes

Synopsis: Kham (Tony Jaa) has once again been separated from his pet elephant, and Kham must fight anyone in his way to be reunited with his pet.

Review:  There’s no denying that Tony Jaa is a bonafide action star, successfully breaking into Hollywood and slated to appear next in Fast and Furious 7. However, he is best known for his kick-assery in the Ong Bak and Tom Yum Goong movies, and in Tom Yum Goong 2 he continues to show why he’s probably one of the best martial artists/actors of our time. Unfortunately, that does not make Tom Yum Goong 2 (henceforth known as TYG2) a good movie, and the film comes off as being barely (just barely) passable, plagued with issues like bad acting, dodgy CGI, questionable plot lines and a complete disregard for the laws of physics (and common sense). The only saving grace are the fight sequences, and even some of these come off being poorly edited and choreographed. Although the viewing I was at wasn’t a 3D screening, it was clear even in 2D that the third dimension is just a cheesy gimmick. Even with tempered expectations, TYG2 just can’t warrant a recommendation, except for the most hardcore fans of Tony Jaa or Jeeja Yanin.

One wouldn’t expect the plot of a show like TYG2 to be complicated, but there are so many plot threads running amok that it just all becomes a rather convoluted mess. Characters are simply forgotten along the way, and Jeeja’s character and storyline in particular feel like throwaways. Even the action sequences are somewhat questionable in their execution, none more so than a protracted scene involving motorcycles and some truly heinous green screen work. The film also seems to be subject to particularly overzealous but substandard sound work – there were scenes where it was painfully clear too much celery was being crunched in post production. Don’t even get me started on the scene where a fight is conducted on a electrified railway track, where Tony Jaa and Marrese Gump both sound like they are wielding Star Wars lightsabers. If it is intended humor that the director was going for, then he has definitely raised the bar. 

Unlike the original TYG which really showcased the martial arts prowess of the actors, there seems to be an over reliance on CG in TYG2, with quite a number of scenes shot too close and edited way too rapidly. This wouldn’t be so glaring if the CG was done well, but it is painfully obvious when green screen work is done, which is jarring and does not serve the suspension of disbelief well at all. There are still some rather hard-hitting and well choreographed fight scenes despite this, so it’s not a total wash. Unfortunately, instead of showcasing near-impossible martial arts moves like before, TYG2 showcases impossible moves, for example a truly ridiculous scene that involves what seems like fire retardant shoes and flame kicks. It’s a waste really, that Tony Jaa’s body of work in Thai would end (for now at least) on such a lackluster note, but hopefully his Hollywood foray would prove to be more fruitful.

Rating: * ½ (out of four stars)

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Thor: The Dark World

Genre: Action

Director: Alan Taylor

Writers: Screenplay by Christopher L. Yost, Christopher Markus and Stephen McFeely, story by Don Payne and Robert Rodat, based on the comic book series by Stan Lee, Larry Lieber and Jack Kirby

Cast: Chris Hemsworth, Natalie Portman, Tom Hiddleston, Christopher Eccleston, Anthony Hopkins, Stellan Skarsgard

Running Length: 120 minutes

Synopsis: Thor: The Dark World continues the big-screen adventures of Thor, the Mighty Avenger (Chris Hemsworth), as he battles to save Earth and all the Nine Realms from a shadowy enemy that predates the universe itself.  In the aftermath of Thor and Marvel’s The Avengers, Thor fights to restore order across the cosmos…but an ancient race led by the vengeful Malekith (Christopher Eccleston) returns to plunge the universe back into darkness.  Faced with an enemy that even Odin and Asgard cannot withstand, Thor must embark on his most perilous and personal journey yet, one that will reunite him with Jane Foster (Natalie Portman) and force him to sacrifice everything to save us all.

Review: It now seems par for the course for superhero movie sequels to outdo their predecessors, but this is particularly surprising for Thor: The Dark World, because the first Thor had already set the bar pretty high. Throw in the fact that the villain (Malekith the Dark Elf) is so bland and spectacularly unmemorable in this outing, it almost seems like an impossible task. However, director Alan Taylor (probably best known for his work on Game of Thrones) manages to deftly balance action, drama and humour, and coupled with a brilliant performance by Tom Hiddleston, manages to one-up the original Thor. While Marvel fans are still going to be getting the most out of the movie, Thor: The Dark World is a definite crowd-pleaser and is destined to do well at the box office.

Although Chris Hemsworth has loads of charisma and the physicality to pull off playing Thor (for those interested, there is a gratuitous “money shot” of Hemsworth’s muscled torso, much like every other movie he’s been in), he is outclassed by Tom Hiddleston’s Loki, who not only gets the best lines in the movie but gets the delivery spot-on. Hemsworth and Hiddleston share a great onscreen chemistry, and the best scenes in Thor: The Dark World are when Loki and Thor team up against their common enemy. The only downside is that the pairing only takes place about an hour into the film, when more Thor-Loki interaction would probably have further improved the movie.

One of the few nits to pick with Thor: The Dark World would be that of the romantic angle. While it’s almost necessary to include a love interest to tone down the testosterone (and perhaps the bro-mance), Natalie Portman sadly proves once again to be the weakest link in the movie, as despite an expanded role, her performance is rather vapid and at odds with her earlier body of work. There exists very little chemistry between Jane Foster and Thor, and though the movie wisely chooses not to focus too much on the romantic subplot, what’s been left in still does not convince.

Although Thor: The Dark World has a somewhat iffy storyline, it is near flawless on a technical level. The CGI looks stunning throughout, and the set design and art direction (especially for Asgard) are incredible. Perhaps the Dark Knight trilogy has led some viewers to expect a dark, gritty look for superhero movies, but Thor happily takes it to the other end of the spectrum, featuring bright, beautiful, ornate sets and costumes for much of the movie (3D is not necessary to enjoy this movie – it did not add much to the proceedings at all). Action sequences are off-the-wall in their choreography, and although the amount of junk science is nothing short of spectacular, Thor: The Dark World is so frenetically paced that one would barely have the chance to think about the way they trashed physics and logic in this film (the denouement is particularly guilty of this).

With an unending number of Marvel superhero movies coming and having gone our way (2014 alone will bring to the table Captain America: The Winter Soldier, The Amazing Spiderman 2, X-Men: Days of Future Past, and Guardians of the Galaxy), it’s getting increasingly difficult to feel enthused about each movie. Thor: The Dark World manages to impress, more so than Iron Man 3, though one does feel some form of superhero fatigue setting in. Remember to stay for the end credits codas, the first one alluding to an upcoming Marvel Studios movie in 2014, and the second one, at the very end of the credits crawl, is at least good for a laugh but largely inconsequential.

Rating: * * * ½ (out of four stars)

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