Dec 16 2012

NEW JJ ABRAMS Speaks on “STAR TREK INTO DARKNESS” 3D Conversion – #StarTrek #JJAbrams

I saw “The Hobbit” again last night and i have to admit, the IMAX 3D version is spectacular. 9 minutes wasn’t enough for a exclusive preview.

JJ Abrams now speaks out about the 3D version and how at first he was against the 3D and how fun it was, and converting 3D using IMAX can be read below:

“3D was something that, frankly, I was not a big fan of to begin with. Essentially in order for us to make this movie, the studio said ‘You gotta do this in 3D’. So we said, well, we can do a 2D version that we love that can also be converted to 3D,”

“And the truth is that I’ve actually been having a lot of fun with it.”
“We have an amazing amount of creative freedom, doing the 3D in post[-production]. This is kind of the myth, that it only looks good if you shoot the movie in 3D, which is completely not true. In fact, we’re doing a bunch of things with the 3D in this movie that have not been done before, using techniques that have not been seen. All the exterior shots, including the shots in space, are all either shot or rendered in IMAX format. It’s the first time a movie has been shot in IMAX to this scale and converted to 3D.”

Star Trek Into Darkness hits theaters May 17th 2013.

Dec 4 2012

NEW CRITICS RESPOND: “THE HOBBIT: AN UNEXPECTED JOURNEY” #TheHobbit #PeterJackson #HFR3D

The critics have finally responded to the film and its kinda rough in some places but its overall good.
boxoffice.com

What the 48 frame-per-second projection actually means is flat lighting, a plastic-y look, and, worst of all, a strange sped-up effect that makes perfectly normal actions—say, Martin Freeman’s Bilbo Baggins placing a napkin on his lap—look like meth-head hallucinations. Jackson seems enamored of 48 fps, but I can’t imagine why. To me, it turned the film into a 166-minute long projectionist’s error. I wanted to ask the projectionist to double-check the equipment, but really, I should just ask Jackson why he wanted his $270 million blockbuster to look like a TV movie.

That’s not the only challenge faced by The Hobbit, Jackson’s adaptation of J.R.R. Tolkien’s 1937 novel of fantasy and adventure. It’s the problem of prequels. Like what George Lucas bore when he returned to Star Wars for The Phantom Menace, the audience, the expectations and filmmaking itself have matured but the storytelling is more juvenile.

And where the Rings trilogy had weight, The Hobbit is all wigs and slapstick and head-lopping violence unsuitable for children—who are the only audience who won’t be bored to tears.

screencrush.com

– When people run, they look like they are on the ‘Benny Hill Show.’

– Fire looks weird. This doesn’t matter too much when it is just a burning hearth, but when it is dragonbreath or hurled, flaming weapons, it is a problem. As a result, a moment that should read as triumph ultimately comes across as goofy. It looks so strange and unusual (as do many of the special effects) that it looks somewhat. . .cheap.

– Anything shot in daylight looks like a BBC production from the 1970s. The movement is too smooth. And yet, when the camera movies, too, it looks somewhat jerky.

People interested in tech should see ‘An Unexpected Journey’ in 48fps (which is being marketing as HFR 3D). People just looking to see a great movie should just see it in 24. Of course, anyone looking for a great movie will be disappointed. ‘The Hobbit: An Unexpected Journey,’ despite its many gimmicks, is just an okay movie.

hitfix.com

Throughout the entire film, there was a strange Benny Hill quality to sequences, with things that appeared to be sped up. It happened in both dialogue and action sequences, and the overall effect was like watching the most beautifully mastered Blu-ray ever played at 1.5x speed. It doesn’t make any sense to me that this process, which is supposedly all about clarity and resolution, would create that hyper-speedy quality unless they were doing something wrong in the projection of it. Peter Jackson would see this immediately. The voices are off-pitch, and the pacing of scenes goes to hell when it’s played this way.

There are several returning artists on the film, like Ian McKellen and Howard Shore and Andrew Lesnie, whose work is every bit as good as it was before, and I think for the most part, “Lord Of The Rings” fans are going to feel like this is a welcome return to MIddle Earth. But there are enough uneven qualities this time around that i find myself astonished by the letter grade (B) I’m assigning thefilm. My hope is that the three films taken together will work better than this one does on its own, and that the pacing issues are not going to be ongoing as the series continues.

slashfilm.com

“Again and again” is also the film’s biggest issue. On a consistent basis, it’s almost as if Jackson forgets he has two more films to release and is forced to pump the brakes. Tangents pop out of nowhere, dialogue scenes are stretched into infinity, and a familiar structure of capture followed by rousing escape, is consistently repeated. Much of the film feels like it’s purposely attempting to stall the dwarves’ quest from progressing.

