Posts tagged review.

What many people don’t realize is that the last third part of the movie turns into a Justice League movie.

No, we don’t see Flash (heck, make it Flashes) run around Metropolis and Smallville saving thousands and thousands and thousands of people falling victims to what surely is the greatest catastrophe that ever struck Earth after 2012. I mean, how can we? It’s The Flash (heck, make it Flashes, the whole bunch of ‘em).  

No, we don’t get to see Batman, execute attacks on other Kryptonian goons soldiers Gen. Zod brought along with him. It’s Batman. Batman operates in the dark.

We sure as hell don’t get to see Aquaman sending big army of marine creatures to help attack the Phantomwhatchoocallit pounding Earth’s Indian Ocean, and watch him cry over the deaths of countless marine lives in the process. Depicting a person crying in the water is kinda hard.

And why wouldn’t the competent film makers of Man of Steel show us Martian Manhunter using his telepathy to coordinate the movement of the members of JL? His costume.

Wonder Woman is too darn busy helping Flashes, so is GL and the rest of the crew because it is the greatest catastrophe and so on and so forth. And, this is Kryptonians we are talking about here, so it all falls on the Supes’s shoulders to do what needs done. Including snapping Zod’s neck. 

We’ll see if next time around WB will bring the other Leaguers to the fore for our viewing pleasure. 

PS: Russel Crowe really REALLY needs to stop stealing the show every time he shows off those doe eyes of his. 

  June 18, 2013 at 03:06pm

Amidst the numbing cold inside the theater, the grand opening action sequence that cries “Globetrotting international border-crossing spy action-techno-thriller!”, Anne Hathaway’s terribly useless Catwoman portrayal and the said Catwoman’s like-a-puppet-on-a-string-with-marionette-with-arthritic-fingers-controlling-it unbelievable “fight” sequences, illogical plot points within the multilayered story the movie has to offer, crazy-ass car-motorcycle-trucks-choppers-Tumblers(!)-chase sequences, decent fisticuffs (still too close to the camera for my taste, but then again this is not a martial arts film), comic Bane moments, comic Bane comments, always adorable Cillian Murphy’s appearance as The Scarecrow (His cameo in The Dark Knight is hilarious), and annoying editing at times, Bane’s speech delivered with that haunting voice before the storming of Blackgate really added to the shivers. And I cannot help but nodding to some of the points. Okay, some cheesiness in that speech but overall, wheew…

How does Bane eat, tho’?

  July 24, 2012 at 08:27am

Come Dance the Ballet of Death

I went to see The Raid (changed to The Raid: Redemption for whatever reason) at a cineplex on Sunday with my wife and a cousin of ours. My wife had a choice between seeing this movie and accompanying our kids and their cousin, who were watching The Lorax in the next studio. She said she wanted to see a ‘grownup film’ (I’m sure she’d have preferred The Woman in Black) so there we were. The movie is rated R, I was aware of that, but what I didn’t know was that it was a blood porn—nope, not the kind of the so-called gore porn with hot sweaty babes in sweat-drenched tank tops running around jiggling their magumbos and screaming at top of their lungs before getting their throat slit or something, which is kind of a good thing ‘cause those screams can really get to you after two or three seconds. The Raid is a blessed adult entertainment filled with frame after frame after frame of glorious blood and spittle flying and dripping, sweat running profusely, bullets piercing just about any visible body parts and bodies slammed against the walls, tables, chairs, through windows, and other furniture the filmmakers could get their hands on.

The plot, which is as utterly ridiculous as any public officials’ campaign promises, failed to make me dislike this movie: It is a martial-arts action movie with martial arts and actions bumped up a notch higher than any action movies I have seen in the last, oh IDK, a more than a decade, mayhap (CMIIW, but there has not been an action movie in terms of rawness, like John Woo’s Bullet in the Head, The Killer, Hard Boiled or A Better Tomorrow II, or Ringo Lam’s Full Contact and Prison on Fire, just to name a few, and some crazy kickass action flicks, only Luc Besson or Robert Rodriguez of old could direct or produce). The acting of some of the cast made me cringe in my seat once or twice, especially knowing some of the them are regulars in Indonesian drama series, whose plot, dialogs, settings, acting—heck, everything—are more ridiculous than any politicians’ campaign materials.

