50/50 Review

I gotta admit, I was a bit put off with the initial introduction of Gordon-Levitt's character with a shower scene (though I'm sure it got some girls to blush in appreciation) in 50/50. Still, it proves that with a strong cast, strong writing, and strong direction will put any opposing opinions to rest; this movie is a Oscar-worthy gem. It's a movie that eloquently places you in the situation we're all too familiar with - that is, death and all of its inevitably, but still manages to sprinkle humor throughout to tell a story that's about life as we know it. I mean, it's kind of funny when you realized that most problems are meaningless when death is staring right at you in the face. 8.7/10.

Drive (2011) Review

Ah yes, Drive. When I first saw the typographic choice for the movie title, I already had some qualms about it, but luckily this neo-noir, directed towards a lesser mainstream audience has the style, cast, and execution to be one of the slickest film this year. The soundtrack kicks ass and the quick, yet brutal crescendos during turning points in the film really makes me want to bust out the camera once again. This isn't a movie for the light-hearted either. It's surreal, mythic, tense, fun, hilarious, revolting, and surprising. Pulling it all off with flying colors, well... that's what makes this movie so damn fun. 8.9/10.

Black Swan Review

How can I put this? I've never actually paid to see a ballerina performance before, let alone a movie about one, but if it's anything like the beautiful and nightmarish masterpiece that is Black Swan, I am all in. Like the careful cinematographer that Aronofsky is, every scene is poised with visuals that is so well crafted that you can't help to but get sucked in, subconsciously identifying where good and evil are represented, with an uncanny sense of momentum that never lets up even until the very end. Movies are great, but only when they tell stories with respect to running time. Black Swan does this in unfathomable eloquence, while showcasing how artistic devotion can consume you - which may be a not-so-good thing, depending on the side of the coin you get. 9.3/10.

True Grit Review

Two sentence review: It's badass. Go see it. 8.9/10.

The Town Review

Man, it's been a while since a nice fleshed out movie review, hasn't it? I'll try to redeem myself with a 60-second review of The Town. Ever since Gone Baby Gone, I've had my eye on sir Affleck. When I heard he was planning on doing a gripping crime-drama about Charlestown, Boston - a small city with the rep for being "the bank robbery capital of America" - I was in. What you get is a cesspool of violence and family dysfunction, with above average build-up to the high-stake crimes that perpetuating in a downward cycle of unescapable repetition. It's no doubt a big downer for those who's looking for an inspiration narrative from the "other side." That said, it manages to make you care for at least one or two of the characters involved, and despite feeling a bit lean and drawn out at times, still manages to carry on a suspenseful story with loud crescendos, fun action sequences, and one hell of a supporting cast. Recommended for a slow Sunday night. 7.8/10.

The Ghost Writer Review

I'll be honest. I'm a big fan of political thrillers. Just not slow ones like Capote or Downfall (though they were both good in their own right). I'm more of a Munich or Spy Game sorta guy. The Ghost Writer kinda fits in between the two, but adds a fat layer of suspense and mystery on top of it all. The composition of it all reads like a good book, with a firm grip on proper pacing and no false moves or unnecessary distractions. That also means no over-dramaticized special effects/explosions (which I love) and more Shakespearean drama than what I'd deem as "thriller." It's a movie that pulls old fashioned stunts and is probably why it feels slightly dated. but for those who eat up that sorta thing, I say it's a sweet rarity that deserves an old-fashioned applause. 8.2/10.

Splice Review

Splice pretty much is a rollercoaster that hypes it big in the beginning and ends up breaking down halfway into the ride. Well, maybe breaking down isn't the right word. Maybe lost in an unnecessary plot muck with confusing "build-up" directions, irritating characters, and plenty of WTF moments that really scratching your head on whether this was really worth your initial interest at all. Well, for me, it wasn't and what could have been a really good movie now goes onto my digital shelf under the category "Could have been awesome, but failed somewhere in between." 7.1/10.

The Social Network Review

Interesting. It's not often a social phenomenon becomes so quickly adapted and directed/produced by such a talented team. Trent Reznor. David Finch. So it's not really too surprisingly that The Social Network manages to deliver in all fronts, both in screenplay and cinematography. All characters are wonderfully played and the brisk pace of the film reminds of the likes of Fight Club or Zodiac, creatively capturing a story in a calculated manner - but manages to be sweetly transparent in a sense that makes it feel both intelligent and engaging as a modern biopic of one of the greatest talents of our decade. 8.8/10.

The Road Review

After having seen multiple post-apocalyptic movies (and almost every zombie-filled movie ever made), The Road comes as a big refresher to the tired genre. Without warning or explanation, all you see is the leftovers of the human race after what seems to be the end of man, or "apocalypse," referring to the early pages of Genesis. And The Road tells the story of a father and son in a dark, poignant story as they succumb harsh weather, malnutrition, and under constant threat of marauders, thieves and cannibals. Their goal: basic survival. But importantly, are their affirmations of being "the good guys" in a world so morbidly bleak that it feels like humanity itself is placed in front of a mirror throughout the entirety of the film. As far as post-apocalyptic movies go, this one requires a patient, critical viewing. 8.4/10.

Kick-Ass Review

Must be on a good movie streak these past few days. Just caught Kick-Ass on BluRay last night. The verdict? Why yes, it certainly kicks some major ass. Perhaps maybe too much ass. But don't get it twisted; this is no cheap Spy Kids ripoff. This is its own little monster - no pun intended. Not only is the acting surprisingly excellent, but the movie has the rhythm required to combine comedy, action, and drama in such an energetic way that it'll leave you feeling like you've been injected with a mental shot of adrenaline. It's that good. 8.9/10.