Overall The Hobbit: An Unexpected Journey is a lot of fun. Fans of Jackson, Tolkien and the Lord of the Rings films will enjoy it. However, it’s long and uneven, which keeps it from reaching the heights of Jackson’s first three Middle-Earth films.

ign.com

As for the movie’s “real” characters, this is Freeman, McKellen, and Armitage’s show and they don’t disappoint. Freeman is wonderful as Bilbo, even if he can’t quite single-handedly out-charm the original trilogy’s Fab Four of hobbits. Still, Freeman brings a warmth, wit, and, well, a humanity to the whole affair. McKellen is as regal and coy as ever as Gandalf, while Armitage adeptly captures the bitterness and drive of the rather cold fish that is Thorin, portrayed here as much younger than he’s traditionally been depicted.

The Hobbit: An Unexpected Journey almost attains greatness yet despite so many moments of epic fun, greatness remains just out of its reach. This is a very good and entertaining movie even if it never quite recaptures the wonder or mystique of the Lord of the Rings trilogy. Flaws and all, though, it was just nice to be back in Middle-earth again.

indiewire.com

At almost three hours, Peter Jackson’s fourth foray into the world of J.R.R. Tolkien, “The Hobbit: An Unexpected Journey,” is initially worrisome and typically self-indulgent. An extremely jarring 48 fps look — which looks like an odd “Masterpiece Theater” in HD — is unsettling and the opening is slow-going and tepidly genteel, taking its time with two prologues, one that includes an aged Bilbo Baggins (Ian Holmes) and Frodo Baggins (Elijah Wood). And while “The Lord Of The Rings” films always sported a jovial and light-hearted tone, ‘The Hobbit’ (set some 60 years before the events of ‘LOTR’) ratchets up the goofiness to a near unfortunate level (yes, the source material is more of a kids’ book, but even this is a little much).

While it will be too formulaic and familiar to some (and certainly non-fans won’t be won over), ‘The Hobbit’ is another grand achievement from director Peter Jackson. While this distended picture threatens to buckle under the weight of its own self-importantance, Peter Jackson clearly believes he’s earned the right to preamble and make nearly three hour long tent poles each time out of the gate. And the last two acts of ‘The Hobbit’ are simply a non-stop action-adventure rollercoaster that is just as engaging and winning as anything in the director’s previous trilogy.

hollywoodreporter.com

Spending nearly three hours of screen time to visually represent every comma, period and semicolon in the first six chapters of the perennially popular 19-chapter book, Jackson and his colleagues have created a purist’s delight, something the millions of die-hard fans of his Lord of the Rings trilogy will gorge upon. In pure movie terms, however, it’s also a bit of a slog, with an inordinate amount of exposition and lack of strong forward movement.

It takes Jackson a long time to build up a head of steam, but he delivers the goods in this final stretch, which is paralleled by the hitherto ineffectual Bilbo beginning to come into his own as a character. One of Tolkien’s shrewdest strategies in writing The Hobbit and designing it to appeal to both youngsters and adults over the decades was making Bilbo a childlike grown-up who matures and assumes responsibilities he initially perceives are beyond him. Freeman, who at first seems bland in the role, similarly grows into the part, giving hope that the character will continue to blossom in the two forthcoming installments.

collider.com

The greatest achievement of The Hobbit: An Unexpected Journey, is how well it ties in with the Lord of the Rings trilogy, much better than, say, the original Star Wars films and their prequels, which are widely-considered to be inferior. As we recently discussed in our Star Wars podcast, watching the films in episode order is not only visually jarring, it ruins the dramatic tension of the whole arc. At first blush, The Hobbit: An Unexpected Journey appears to avoid this pitfall. The film is set up in such a way that new viewers are briefly introduced to Bilbo and Frodo, but regard them only as an old storyteller and his nephew, nothing more.

The Hobbit: An Unexpected Journey has set a high bar for the next two installments, but if the Lord of the Rings trilogy is any indication, I fully believe that bar will be surpassed. Moving forward, I’d like to see the films become a bit more serious, especially since Bilbo is now in possession of a certain ring and all the grave consequences that portends. It would also be a more gradual transition into the Lord of the Rings trilogy and would allow new fans to mature along with the entire six-film arc, much like the Harry Potter films so expertly achieved.

Jul 21 2012

Gallery

NEW “MRMOVIEMAN” SPOILER FREE REVIEW of “THE DARK KNIGHT RISES” #TDKR

Im just gonna keep this short and sweet, because if i don’t I will ruin the whole movie. Christopher Nolan has turned “The Batman” series from a comic book hero to a legend that will be remembered forever. On 12:01 … Continue reading →

Jul 12 2012

NEW COMIC-CON 2012: FIRST CRITIC REACTIONS to “DREDD 3D” #SDCC

Check out some of the reactions, coming from numerous sites such as/Film (Peter Sciretta), Collider (Steven Weintraub), AMC Theaters (John Campea), and many others right below…

Additionally, here’s the longer version of Empire‘s reaction toward the movie.

