| Movies - Reviews, Celebrity GossipsMovie stars and gossips, Reviews, new releases, gossips, interviews and all time entertainment with the stars of the real for you  |  |  | | | Thursday, November 13, 2008
Dostana Movie Review
Posted by bepenfriends
Dostana Movie Review
Recall the `Kantaben` episode in Karan Johar`s Kal Ho Naa Ho. The episode is alive even today, in skits, on stage, amongst friends. That was a mere trailer. Picture abhi baaki hain. Dostana takes `Kantaben` episode to another level altogether.
Dostana is no BROKEBACK MOUNTAIN. It`s not a serious take on homosexuality either. On the contrary, it`s a madcap comedy where two straight men pretend to be gays. Although Dostana is a mainstream commercial film, it dares to push the envelope in its own way. It brings homosexuality out of the closet, gives it respect and dignity and doesn`t treat gays as `abnormal`.
Love triangle in Hindi movies often centre around two guys falling in love with the same girl, or two girls choosing to love the same guy. But Dostana is a first. It`s the first Hindi film that, at the core, is a rectangle [three men loving the same woman], but two of them, guys in this case, pretend to be a couple.
Sure, Dostana has ample shock-value since what has been witnessed in its promos is barely a fraction of what you`d get to watch in the movie. But more than shock-value, the film offers loads of fun-n-laughter and dollops of entertainment in those 14 reels.
A word of appreciation! It requires courage to fund a project like Dostana. Karan Johar, the producer, deserves to be lauded for treading the untrodden path. It requires courage and conviction to swim against the tide in your directorial debut. Tarun Mansukhani, the debutante, deserves a few brownie points extra for not thinking straight. It requires courage for two A-list actors to go all out and risk their professional [and personal] lives. Abhishek and John deserve an ovation for not only agreeing to play these characters, but also infusing life in them, without making a mockery of the gay community.
To cut a long story short, Dostana is not to be missed. Dharma Productions, the late Yash Johar and Karan Johar`s film production outfit, has produced several significant films in the past. Add Dostana to the list!
Miami is the setting for Dostana. When Sameer [Abhishek Bachchan] and Kunal [John Abraham] are turned down for an apartment because the landlady [Sushmita Mukherjee] doesn`t want two strapping young men to corrupt her young sexy niece Neha [Priyanka Chopra], they hatch a plan: they pretend to be gay to secure the apartment.
Over a period of time, Sameer, Kunal and Neha become buddies. When Neha`s boss Abhimanyu [Bobby Deol] enters the fray as the third contender for her affections, it gets even hotter...
Dostana shocks you all the while and that is its biggest USP. Don`t expect stereotypical situations or characters all through this film. Watch Abhishek cook up a romantic story between John and him in Venice. Watch Boman Irani`s interaction with Abhishek and John. Watch Kirron Kher`s dramatic entry at this point. Howlarious scenes all, they`re sure to bring the house down.
If the first hour is laced with crackling chemistry between the guys and terrific humour, things get serious towards the second half since there`s one more person vying for Priyanka`s attention -- Bobby Deol. There`s humour in this hour too, but the focus is mainly on who`d get Priyanka in the end.
The length is a slight deterrent in the second half and the editor could`ve easily cut the unwanted flab to make the narration in shape. But the film works as a package! Also, the film has a shocking end and people are bound to raise eyebrows. It would have its share of advocates and adversaries. A debatable culmination, for sure!
Director Tarun Mansukhani is here to stay. He deserves kudos for choosing an offbeat story, then making a foolproof screenplay and most importantly, executing it with flourish. Dostana merges form and content beautifully, since the film is, technically speaking, sound. Ayananka Bose`s cinematography is top notch. The locales of Miami are a feast for your eyes. Costumes and styling are very upmarket.
Vishal-Shekhar`s music goes well with the mood of the film. It`s young, peppy and energetic. `Desi Girl` and `Maa Da Laadla Bigad Gaya` are foot-tapping compositions. The latter is bound to be a rage!