Inception Review

While I humbly must disagree at the IMDB placement of the movie Inception as #3, above Godfather, City of God and American History X, there is no doubt in my mind that it is Nolan's best work yet. Everything in the movie strives to take your breath away - from the deliciously layered storyline that works like a velvet cake to the gripping cast that delivers on all fronts. Meanwhile, Zimmer floors us with yet another unmistakable ensemble that carries the weighty material forward like an unstoppable train. I'll argue with anyone on this one; it's by far the best movie of Summer 2010, hands down. 9.1/10.

From Paris With Love Review

Mastery of an art requires two things; talent and practice. Luc Besson, director of Leon and La Femme Nikita, has talent. Me? I have practice. Practice to catch laziness when I see it, and From Paris With Love is as lazy as it gets. What we do get is what's already in the title; it's filmed in Paris and covers a couple pathetically incorporated one-dimensional themes of love (love of the handgun, a married couple, and bro-mancing with bald Travolta). Throw in some excessive action with a highly implausible story and pointless dialogue and you have the most mediocre action movie ever made. 6.9/10.

A Dirty Carnival Review

A Dirty Carnival is one of those films that kind of grip you by the neck and can't seem to let go. It's a film exploring violence and masculinity, gangster drama, and a strong focus on the characters. And while character may not be the most lovable (or calm) person in the whole world, it's his magnificent rise and fall that starts to bear on a strong remembrance to films such as Casino and Scarface. Add an underbaked love story and a few gimmicks (ie: movie within a movie) that actually turn out to surprise you rather than disappoint; interestingly enough, it's just enough to make my list of awesome gangster films of the decade. 8.4/10.

A Single Man Review

Fans of The Fountain and Wong Kar Wai's films will truly appreciate this stunning outing by Tom Ford. I don't particularly enjoy the term "art film;" art itself should always be embedded in the cinematic form. But it is an art film, with images clearly aesthetic in every shot and beautiful music demonstrating the main character's everyday torment in remarkable civility. In the end, we see through images that love is love no matter who you are, where you come from or what your circumstances are. It could have been a man and a woman, the fact that it's a man and a man is almost irrelevant. The fact that you can present it in such a stunning, fashionable, and concise package is just remarkable. 8.3/10.

Brooklyn's Finest Review

Like Training Day, Brooklyn's Finest once again treads across the popular theme of police corruption, which is probably more clichéd in setup than execution. Antoine Fuqua has a way of telling tragic, gritty, and at times, outright depressing stories in fantastic style, this one is certainly no different. He pulls and pulls for character depth, but even with all the well-orchestrated shoot-outs and mini crescendos towards violence, one still yearns for some kind of true connection to any of the characters. Meanwhile, I prefer to keep the faith that this depiction is all a serious exaggeration. 7.7/10.

Mary and Max Review

This claymated feature made by the folks of the award-winning Harvie Krumpet may not have the production values of the likes of Disney or Pixar, but the quirky little one liners and incredibly detailed characters make Mary and Max undoubtedly one of the more compelling art films I've seen this year. 8.4/10.

Micmacs Review

Fans of Amélie will surely be pleased to know that Micmacs keeps up with Jean-Paul Jeunet's captivating comic art style as it tells a story of a lonely misfit who finds a band of brothers who have experienced the struggles of being ousted from society. As with his other films, the world is slightly distorted and much unfolds like a dream. I watched this with a French friend and she mentioned that the English subtitles were a bit dodgy in quite a few areas, which may be just enough for some to skip this one, but if you're one to still appreciate a story filled with fun characters, amazing cinematography, a surprisingly refreshing change from your Hollywood action thriller, look no further than Micmacs. 8.1/10.

Ip Man 2 Review

Ip Man 2 pretty much picks up where the last one ended. The story is pretty bland, with most of the plot devices only there to lead to the next fight. You also have a blatant cinematic display of Chinese pride that is rather blatant and unsubtle, but if all of that is a-ok with you, then you're well on your way to get blown away by amazingly choreographed action scenes that put many recent martial art films to shame. I kind of secretly wished for the melodrama of the first one, but I guess a popcorn flick will do just as well. 7.9/10.

Thirst Review

If you're familiar with Oldboy and Sympathy for Mr. Vengeance, you might have a idea of what Chan-wook Park's work is like. His movies tend to be dark, elegant, and tragically absurd thrown in with a heavy dose of dark comedy. Thirst is certainly no exception to this trend, filled with stunning cinematography, with a contemporary Shakespearean tone throughout.

But while Park's style is apparent in a artful sense, my biggest gripe about the film is the poor attention to detail with the special effects, which tends to distract rather than contribute to the story. The complete lack of a good soundtrack also creates a sense of emptiness, though perhaps that's what Park was ultimately striving for. I, on the other hand, found it to be like the end of a hot-dog - it's missing the sauce and relish I had in the middle. 7.3/10.

Gozu Review

Only Takashi. While I'm on my surreal horror spree, I stumbled upon this inconceivably ridiculous piece of cinematic deconstruction set in a homosexual love story played out against a self-aware purgatory-like town in the middle of nowhere. Gozu is rife with jarring shifts from parody to horror and eventually freewheels into a deranged ending that'll leave you scratching your head and questioning your Freudian beliefs. If ridiculous gangster theatrics, role playing, and gender metamorphosis is your thing, feel free to explore this existentialist piece. 7.1/10.