We’re delighted to say that it’s a solid, often excellent adaptation, and not at all Dreddful. (Sorry, had to do it.) Karl Urban is excellent as the grizzled gunslinger (and yes, the helmet stays on throughout, which will please fans of the comic no end), growling his lines like a man who’s just gritted his driveway using only his teeth, and the ultra-violence (which, in a way, may please fans while damaging its commercial chances) is presented stylishly. It has problems – it’s bound to suffer comparisons to The Raid, with which it shares a basic plot, but has little of the invention or pulsating pace of that movie’s fight scenes. It has a significantly smaller budget than the rest of this year’s comic book movie crop, and at times it shows. But it’s worth seeing for Urban alone, who erases any memories of the awful Sly Stallone vehicle from 1995.

UPDATE: Yet another lengthy reaction has made its way online, this time coming from Total Film. Check it out right below…

Despite rumours of rifts during production, Garland and Travis have created a horribly gorgeous vision of dystopian future where monolithic housing towers are run by criminal gangs – and policing is undertaken by judge/jury/execution officers, Judges. Urban certainly has the downturned mouth and super-cool, gravelly delivery to pull off Dredd’s nonchalance but he’s aided by Garland’s smart, fast script, a relentless flow of Rorschach Test blood sprays from bone-shattering brutality, eye-poppingly beautiful 3D visuals and peppy banter with Thirlby. The body count is high, the humour grim and the violence stylishly graphic and reminiscent of Sin City (scenes involving a drug called Slo-Mo are visually intoxicating).

Jul 7 2012

NEW CRITIC’S RESPOND to “THE DARK KNIGHT RISES” #TDKR #WB

Geoff Boucher ‏@LATherocomplex
@KnightGambit I think it’s better in some ways. The last 15mins are just unbelievable

@KnightGambit No spoilers coming from me about anything

OFFICIAL WRITE-UP FROM THESHAPE!!!

Here we go. Before I start, I can’t handle the questions. I’m not answering them. I’m not spoiling the movie for anyone. No PMs with spoilers.

Having said that, HOLY MOLEY DEPUTY COMMISSIONER FOLEY, this is a great film. It’s not a summer blockbuster by any means, and yet, it totally is (if that makes sense). The biggest question everyone asks: “is it better than TDK?” and I’ll answer that by saying it’s really different. Everything’s different. The characters are different (even Bruce at first), the tone is different, and the story is different. But everything is BIGGER and, in my eyes, better. I love the Joker as much as anyone else (my favorite villain in any medium) but Bane’s plan is more creative, better executed, and a little more fun to watch as it all unfold.

I also don’t want to get into story specifics because there’s really no need, but listen…if you’ve followed this forum like I have and read most of the “spoilers” over the past few months, I can tell you that many of us have guessed correctly on many of the various story tidbits that have come our way. Still, that doesn’t make this film any less exciting to watch and there are PLENTY of surprises still in store (scenes, moments, plot points). I beg you all: DON’T READ SPOILER REVIEWS. You’re all so close! Why would you want to read specific quotations and the fates of characters and the film’s ending? I’ll never understand that.

right from the start, I noticed that Bane’s dialogue had either been boosted up or re-dubbed (some lines seemed a little different). And there was no problem hearing him through the rest of the film, maybe one or two lines I missed. Overall, though, Gordon is the person I had the most trouble making out a times, and I also had this problem during TDK in theaters.

All of the actors are at the top of the game. Anne Hathaway completely blew me away, and this is coming from a guy who really isn’t a fan of any of her other movies. She has her own little musical theme and represents many of the film’s most comic-booky moments. I practically fell head over heels in love with her during the film. Selina’s motivation during the first half of the film is a little lame, but she plays an intricate role in the entire film and it wouldn’t be the same without her. The dynamic between her and Batman is wayyyy better and more fleshed out than it was in Batman Returns, mainly because Selina is a much more believable character and more like her comic book counterpart.

Other quick things: The Bane>Batman beatdown that we all know is coming completely blew me away, more than I thought it would. There’s no music backing this scene at all, which makes it all the more powerful.

I LOVE the way Batman fights in this film whenever he does. When he fights, he roars and screams with anger and range, especially when he faces Bane. I also think his suit looks 100x better than it did in TDK for some reason.

The music was incredible, as we all knew it would be. Can’t even begin to explain this to you but the final minutes had me in tears.

I really liked Blake’s character. Not spoiling anything about him, but he is strongly tied into the story and has interactions with pretty much all the major characters. He will certainly represent one of the biggest talking points about the film…and no, his name is not Dick Grayson.