The very simple premise of the movie—a SWAT team infiltrating a tenement owned by a sadistic crime lord to bring the said crime lord to justice gone awry due to some reasons or others which I cannot exactly grasp (All I know is that some corrupt officials are involved.)—paves the way to a long barrage of shot-em-up actions that starts before you can even pronounce the lead actor’s name. Aparently, just about everyone living in this building is working for Tama, the crime lord, so the members of the SWAT team don’t find it even slightly morally questionable to blow a kid’s head (Heck, them darned kids screamed out their presence and hit the frickin’ alarm, for crying out loud). And, from the moment the first bullet flies, it’s an all out carnage of blood and scream and, well, more blood, until the last bullet shell tinkling onto the floor.

What follows is wave after wave of beautifully choreographed fights that run from seconds to close to seven minutes. The movie, I’m sure, is inspired by the likes of Die Hard and many of its progeny, and many of the survival horror video games: People running or shuffling along the corridors with their bloodied hands on the walls leaving trails of blood and maniac killers (or creatures) following close behind with machetes in hands.

Iwo Kuwais, the lead actor, and Yayan Ruhaiyan, who plays the crazy, scary yet perversely lovable right hand man of Tama’s, Mad Dog, are both genuine article Pencak Silat martial artists (Indonesian original traditional martial arts with tens of styles and branches which I’m still trying hard to make my kids get interested in—hey, they can learn Karate, Tae Kwon do, even Ninjutsu, but for them to learn Pencak Silat is pretty much obligatory in my opinion), and they choreographed the intricate fight scenes in The Raid. They also did their own stunts so what we have here are my two new action movie stars. Okay, so Iwo may lack the commanding presence of, say, Jet Lee, Tony Jaa, or Dwayne Johnson, but damn if the guy doesn’t know his craft. Those of you who have seen and who enjoy Iwo Kuwais and the director, Gareth Evans’s first collaboration, a martial arts actioner, Merantau (2009), will fall in love all over again with this dynamic duo. I know I do.


 The fights are visceral, ridiculously painful to watch and really bloody, yet with balletic precision which is just damned enjoyable for those who are into martial arts free from today’s Hong Kong and Hollywood heavily wired actions. Thinks Thailand’s Tony Jaa’s best action films and multiply that by at least three.

All the cast and crew involved in the production must share mutual love in what they do, especially the cast and the stunt people, waking up everyday and going the set knowing they may suffer from broken bones before lunch break, but the result is simply fabulous.

The cinematographer, Matt Flannery, has done a terrific job, adopting those jerky camera moves ala Jason Bourne series only for the dialog, but opting wide angle and steady camera shots for action scenes, so that all that carnage is splendidly clear to see and you know when to close your eyes if you can’t  stomach anymore of the violence actions. And the sound…man, (SPOILER ALERT!) when Mad Dog was torturing Jaka in a room, the sound of his fist hitting Jaka’s body is muffled with the camera representing Iwo’s character, Rama, running towards the room, but as the camera moves into the torture chamber the sound of the fist against Jaka’s torso just exploding is really out there. And the following dance these three people (Rama and Jaka against Mad Dog) do in that room may be one of the best fight sequences in movie history.

So, The Raid with all its flaws, notably the plot, story and some of the acting of, I regret to say, the senior actors in the movie thanks of years of experience they harvest playing Indonesian television dramas is one that pleasantly surprises me and one that I want to see more Indonesian film makers pour their blood, sweat and tears for making them.