Both Abhishek and John are fantabulous! Abhishek pulls out all the stops and delivers one of the finest performances of his career. His comic timing is superb! John will make guys and girls drool over his amazing physique. But, most importantly, people will sit up and notice how fine an actor John is. Both Abhishek and John compliment each other so well. In fact, had the chemistry and camaraderie been missing, the story would`ve failed to look convincing. Two thumbs up for these two guys!
Priyanka looks stunning and delivers a first-rate performance. First FASHION, now Dostana, Priyanka is back with a bang. Bobby Deol lends the required class to his role. No other actor would`ve looked so real while underplaying this character.
Boman Irani is sure to bring the house down, the auditorium is sure to resonate with laughter in his sequences. Kirron Kher is superb as the Punjabi mom. Watch her throw a fit when she learns that her son [Abhishek] is gay and much later, when she accepts John as family. She`s remarkable! Sushmita Mukherjee, as Priyanka`s aunt, is fantastic. She`s so, so funny. Shilpa Shetty sizzles in the opening track.
On the whole, Dostana is a winner all the way. In terms of content, it might just prove to be a trendsetter. In terms of business, the film holds tremendous appeal for the youth. The 16 to 25 age-group would go into raptures and bonkers over this film. Its business at multiplexes mainly will be amazing. In Overseas too, the film should emerge amongst the biggest draws of 2008. Dostana rocks... have a blast!
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| | | | | Wednesday, March 19, 2008
Vellithirai - Review
Posted by bepenfriends
Vellithirai - Review
Starring: Prithviraj, Prakash Raj, Gopika, Lakshmi Rai, M.S. Bhaskar, Sampath, Srikanth and others.
Direction: Viji
Music: G V Prakash
Cinematography: Panneerselvam
Production: Prakash Raj
A witty satire of the perils of stardom in Indian cinema. Though Vellithriai, the Tamil remake of Malayalam’s Udayananu Tharam, lacks the original’s brilliant touches, it is still entertaining to an extent. Vellithirai brings back the successful duo of Prakash Raj – Prithviraj together and the combination works well, if not as superbly as the legendary Mohan Lal - Srinivasan combo in `Udhayananu Tharam`. Saravanan (Prithviraj) is a struggling assistant director. He lives in Kodambakam, where there are several other hopefuls and wannabes: friends and rivals struggling together. Saravanan’s dream is to make his own film and he has a foolproof scheme to achieve this goal: write a sure-fire script and insist on directing it himself. His roommate, Kannayan (Prakash Raj) a sly, struggling and untalented actor hatches a plot to steal the script, pass it off on his own, and insist on being the star of the film. One day Saravanan pitches his story to Trisha (playing herself) and is shocked to discover that Trisha already knows the story. His dreams shattered, he turns to the famous actress Mythili (Gopika), for help. Can Saravanan outwit Kannayan who has now become a big star?
We won’t elaborate more on the plot that takes interesting turns except to say that the climax borrows from the Hollywood satire about moviemaking, Bowfinger. Prakash Raj in an interview to The Hindu said, “Don’t call it a remake. Call it an inspiration.” The Tamil keeps the outline of the original’s plot but changes many details, including the dialogue, which is written with an eye to a Tamil audience. Vellitherai deftly satirizes commercial cinema: and in the process indicting Indian stars and their nearly fascistic behavior on and off a film set. The most pointed dialogue is when Prakash Raj says to his friend, `Mustafa turning into Hanuman is possible only in tinsel town`. The satirical portions in the film have been crafted deftly, especially the scene between director and star about the absurd age factor of Indian movie heroes. Prithviraj is wonderful in this role. He doesn’t stereotype the struggling artist but gives the character doubt, integrity, and compassion. Prakash Raj is flamboyant and complex as the bad actor who has to act to save his life. A challenge for any actor: how does a good actor play a bad one? His over the top stylish makeover as the star in the second half may make him look funny, but that is the point: to make fun of this pompous man. Gopika as expected is quite natural. Though the film’s focus on the personal problems of a heroine makes for good viewing, her extended mushy act does get a bit tiresome.