Tom McAuliffe – “9 out of 10 for me. I’d put Amazing Spider-Man at a 7.5 and Avengers at an 8.5”

In reaction to who had the best moments – TomMcAuliffe – “Bane for sure.”

“The trilogy is greater than the sum of its parts, and for me the 3rd was the very best part of the whole story. Dark knight is a classic in its own right – it stands alone, but in this trilogy, and as a closer, this film exceeds. It’s an ending that presents opportunity for thought for sure. Risky/tough story well told, brilliantly acted, great cinematography, awesome score.”

“To your original question – there are things I criticize in every film, but this one measures high on many measures. There will be some surprises but not big ones, the beauty of the film is how well it tells the story. Tom Hardy was incredible as Bane, the storyline was fantastic. I think the Joker is far more iconic than Bane, with more memorable quotes, but this story was great, including Bane’s origin. Godfather 3 never happened. Xmen 3 & Spider-Man 3 were awful, this film was the perfect final chapter in the trilogy.”

As far as audience reaction, there were only 40-50 ppl in attendance (mostly critics), but there was applause and I leaned over and shook Michael Uslan’s hand and congratulated him when his name appeared in the credits. I, myself, cried twice…once out of sadness and once out of pure geeky uncontrollable happiness. – DKRSHH

The Description Below Features MILD SPOILERS!

SHH’s KnightOfTheFall – Bane, whilst nowhere near as impressive as Joker, was an excellent choice for a bad guy. This guy is pure malevolence. There is a particularly violent moment which involves bane and a poor wall street dude. It’s something all parents need to be aware of before taking kids. Selina was great and Hathaway nailed the character and made her own interpretation but there are many little traits from past origins that come into play. JGL is not robin nor does he appear in the suit. He is just an idealistic beat cop. Nothing more. His character is handled and written well. Bale was excellent as Batman and finally, The Bat Voice, is done with justice. It’s not as forced as it was previously. Action scenes were excellent and truly make this move epic. The last 20 minutes with Batman and Bane are some of the finest fight scenes I’ve ever seen in a superhero movie. The camera is pulled back and slowed down to show the blows.

May 31 2012

NEW FIRST REVIEW for “SNOW WHITE AND THE HUNTSMAN” #Universal #SWATH

Snow White and the Huntsman brings a fair bit of baggage with it. Kristen Stewart is best known for starring in the polarizing Twilight franchise while Chris Hemsworth is instantly recognisable to just about everyone after playing a superhero in the biggest movie of 2012. It is inevitable then that comparisons will be made between Snow White and Bella and Thor and The Huntsman. Well, credit where credit is due as both actors put their own stamp on both of the characters, easily separating them from those mentioned above (even if in Hemsworth’s case that involves an occasionally dodgy Scottish accent). You see, it is these impressive performances which save the dark re-imagining of the classic fairy tale from being completely forgettable, despite some very clever twists on some of the classic elements you instantly associate with the tale. In Rupert Sanders’ directorial debut, he brings an impressive style to the film, helping to elevate the far from perfect screenplay into a film it’s hard to not recommend checking out.

Snow White and the Huntsman is never boring, although it’s definitely a bit too long, with a few too many superfluous scenes. The premise is straightforward enough, as Snow White goes on the run from the evil Queen Ravenna (who needs to consume Snow White’s heart in order to retain her youth and become immortal) and along the way bumps into the Huntsman, who very quickly goes from hunting to protecting her after realising the Queen is playing him for a fool. Things breeze along rather nicely up until this point, although the middle of the film drags. Unfortunately, the introduction of the seven eight dwarves adds little humour to proceedings – something Snow White and the Huntsman could have so desperately done with – although it builds to a satisfying and action packed final battle. The screenplay is by no means terrible, but we’re ultimately left with an incredibly disappointing conclusion between the two lead characters with only a look (you’ll understand when you see it) which annoyingly has, “To be continued in the sequel…” written all over it.

As is mentioned above, Kristen Stewart and Chris Hemsworth are fantastic. The latter adds a lot of depth to The Huntsman, and while the similarities to the God of Thunder (one uses an axe; the other a hammer) are inevitable, this is a very different character and everything about him shows that he truly is leading man material. Stewart is stunning as Snow White and thoroughly convincing as both the pretty girl AND warrior. There’s a lot more to the actress than Twilight, and it would be a great shame for anyone to dismiss her talents simply due to her being connected to a less than stellar, but extremely successful, franchise. However, it’s Charlize Theron who steals the show as Ravenna, the complex and evil Queen who is so much more than your typical one dimensional villain. Sam Spruell is almost equally as impressive as her brother, while Sam Claflin is good (not great) as William. The likes of Ian McShane, Bob Hoskins, Ray Winstone, Nick Frost, Eddie Marsan and Toby Jones are wasted as the dwarves who ultimately add very little to the film. Do we need a sequel or spin-off? Perhaps not, but these are characters that it’s difficult to not want to revisit.