  • You may have a feeling that I truly hate Indonesian soap operas. Well.
  • The audience cheered and clapped hands at the end of the Jaka-Rama-Mad Dog threesome. I didn’t. I was busy grabbing popcorn.
  • Tama when grinning evilly close to the end of the movie with a little white powder on the face and blood red lipsticks could easily become the demoniac portrait of The Joker . Hot!


  March 27, 2012 at 12:58pm

'PW Comics World' Reviews DC Comics’ The New 52: Week 2 ›

Batwoman by J.H. Williams and W. Haden Blackman

Batwoman, who has no connection with Batman yet, aside from swiping his symbol, enters her own book on page 4 in a window-smashing flare of black and crimson, and the story’s pretty much non-stop from there. It’s not exactly a subtle book. Kate Kane is Batwoman, Kate Kane is a lesbian - see her asking out Detective Sawyer, Batwoman has issues with her daddy - see her fight with him about lying about her sister’s death. There, now you’re up to speed. But the whole is greater than the sum of its parts. Artist and co-writer J.H. Williams’ art is as gorgeous, stylized and unique as it was on Batwoman: Elegy, with the best layouts this side of Charles Vess, and Batwoman herself is a vivid, undeniable force of nature: strong, determined and totally adult, if not particularly experienced. While a starting place for a new reader, the book picks up where Batwoman: Elegy left off, virtually unchanged by the reboot. In fact, it’s only used once, and then as a convenient bit of retroactive continuity - Bette, Kate’s young cousin and new sidekick in training, is suddenly a former member of the Teen Titans. The actual plot itself is a bit slow so far, a spirit is stealing children and Batwoman has impulsively promised that she’ll bring them back to their families, but that’s Batwoman for you. It’s really just all about style and character, which this book somehow makes work. - KF

The Wild Gunman: That son of a bitch WILL fly! ›


Joe Johnston’s 1991 action adventure romp “The Rocketeer” held a special place in my heart. Along with films such as “The Phantom” and “The Shadow”, “The Rocketeer” harked back to a more innocent time of filmmaking. A time where good guys where good, bad guys got their comeuppance, and when 

adventure was everywhere. “The Rocketeer” is a joyous, exciting, genuinely brilliant film that despite being anachronistic feels incredibly vibrant and relevant today.

Based on Dave Stevens’ graphic novel of the same name, “The Rocketeer” tells the story of Cliff Secord, a racing pilot in 1930s Los Angeles, who stumbles upon a prototype rocket pack. Unbeknownst to him, this was created by Howard Hughes, was stolen by the mob, and is also being coveted by the FBI and the Nazis. Needless to say Cliff gets embroiled in a deadly plot and soon everything he cares about is in danger. In order to stop this evil he must don his custom design helmet and become the Rocketeer.

And it really is that fun!

Billy Campbell plays Secord with just the right amount of recklessness and honour, and had “The Rocketeer” been a success (it bombed at the box office), Campbell surely would have been propelled into the Hollywood elite. Alongside him as his faithful mechanic friend Peevy, Alan Arkin is particularly delightful. The gruff teacher with a heart of gold, his wily hair and tash make him instantly likeable and throughout the film he continues to impress. As Secord’s girl, the lovely Jennifer Connelly proves herself adapt in an action(ish) role. She’s full of Hollywood sass and looks as if she could have stepped straight out of an Indiana Jones movie. Finally, as the villain of the piece, Timothy Dalton is a delight. Chewing up the scenery like a rabid dog, he is a spectacle onscreen and as he channeled Dick Dastardly I was in heaven. Alongside those guys there are some great moments with Paul Sorvino and Terry O’Quinn, who just round off a superb cast.

Why “The Rocketeer” performed so abhorrently at the box office is beyond me. Some say that the original poster had something to do with it, however I feel it’s got to be one of the finest I’ve seen for a while. Others may claim that because this was a Disney picture, people were turned away thinking it was a kid’s film. The truth of the matter however, is that “The Rocketeer” is just brilliant fun. It’s not a pastiche of 1930s serials, rather a true re-envisioning of one. The actors and the script play the premise completely straight and that’s why it works. 