Everyone in Vellitherai has worked hard to make this resemble a movie about a movie as much as possible. M.S. Bhaskar playing the manager’s role, and Charlie as production manager illustrate this best. Cinematography by Paneerselvam is top notch. One of G.V.Praskash’s melodies is really foot tapping: `Kanavugal` canned at several beautiful locations is a visual treat. But his background score does leave lot to be desired.
The choreography and sets for the songs are tasteful, even ironic. They are at once mocking and sincere, suggesting that commercial cinema is always a compromise: something a serious filmmaker like Saravanan is forced to contend with on his road to success. Viji, the debuting director, who had earlier scored handsomely for his dialogues in movies like Mozhi and Azhagiya Theeya, seems to be learning the ropes in the direction front. Climax for one could have been shaped up better. Overall, movies about movies are rare enough in Tamil cinema and a new addition to the genre is always welcome and the attempt is much appreciated.
Verdict: Good, but not as good as the original
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| | | | | Sunday, September 30, 2007
SPECIES - THE AWAKENING
Posted by bepenfriends
SPECIES - THE AWAKENING
 The origin of the SPECIES - and I'm not talking Darwinism here…or maybe I am - began with a new, nubile and nude Natasha Henstridge rousing every male genre fan's unanswered libido as Sil, the Sexual Terrestrial who made first contact, second contact and then some with various human males. Sil had some very close encounters of the coitus kind searching for the perfect mate to copulate with - and kill. Talk about your one-night stands. Speaking of Darwin, I can't help but make reference to his survival of the fittest theory - for that is not only every female alien's desire in the resulting movie series, but it actually applies to these films. This sexual SF saga should have ended after the original, which I actually enjoyed: Ben (Call Me "Sir") Kingsley and breasts in an alien-on-the-rampage flick - you had me at Kingsley! But its box-office success spawned (no pun intended) a big-screen follow-up with Henstridge, then a direct-to-DVD sequel with Sunny Mabrey taking over the lead role. Both were unnecessary, and followed the template of the first film, with the redeeming element of excessive nudity drawing horny genre fans like a bra-less Jeri Ryan at an SF convention.
The SPECIES franchise is basically softcore, Cinemax-After-Dark genre porn. I'm a genre fan myself, but there's something weird about getting your rocks off while watching chicks turning into aliens, ample cleavage or not. SPECIES - THE AWAKENING's Helena Mattsson is the latest blonde bombshell to essay another alien on the hunt for a mate and some murder, but at this point in time, I'm so fatigued by the formula that I wish these horny hybrids would try Internet dating and just cut to the chase. The verse-chorus-verse of hot alien babe eager to do the horizontal bop with a guy in order to produce a child is so old by now that the filmmakers should start looking for COCOON-esque pods in pools to rejuvenate the series. I'll give them Wilfred Brimley's number.
There's one reason why SPECIES films are still made, and that's because they make money. Gordon Gekko may believe that greed is good, but that doesn't translate to good filmmaking. While Mattsson is easy on the eyes and the movie was made with a certain degree of competency, SPECIES - THE AWAKENING (debuting on the Sci Fi Channel this Saturday, September 29 ahead of its DVD release next Tuesday, October 2) is day-old bread. Give me something fresh, please! I will grant director Nick Lyon and scripter Ben Ripley (who also penned the third installment) some credit, and recognize that they tried to take the series in a different and more sympathetic direction, but there's only so much you can do when you're dealing with a mimeograph machine.
The story this time around has University professor Miranda (Mattsson) discovering that she's an alien after metamorphosing, murdering a dude and waking up naked the next day (haven't we all had nights like that?). Her uncle Tom (no Harriet Beecher Stowe jokes, please) explains to her that he's not so avuncular (I love that word, but is there one for aunt-like qualities?), and actually created her as an extraterrestrial hybrid with some of his scientific buddies. Ben Cross plays Tom, and is miscast in the role; he's supposed to be essaying a remorseful, caring man who wants to help Miranda, but his performance comes across as distant and cold. I've seen more emotion in Al Gore.