Snow White meets The Lord of the Rings is an apt description for the film, so it’s a shame that James Newton Howard’s score is so completely and utterly underwhelming, delivering in some places, but absent in far too many scenes and nowhere near as epic as it should be in most others. In terms of special effects, Snow White and the Huntsman is a visually stunning film, although it occasionally falters with a few not entirely convincing CGI animals. Other creatures (one of the most exciting sequences sees our leading duo facing off against a troll) are thankfully far more fantastical. Theron is made to look far older than she really is on several occasions (in an almost identical plot device as Michelle Pfieffer’s Lamia in Matthew Vaughn’s Stardust) but this too is mostly faultless. However, scenes such as the one in which Ravenna materialises back into human form from a murder of crows really impresses. In fact, it’s more than a little surprising that the film isn’t in 3D as so many moments would have leant themselves perfectly to the format.

Snow White and the Huntsman is a solid take on the Brothers Grimm fairy tale, full of great performances and stunning visuals, ultimately let down by a mediocre screenplay.

Source: CBM

May 30 2012

NEW CRITICS RESPONCE: “PROMETHEUS” Early Reviews #RidleyScott #Prometheus

New early reviews have hit the net for Ridley Scotts epic “Prometheus” which is scheduled to hit theaters June 8th. So far the movie has been receiving mixed reviews by critics and movie-goers. Read the reviews below.

CRITICS

The Hollywood Reporter.
“A visually stunning return to science-fiction by Ridley Scott caters too much to audience expectations when more imaginative boldness would have taken it further.”

Variety.
“Ridley Scott’s first sci-fier in three decades since Blade Runner remains earthbound in narrative terms, forever hinting at the existence of a higher intelligence without evincing much of its own” …
“Yet a key difference between this film and its predecessor is one of volume. Incongruously backed by an orchestral surge of a score, the film conspicuously lacks the long, drawn-out silences and sense of menace in close quarters that made Alien so elegantly unnerving. Prometheus is one chatty vessel, populated by stock wise-guy types who spout tired one-liners when they’re not either cynically debunking or earnestly defending belief in a superior power.”

Screen Daily.
“It has been three decades since Ridley Scott last dipped his directorial toe in science-fiction territory (with 1982’s Blade Runner), but with his fantasy epic Prometheus it is clear his striking sense of vision, drama and excitement fits perfectly with the genre and he has delivered a film that is already one of the most anticipated titles of the summer and should thrill, challenge and provoke audiences ready for his signature brand of intelligent and visceral film-making.”

Screen Daily:

“It has been three decades since Ridley Scott last dipped his directorial toe in science-fiction territory (with 1982’s Blade Runner), but with his fantasy epic Prometheus it is clear his striking sense of vision, drama and excitement fits perfectly with the genre. While Prometheus has some striking chilling moments it never plays the all-out horror card, instead developing the science alongside the action and punctuating the film with moments that jolt and amaze. And he has delivered a film that is already one of the most anticipated titles of the summer and should thrill, challenge and provoke audiences ready for his signature brand of intelligent and visceral film-making.”

Ridley Scott is a master when it comes to visualisation of the environment his stories are set against, and it is clear from the majestic opening scenes of Prometheus as his camera traverses an alien planet (in truth a blend of Icelandic vistas with more than a little CGI).

One thing that Prometheus isn’t is an Alien-clone. Alien – despite that it may feel slowly-paced set against current editing styles – was a film that embraced its horror-in-space format, and after a slow-burn set up and magnificent central gore moment as the mini-alien bursts from John Hurt’s chest settled into a brilliantly shot monster movie before Sigourney Weaver’s final memorable battle. While Prometheus has some striking chilling moments it never plays the all-out horror card, instead developing the science alongside the action and punctuating the film with moments that jolt and amaze.

…Alienfans will be on the look out for horror scenes that are variations on the theme of the ‘chest-buster’ or ‘face-hugger’ in the original film, and while in Prometheus things are never played for pure horror, there are some brilliantly staged scenes that will make audiences jump and squirm.

The effects are brilliantly woven into Scott’s film, with cinematographer Dariusz Wolksi delivering some beautiful moments (the 3D is also very easy on the eye, and never too dark), while the production design from Arthur Max and Janty Yates’s costumes help give the film that real sense of a sci-fi epic. A Ridley Scott film is always perfectly shot, intelligently edited and easy on the eye, and Prometheus is no different.