It was a joy to relive this highlight of my youth and discover that all these years on, it’s still wonderful

This guy knows some GOOD stuff.


I just saw Transformers 3: DOTM and it’s a bad, dumb film, but an incredibly fucking awesome movie!! It felt like the weakest of the trilogy, story and script wise, but for mindless, insane visuals it rocked my eyeballs out the back of my head and left me smiling from ear to ear way more than the previous outings.

The action was off the charts compared to the other two, absolutely blew them away in seconds. It does lack the feeling of the first and the second to a degree, but visually it was an orgy of eye candy thats totally worth it. Go see only if you can leave all signs of your brain at the door, seriously, otherwise your wasting your money. If you can do that though, your in for a treat. 

Sentinel Prime by Josh Nizzi

      •  ‎”The last hour involves a battle for the universe which for some reason is held at the corner of Michigan Avenue and Wacker Drive in Chicago. ” Roger Ebert.

        *hyuk hyuk hyuk*
        Thanks for the heads up, man. I know what NOT to do now, lol

(via xombiedirge)

From this movie I watched this evening with my kids:

Mount Tambora's volcanic eruption in 1815 is considered the biggest in the recorded history (even bigger than that of Krakatau in 1883), causing yearlong winter reaching Northern hemisphere, and it’s said that this played a role in Bonaparte’s defeat in Waterloo.

There you go: Movie that teaches sumthin’

And it was a pretty fine movie, too: I laughed, I sighed (cute actress hyuk hyuk, beautiful settings (I need to get out of this city)), I cried a li’l (damn crybaby that’s me).

Good nite, y’all


  July 01, 2011 at 01:08am

The Idle Network

David Fincher’s The Social Network has caused quite a stir due to its subject. The movie, chronicles the rise of into one of the most successful Internet companies at present. Sadly, the movie fails to really emotionally get me (for that matter) into the characters, and heck, the story itself.

The characters move and talk as if in the world of their own. Is this what David Fincher was trying to do? Distancing what is happening in the film with what should be in the real life? There are many, many films showing socially-challenged smart young people, but I can somehow enjoy them as movie characters, despite the comic and outrageous or fantastic situations they are in (“Hey, it’s a movie after all,” I can easily say)

Mark Zuckerberg in the movie is portrayed as a programming genius who under his seemingly nerdy resignation is manipulative, whose words his close friends (lesser genius) heed and take as command. Zuckerberg is a person who bears a grudge and has his mind all a-twirling scheming devious plots to avenge those whom he feels has wronged him, thus positioning himself as the actual bad guy in the movie.

Yet, Zuckerberg in The Social Network is also a person of longing, and his continuously refreshing the page of the girl he so much wants to befriend with (in real life, or at least, in facebook) after sending a friendship request is for me one of the most intense moment in the movie.

The other characters seem to just hover on the scenes . I didn’t get any sense of excitement, urgency, intensity or importance in their characters. Many people praise Justin Timberlake’s portrayal of Sean Parker (inventor of Napster) but how is his acting any different from, say, Andrew Garfield, who is portrayed as Mark’s best friend, and, at the same time, Mark’s biggest victim (he is the somewhat hero of the movie, I would say)?

David Fincher is one of the directors I like, but, The Social Network may seem like a little too easy for him (compared to, for example, his Se7en, Fight Club, Curious Case of Benjamin Button, or, yes, even Alien 3 and Panic Room). This sorta like Ang Lee’s directing Brokeback Mountain (meh) compared to his directing Crouching Tiger (simply beautiful). And as the story done in flashback in the end leave me hanging, as the problems seem to just resolve all by itself, I again wonder what the hell were those guys at Golden Globe thinking?? I mean, there is INCEPTION. Hello?