There isn't as much nudity this time out, which might cause some science friction with fans who want more skin and less sci-fi, or horror enthusiasts who crave more breasts than blood. But Mattsson does a nice job with her role - she's not just some foreign supermodel with a pretty face spitting out dialogue. This entry is more about angst than anger, which is one of its redeeming qualities. Miranda wants to quell her instincts, not pursue them. Another attraction is the addition of Marlene Favela as the villainous hybrid who serves as Miranda's antagonist. Come the third act, there's some serious girl-on-girl action - but this being a SPECIES film, that involves hot-chicks-turned-aliens getting it on in violent fashion, fighting more viciously than Rosie O'Donnell and Elisabeth Hasselbeck on THE VIEW.
If you're an SF-horror fan who's a sucker for sequels, you'll watch this on Sci Fi. If you're an SF-horror fan who's a sucker for sequels with celebrity skin, you'll rent the unrated DVD (on which the movie looks and sounds very slick, though there are no special features). There are many more films worse than SPECIES - THE AWAKENING, but there are many more that are better. I would suggest skipping this AWAKENING and instead reading Kate Chopin's THE AWAKENING, which is also about a woman looking for the perfect mate. There aren't any aliens or graphic sex scenes in that story, but I expect you'll enjoy it more.
From FangoriaMy Other Blogs and website: Our free online dating website : Our Thoughts for the day blog : Our Free online dating tips blog : Our Laughing jokes blog : Our another free online dating Bepenfriends blog : Our Free online dating tips and advice articles site : Do you 2.0? Bookmarklet or submit to: | | | | | | |
| | | | | Friday, June 15, 2007
Sivaji The Boss - Review
Posted by bepenfriends
Sivaji The Boss - Review
It can't get bigger than this – Rajnikanth, the real superstar and style king, and Shankar the showman of Tamil cinema, coming together for the first time in Sivaji. The good news is that this awesome combo is able to whip up an entertainment extravaganza that is delicious and good to savour.
The moot question is: does the Rajnikanth-Shankar combination measure up to the stratospheric expectation of their fans? The answer is that it does - to a very large extent, as it has the freshness and novelty in the coming together of two giants of the industry. As a film, it acts as the vital bridge between the old Rajni films and new commercial packaging that makes Shankar tick with the generation next audience.
Rajnikanth has never looked so good on screen with his stylised look and presentation, body language, mannerisms and dialogue delivery. Shankar has been able to get the right balance in a tightrope walk between Rajni's larger-than-life image and the changing taste of today's mass multiplex audience without losing his famous touch. In short, Shankar has given us a more peppy and upmarket Rajni that is sure to work with today's youth audience.
There is only one hero here, as in all Rajnikanth films- Rajni himself. Such is the overpowering screen presence of his cinematic charisma in every frame of the film. The film works big time as Shankar has made the film on a grand scale, in a riot of colours, lavish song picturisation, which is a visual treat with superbly choreographed action scenes. All this comes with top-of-the line techno-finesse, perhaps the best ever in Tamil cinema.
Sivaji (Rajnikanth) comes back from US with big dreams of doing something good for his fellowmen, mainly free education and medical care. He wants to set up `Sivaji University` but our corrupt system, greedy politicians and red tapism stand in his way. Sivaji’s right-hand man is his Mama (Vivek) who not only helps him with his dream project but also finds him a perfect match in Tamilselvi (Shriya).
Sivaji faces opposition from Adhiseshan (Suman), a kingmaker, businessman and educationist who runs a successful medical college and hospital. After realising that nothing works in our corrupt system, Sivaji succumbs to pressure and bribes the entire bureaucracy to start his pet project. Adhi crosses swords with Sivaji and is determined to sabotage the project and he succeeds in bringing our hero to the street. Now it is the turn of our superman hero to strike back. How he does it with just one rupee forms the rest of the story.