Peter Sciretta (@slashfilm):

I’ve been given the go ahead. I can tell you I’ve seen Prometheus and I can confirm that it is awesome. Not only is it thrilling, but it leaves you asking questions. (remember, @DamonLindelof is involved after all). The 3D looked great, and the film is visually stunning. Sadly, every trailer/tv spot gives away the story’s biggest “twist”, but I think the movie is enjoyable regardless. Michael Fassbender is amazing, stealing every scene he’s in.

Alex Billington (?@firstshowing):

I just saw ?#Prometheus? last night – it was AWESOME. Loved it. Truly breathtaking, incredible, spectacular, thrilling sci-fi at its best. There’s a lot of freaky, disgusting, tense moments, but not outright ‘scare the shit out of me’ personally. You’ll dig.

Evan Dickson:

So I can’t run a review just yet – but I can say that PROMETHEUS is really good. It’s simultaneously what you’re expecting and not what you’re expecting. Has some great moments. And not everything has been spoiled by the trailers. Still a bunch of surprises. It also requires you to engage and think along with it – you have to participate, which I like. My review is still under embargo and I might wait until tomorrow after I’ve seen the film again to write it. But I was not disappointed.

Larry Carroll? (@LarryCarroll):

Other folks are blabbing, told I can too. “Prometheus” is the best Alien installment in decades; still, can’t touch the first 2 flicks. Fassbender steals every scene he’s in. Idris Elba also great. Beautifully shot, at least one instant classic scene. Leaves u wanting sequel.

Robbie Collin? (@robbiereviews):

PROMETHEUS is, um, absolutely nuts. Not perfect by a stretch but there are ideas here you wouldn’t expect a studio to touch with a 10ft pole

Tom Wells (?@TomWellsLSF):

Just seen @UK_Prometheus. People, prepare to have your minds blown! Only one thing wrong with it- I WANT MORE! Still can’t quite believe how good@UK_Prometheus is! One of the best I’ve seen in ages! Gotta see it again! ?#Prometheus? ?#AreYouSeeingThis?

Andrew Freund ?(@andrewfreund):

Saw @PrometheusMovie last night and it was PHENOMENAL!! A new sci fi epic has been born!! Interviewing the cast today! My mind=blown. Phenomenal

Edward Douglas (@EDouglasWW):

I’ve been given permission to say that I’ve seen Prometheus and I actually liked it quite a bit. Even seeing it again tomorrow!

Mark Adams (ScreenDaily):

…with his fantasy epic Prometheus it is clear his striking sense of vision, drama and excitement fits perfectly with the genre and he has delivered a film that is already one of the most anticipated titles of the summer and should thrill, challenge and provoke audiences ready for his signature brand of intelligent and visceral film-making. … One thing that Prometheus isn’t is an Alien-clone. Alien – despite that it may feel slowly-paced set against current editing styles – was a film that embraced its horror-in-space format, and after a slow-burn set up and magnificent central gore moment as the mini-alien bursts from John Hurt’s chest settled into a brilliantly shot monster movie before Sigourney Weaver’s final memorable battle. While Prometheus has some striking chilling moments it never plays the all-out horror card, instead developing the science alongside the action and punctuating the film with moments that jolt and amaze. … It is Michael Fassbender, though, who perhaps has the most fun in Prometheus.

cenoctet:

Prometheus is a must-see for fans of the Alien and a very good movie for lovers of sci-fi. See the movies is even more addictive. After, if you do not like the long explorations without a ton of action and you’re a hardcore Catholic, do not come to complain, you’ve been warned!

sallesobscures:

But Prometheus is above all an atmosphere and in this we revel in the heavy atmosphere which settles on the film, the tension palpable, suspicions, questions, fears and fears. With Ridley Scott is not doing in the half-measure and the film leaves you no respite, 2 hours of pure entertainment with stunning picture. Rarely has more beautiful, more special effects push the limits of nconcevable if we return to the origins of Alien in 1979. A feast for the eyes and oreilels, because if the ship, sets, monsters will you take off the ward, what about the sound environment just daunting. Explosions, vessel noise, a sound environment and stunning musical theme sublime back from time to time in the film.

effets-speciaux:

Let’s go straight into the heart of the matter: yes do not worry, PROMETHEUS is a great achievement. This is by far the prequel to the smartest and best realized that we have ever seen!

Clap Magazine:

From the prologue, Prometheus hits hard, very hard. Visually in total harmony with its 3D. A rarity these days where the business case as it annoys stain. None of that here. The film is designed in three dimensions and marks after Avatar a new stage. The depth of each scene, travel in space or even this cascade pre-generic exploit the full potential of the technique providing the sensation of immersion in an advanced alien universe. Future technology is based on the hologram, the image projection in space (ie the frame) and Ridley makes his first ally. Idea necessarily already present in many SF movies but printed here as ever on film. The technical challenge is required and is an evidence as a new benchmark.