  January 28, 2011 at 09:34am

Public Enemies, or Yep, We Humans are Xenophobic

You're an Alien and don't you forget it

Following other DC’s A-list storyarcs getting celluloid treatment, Superman/Batman—Public Enemies the Movie finally hit the DVD with all the WHOMP!s and UUMPH!s that will send the fans banging on WB/DC Studios doors demanding the powers-that-be to animate more of their favorite stories, and that they’d better be quick about it, or else…
The film is based on Superman/Batman—Public Enemies storyarc that DC ran from October ‘03 until March ‘04, with the creative power house of Loeb, McGuiness and Vines delivering what I felt when I read the story to be a very refreshingly jubilant joyride of slugfest, though there is still much darkness scattered inside the colorful panels (The event in the story did lead to one of the biggest projects ever conceived by DC).
Yet, as the film needed to be a standalone, avoiding much mucks that drag many serialized comics (and hurt this comic fan’s wallet), we see pretty big changes that fortunately won’t cause the viewers who might be unfamilliar with the source story or even with (horror…) the characters and the universe scratch their heads and, halfway through, decide to switch to America’s Got Talent instead.
America was in the dumps (bet nobody saw that coming), the God-fearing weapon-loving Americans voted Lex Luthor POTUS. And, whaddayaknow—he seemed to be doing a pretty darn good job at it. But, as a big chunk of space rock the size of Brazil believed to be a part of Planet Krypton after its End Day (the planet exploded, not getting major shower, that’s what leads to the End of Days, sheesh…) was ready to hit Earth and wipe out all existence, President Luthor saw this as the ultimate opportunity to show the Americans how his xenophobia had all those times been nothing short than prophetic, i.e. Superman-being from-Krypton-somehow-attracting-that-big-BIG-meteorite-to-Earth. And as Luthor was a certified ex-evil genius, who were we to argue?

And so Superman became a fugitive and the hunt for the Last True Boyscout (accompanied by the ever-cunning Batman) began; hence, the title.

The actions in the film (and in the comics) were superb and the people working on the film did some terrific job translating the comic panels to animation: Superman-Batman vs. Metallo; Superman-Batman vs. the whole damn army of supervillains; Superman-Batman vs. President Luthor federal sanctioned superheroes; Superman-Batman vs. Captain Marvel-Hawkman—the fights went fast but with enough details that can make you appreciate seeing just about everybody get the chance to try to rearrange the Big Blue’s mug (sometimes I wonder if the people responsible for the story are also xenophobic. Those ba——ds!).

The biggest change made for the movie that I notice is taking away Captain Atom’s big role and having Batman (again) replace him, to do what needs to be done—in the comics we get to learn quite a lot about Captain Atom from this part of the story.

The film’s animation by Korean animators, and I like the way the characters move. Sometimes in the fights, fists flew pretty slow with the result that we can see that rearranging Superman’s mug-thingie pretty clearly, so I guess those were intentional.
Many dialogs, utterance, one-liners abd jokes from the comics make their way to film, and that is nice.
The character designs tried a bit too hard to translate the clear artworks of McGuiness and Vines, resulting in the bulbous upper arms, chests, thighs and much of everything else, including chins…or are they jaws??
And Power Girl did a great job providing an, uh, ogleful.

#Review  #SUperman  #Batman  #DC  #DCU  

Just done watching High-Kick Girl (Hai kikku gâru!), a karate-themed Japanese movie with *bleh* storyline, highly unnecessary repeated action scenes and some decent karate moves and actions.

Chocolate is better.

  January 01, 2011 at 12:37pm

Pig nose hunting

I am just finished watching The Graves, a horror B-flick written, produced and directed by Brian Pulido of Chaos! Comic fame (the guy’s the reason I picked up this one in the first place)—a movie about two sisters, Megan Graves (the older more well-endowed one) and Abby Graves (the sweeter looking li’l sis) taking on an entire population of a (very small) town, ruled by an iron-fisted reverend with a penchant for some supernatural schtick.

It’s a bad movie, leaving me only to ogling the two sisters…


  January 01, 2011 at 10:39am

Three-sided ‘been there-done-that’ Tragedy Done Well

I just finished watching Brooklyn’s Finest on DVD, a testosterone-fueled tour de force into New York’s shady side. Machismo rules throughout the film, with the women (and children) presented as the more reasons for the guys shown getting all tough and taking no sh*t. 