Technically, ‘Sivaji’ is a revelation. In case you feel that it has a predictable story, then there are stunning visuals, which is paisa vasool. K.V.Anand's cinematography is top class. Art director Thotta Tharani work is enticing, especially the sets in songs. Musically the film is a treat, as Rahman has given his best in recent times. Song picturisation, like in all Shankar films, is out-of-the world and what really keeps the viewer hooked, is the packaging and the way it is picturised.
Every song is a visual treat, with Vaaji … and Sahaana… adding glitz to the proceedings. The Style song shot in Spain with where Rajni is shown as a white man is mesmerising, though the much hyped Ballelakka.. number reminds you of the manner in which Andankakka in Anniyan was shot. Thotta Tharani's sets enrich the proceedings. Manish Malhotra’s costumes, especially the suits and denims suit Rajni to the T.
On the downside, there is nothing new story-wise. Shankar has rehashed his pet theme of a one-man crusader who cleans the society of the scum of the earth, which was seen in his earlier socio-commercial fantasies like Gentleman and Muthalvan. There is a sense of déjà vu- as you have seen similar plots too often from his stable. The script is too thin on logic. There are far too many banal dialogues and familiar homilies and messages, associated with a Shankar film, are thrust in and at times the pace is too sluggish, especially in the first half.
The action scenes are well choreographed by Peter Hayne. The two fights in the first half are done in typical Jackie Chan style with the emphasis being to provide light hearted comedy. The climax fight between 'Motta' Sivaji and Adhi is adrenaline pumping with gravity defying 'Matrix' style visual effects. The graphic work in Style and Athiradi songs is mind-boggling.
Shriya has given an outstanding performance. Body language, glances, expression.... you name it and she has it all. She looks bewitching and has enough scope to perform. Suman’s new look as the suave, polished Adhi is perfect foil for Rajni as he does not go overboard and utters only a few words. Vivek has equal footage with Rajni and some of his one-liners are really whacky and hilarious, especially when he takes a dig at young heroes who have taken a leaf out of the superstar by mouthing punch lines and aping his mannerisms.
Though this is a film without any punch lines associated with Rajni films, a “Pera ketta chumma Adhirudhilla.. or “Cool” could drive his fans into a frenzy. Please note that for the first time, there are a lot of English dialogues for Rajni, keeping the global audiences in mind. The comedy in the first half is rollicking and the surprise packet is the ‘Motta’ Rajni who comes in the climax.
Go for it… It is entertainment guaranteed.
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| | | | | Thursday, June 14, 2007
Sivaji audio review...
Posted by bepenfriends
Sivaji audio review... Don't search for the author to blast... Its me!!! :D
Nothing could be bigger than this in Tamil Cinema. AVM's Production, Super Star Rajinikanth, director Shankar and A.R.Rahman's music. Sivaji is definitely the biggest film in Tamil Cinema. The audio of such a huge film has been released on April 2nd. I expected a lot from this audio, feeling this should be the best, but it sounds just good to me and nothing more.
I rate the songs normally based on how good they sound in FM radio played in my bus. Trust me, many songs I hated have become my favorites after I listened to them in my bus, so that's my benchmark. :-P
I am writing about the songs in the order of my favorites. And for the claim that Rahman's music is slow poison and all that, I am writing this review after listening to the songs lots of times in past 3 days.
Vaaji Vaaji - Hariharan, Madhushree
This I would say is the best song of the album and clearly shows Rahman is still around and is not gone as some critics claim. The music, lyrics, chorus and lead vocals are simply excellent. Hariharan is awesome with his energy of rendition while Madhushree is just okay. Though this is much better than dozens of songs where she had muttered and whined in a horrible voice doing a massacre of Tamil, I still feel Sujatha or Sadhana Sargam would have done more justice to this song. Nevertheless, a great song. Poombaavaai Aambal Aambal; Punnagayo Mowval Mowval piece is superb.