Sci-Fi Universe:

Prometheus will everyone agree on the beauty of the images. It seems difficult to see someone tackle the film in this area. Prometheus is just perfect in terms of image design, this means that the sense of framing, the esthetic, what the meaning of everything shown on the screen. Ridley Scott is a genius in this field, and it is the top of his game on this film.

Screen Play:

If the scenario is not very clear and could be subject to criticism, the success graph is absolutely not in question. The film is absolutely gorgeous and was shot in 3D, it is one of the most beautiful view on the screen. Similarly, the design of the various monsters is impressive realism. Sporting a refreshing simplicity and a mounting classy and extremely effective, it is a real treat for the eyes.

blockbustermania:

As a viewer who loves blockbusters, you’ll like Prometheus. If you know Alien, you may also like Prometheus. But if you’re a fan of Ridley Scott and Prometheus as the expected Messiah, the disappointment may be at the rendezvous. But it’s still a good movie to see, but not the masterpiece which was expected…

critique-film:

Prometheus is a great film. However it shows a bit disappointing since we were expecting something amazing and innovative. In reality it is a true prequel to Alien, ultra referenced and obedient to a very precise specifications, ranging from the metaphysical concepts to pure horror, while ensuring the fan service. Aside from this disappointment, we can say that Prometheus is a bomb.

May 16 2012

NEW First Review for MEN IN BLACK 3 #MiB3 #WillSmith

Men in Black 3 is a return to form for a franchise which began all the way back in 1997 and was followed up with a disappointing sequel in 2002. Fast forward ten years and the threequel not only outshines its predecessors, but manages to stand out in a summer crammed full of blockbusters. Director Barry Sonnenfeld and screenwriter Etan Cohen find a near perfect balance of humour, action and impressive visual effects (not to mention a pretty damn good story too). Will Smith (Agent J) is reunited with Tommy Lee Jones (Agent K) in the first act of the film, and despite a ten year gap between this and the last instalment, their chemistry is as fantastic as ever and it’s business as usual for the duo when we first meet up with them. However, the escape of the revenge-fuelled Boris The Animal (Jemaine Clement) from a lunar prison means J is forced to head back in time. Why? Well, it turns out the villain jumped back to 1969 to kill K and only his partner remembers him. From here, the story is fairly straightforward, although there are still enough twists, turns and set pieces thrown in to keep Men inBlack 3 feeling fresh and far from your bog standard time travel fare for the most part. Sonnenfeld has a great handle on the action and you will have no doubt by the time the credits roll that bringing him back was the right decision.

As you may have already guessed, both Smith and Jones deliver the quality performances we’ve come to expect from them, while the latter adds a believable and understandable level of weariness to the ageing Men in Blackagent. His K understandably ends up taking a back seat for a lot of the movie, but Smith has no problem cementing his leading man status when the spotlight is placed on him despite an absence of four years from the big screen. However, it ends up being Josh Brolin’s younger Agent K who steals the show as the actor delivers a performance which is entirely his own despite being clearly influenced by Jones’s mannerisms. This younger version of the character shows us a side of him we haven’t seen in the series before and it really is hard to imagine anyone else managing to do a job anywhere near as good. He’s endearing and entirely convincing in the role and the chemistry he shares with Smith is a match for that the latter shares with his older counterpart. Clement seems like a strange choice to play the villainous Boris, but a combination of his creepy English accent and a brilliant make-up job really helps him to sell the character. He’s not fleshed out a great deal, but his thirst for revenge and generally viscous nature is more than enough to make him an effective foe for J (and both K’s) to face off against. Emma Thompson’s O is on fine form as the head of the Men in Black, and so it’s a shame that Alice Eve (who plays the younger version of O) has such a small and underwritten role in Men in Black 3. The few scenes she does have are actually really very good and she too shares a great deal of chemistry with Brolin. However, it’s hard to really care all that much about the connection between the younger and older versions of each character as the relationship in both time periods never really gets chance to convince. The cast is rounded out with a brilliantly eccentric turn from Michael Stuhlbarg as Griffin and Bill Hader’s take on AndyWarhol results in some of the funniest scenes in the movie.