And that makes the sparse tender moments in the movie may feel out of place, even when it is Richard Gere who delivers it. The acting is solid throughout, although Don Cheadle character, Tango, may look a bit lame compared to other brotha he hangs out with. 

I’ve always liked Ethan Hawke ever since his performance in Gattaca, and I like him in Brooklyn’s Finest. His character’s story touches a nerve, whereas the story with Tango, although well presented, has been done countless of times in many Hong Kong gangster movies.

Anthony Fuqua, the director, seems to be in his comfort zone doing the movie. He also directed Training Day, another movie that takes the viewers into the inner working of (NY) police department and what the job does to the people who are doing it.

It’s a good solid adult movie, with strong characters performed by actors (and actresses) who know their craft, and the tragic ending, even though is bordering on formulaic, still sends chills up the spine. 

Getting all macho over a donut 

(That donut guy doesn’t stand a chance, in a staring contest against Officer Dugan)

Macho, macho, man... I wanna be a macho man

(Macho, macho, maaan… I wanna be a macho maaan….)

Our posters don't hang on teenagers' bedroom wall no more. It hurts.

(Our posters don’t hang on the walls of teenagers’ bedrooms any more. It hurts.)

#Movie  #Review  

"You’re Messing with My Zen-thing, Man," said a father to a son

Our world is not perfect, anyone with half a mind will tell you this. And to make our insecure feeling (of living in a non-perfect world) become even more fraught comes Disney’s TRON: Legacy. It is the sequel of 1982’s TRON, also from Disney. The 1982 film was a groundbreaking, cinematic experience, introducing the world of computer game world that transcended beyond the frantic flicking of a joystick, and might have helped introduce Jean “Moëbius” Giraud to America. The film also showed the possibility of a world driven by a technology company.

TRON introduced us to Kevin Flynn—a laidback computer genius whose game designs were stolen by his one-time collaborator, Ed Dillinger, who profited from them.

(Er—this is NOT from TRON: Legacy. Kudos to for this ^_^)

Now, if there are things I learn from TRON: Legacy, they are these:

- The world we’re living in is NOT perfect, thanks to that goddamn sun.

- Your motorcycles (whatever it is) suck, compared to The Light Cycle.

- The world we’re living in is NOT perfect as long as there are still people using light bulbs instead of neon (damn you, Edison).

- The Recognizers from TRON looks more fun than the Recognizers in TRON: Legacy.

- The world we’re living in is NOT perfect: There are them snotty kids.

- Your actions must follow the beat of Daft Punk’s music.

- The world we’re living in is NOT perfect : You don’t walk if you walk not accompanied by Daft Punk’s music.

- In a perfect world, there are still homeless people. Perfect!

- I don’t like sand. It’s coarse and rough and irritating and it gets everywhere.”  Anakin Skywalker said this in Star Wars-Attack of the Clones. A laughable quote which now has its competition (Check out the title)

- That doe-eyed Olivia Wilde is HOT!

- Why would people living in a perfect world invade our world?   

- Slightly-pouted lips remain obligatory for mysterious hot babes.

(Er—this is NOT from TRON: Legacy)

- When you are one of the Sirens on the Grid, your movement is robotic-like. Not so, when you are off the grid. (Occupational hazard, apparently)

- Your cars (whatever it is) suck, compared to Light Runner.

- Okay, okay. The Solar Sailer in TRON: Legacy looks cooler than the one in TRON.

- Read them Zen-books if you know what’s good for you.

- All your actions start with the cue from Daft Punk’s music.

- Learn to throw them discs.

- Learn to land on one hand, one knee, one foot, then look up slowly. You’ll be cool.

-I feel that I can safely venture into the next decade, having the quotation to get me through the years (Check out the title)

Oscar for Daft Punk.