Men in Black 3 features an impressive 3D conversion and so it’s hard to not recommend that as the optimum format to view the film in. As is the case with most conversions, it does feature scenes which feel no such benefit from the effects and others which could have really done with taking more advantage of them. Those which do however are amazing. It turns out that there is a lot more to that scene from the trailers in which J jumps through time and this scene alone justifies the higher ticket price, as do the action packed last act and several other scenes. The visual effects are equally as impressive, although there are a handful of moments where effects do look like effects. Whether the majority will notice such minor occurrences is highly unlikely though. Rick Baker’s aliens look superb (especially the retro designs in 1969) and they are all arguably far more memorable and cleverly realised than any of those which have come before. This also applies to Boris. The set designers also deserve a pat on the back for the wonderful job they did of creating an authentic and entirely believable 1969 setting. While its not as stylised as, say, the 1970s designs in Tim Burton’s Dark Shadows, it is far more grounded and thereby completely convincing. Men in Black 3 is a great looking film with a rousing score and killer soundtrack.

Men in Black 3 could very easily be the end of the franchise or, depending on its success, the beginning of more to come. Regardless of whether they do decide to continue with a fourth instalment or a reboot, it would be a real shame if this really is the end of J and K’s adventures on the big screen. If the film falters anywhere, it’s that it feels a little too short. The story isn’t necessarily damaged in any significant way because of this, but a few extra scenes here and there to flesh out some of the characters could have potentially added another star to the score below. You see, Men in Black 3 really is that much fun. It may not be as near-perfect as The Avengers, and it falters every now and then in terms of effects and humour, but the movie is just great fun from start to finish. It’s not at all mindless (one twist in particular packs a real emotional punch) and while it wraps up a little too quickly, the fact that the script is a little too thin in places is the only major complaint you’ll probably have. For anyone who didn’t enjoy the last two films, it’s unlikely that they’ll suddenly fall in love with the franchise, but they might just fall in love with this movie.

Men in Black 3 avoids the threequel curse of the likes of Spider-Man 3 and X-Men: The Last Stand and instead ends up being the best film in the Men in Black franchise. Fantastic fun which will leave you wanting more.

May 4 2012

MR.MOVIEMAN Reviews: “THE AVENGERS 3D” #Marvel #MarvelsTheAvengers

It has been a long time since I have been entertained at the movies lately, but my expectations were changed when this morning I saw “Marvels The Avengers in 3D”.

The movie exceeded my expectations far more than I realized. When the movie first started, it starts with a jolt into the mythical universe that is Marvel, which is to me, the perfect start. (Don’t worry, im not giving away any spoilers in this review)

This movie definitely brings the laughs but the action is far beyond epic. The comedic side doesnt interrupt the mood or plot of the movie, the movie was so badass it just added to the epicness, but be prepared to laugh your socks off and cheer because “The Avengers” brings it home.

In terms of character standouts, The Hulk stole the show, the interpretation was awesome, and somewhat scary, but freaking awesome. Mark Ruffalo made the Hulk his, I believe that Marvel made the right decision by casting him for this role.

In terms of the 3D, I found it to be a vital tool, it enhance the environment of the movie and the epic battle at the climax of the movie. There was some parts where the 3D wasnt focus and clear but it came together when it needed to. If you like 3D films, go and judge for yourself. I give the 3D a 3.5 out of 5 stars.

Overall, if you want to be entertained this weekend go check out “The Avengers” in theaters and save your money from buying the bootleg copies because you would want to experience this epic film in theaters and it SOOOOOO not worth it watching it from your couch.

I give “Marvels The Avengers” a 5 out of 5 stars

Mar 29 2012

NEW Critic Reviews for “WRAITH OF THE TITANS”

Apparently “WRAITH” is good on action but not on story says the sources below. But these are just the first reviews, wait until more show up.

If even a tenth of the care and attention lavished on the production design and action sequences had been afforded the script, this could have been an adventure of legendary proportions. As it is, this fizzles whenever anyone opens their mouths.

Source: Empire Online

This leads me to the conclusion that Wrath Of The Titans is at its most entertaining when the characters give up on the dull dialogue and simply let the action do the talking. Director Jonathan Liebesman (World Invasion: Battle LA) deserves credit for the well choreographed fight sequences that make good use of both sound and visual effects. Those who enjoy action? Buy a ticket. Those in search of a captivating story? Look elsewhere.

**.5

Source: The Film Pie

he impressive and imaginative action sequences will certainly entertain, and there are hints of the epic film that it wants to be shining through everywhere, but the ADD style of filmmaking just doesn’t do it justice. And at only 99 minutes, it’s not as if Liebesmann could not have added some more time to allow the film’s interesting plot to unfold naturally, instead of being given this cue-cards edition. And like so many Greek stories, that really is a tragedy.

**.5

Source: The Movies

On the one hand breathtaking, and on the other infuriating, the entire enterprise charges along as if the finish line is in sight from the opening credits. You wonder if the producers are permanently scared of modern audiences’ supposed attention deficit disorder. Although Wrath of the Titans does work as popcorn extravaganza there are apparently scenes providing explanation and intellectual impetus on the digital equivalent of the cutting room floor.

***.5

Source: What Culture

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