Sahana Saaral - Udit Narayan, Chinmayi
My next favourite, a brilliant song with its own share of negatives. There is a saying in Tamil Korangu kaila poomalai. That is what Rahman has done by making Udit Narayan sing this song. But for Udit Narayan's voice this would have been a fantastic song. One cannot blame Udit Narayan, only Rahman is responsible for this. Is there lack of good singers in Tamil? Why give such a wonderful song to Udit, who in an attempt to get Tamil pronunciation right and sing in a high scale messes up with both. It looks like he is moaning with pain. Chinmayi on the other hand is awesome and saves the song entirely. Nothing so great about the lyrics. part of the prelude music is exactly the same as the one in Kalyaana Then Nila from Mounam Sammadham.
Sahara Pookal - Vijay Yesudas, Gomathi Sri
This is a pathos version of the above song. Superb again. Vijay Yesudas is undeniably the singer of the year with a lot of hits to his credit and he showcases his brilliance in this song too. It makes me wonder even after hearing this voice, what made Rahman credit the other version of this song to Udit Narayan. Vijay Yesudas would have been really the best choice for the other version too. The song has just a pallavi followed by Maale Manivanna Thiruppavai verse rendered by Gomathi Sri. Her voice is not childish as mentioned in the Rediff review. On the contrary, it sounds too matured, that I wonder if it will be filmed on a middle aged Iyengar maami in the film :-P
Balleilakka - SPB, Raihanah
The typical Rajinikanth intro song, this time the super star will mouth great lines about Traditional Tamil culture rather than lines of inspiration. Nicely written song and executed with great music, who else can complete the loop other than SPB? Proving yet again he is the best to render intro songs for the superstar, he sings with such an energy that would put even the youngest singers to shame. Rahana provides the required vocal support. I cannot help myself from getting reminded of Devuda Devuda from Chandramukhi every time I listen to this song. If picturised well, this would be the song of this year.
If all songs are good, then why did I say the album is just good? Here comes the list of disappointments.
Athiradee - A.R. Rahman, Sayanora
This is a peppy dance number. It stars off well, just starts off, after that its total disaster with respect to lyrics and Rahman's unnecessary heavy throated rendition. I feel any other singer like Ranjith would have done a better job. It has reference to many of Rajini's previous movie titles. The retro style Guitar strains in the interludes are nice and the female lead Sayanora(Philips) has done a great job. There are no lyrics in the song infact, it is just a string of lots of words put together. Wishing the song should be visual delight atleast.
The Boss - Blaaze, Naresh Iyer & Raqueeb Alam
The theme song that sounds like Paatshaala from Rang De Basanti. The lyrics are nothing but the punch dialogues of Rajini, which might appear in the film too. But they does not sound like Rajini's punches, but more like those of T.Rajendar. There is nothing wrong with the vocals or music in this song. Its all great. But the lyrics which are supposed to be soul of this theme song are so stupid and awkward.
Oru Koodai Sunlight - Rags, Blaaze, Tanvi & Suresh Peters
The famous song that did rounds as promos with the lead pair sporting all awkward makeup and hairstyles. It carries the great message on Karuupu and Sevappu that is a part of all recent Rajini film songs. Other than the Spanish lines, techno beats, Style chorus and the singing by Tanvi, there is nothing much to write about this song. Why the hell is the song written in horrible Tamil if it has to sound so westernized? And even then, why such horrible male voices are chosen to sing the song?? Only Shankar and Rahman can answer. Its not singing, to be harsh, it sounds like shouting from a constipated person.
Overall, this is a good album, but I would rate it as the last among Shankar's music albums till date. My rating would be 7.5/10.
P.S: For anti-piracy activists, I am yet to grab an audio CD of my own. Will get it this weekend, the review is based on numerous hearings of the songs from various FM stations of Chennai. I don't have a pirated copy of the songs in my PC.
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| | | | | Friday, May 04, 2007
Spider-Man 3 Movie Review
Posted by bepenfriends
Spider-Man 3 Movie Review
Sam Raimi and his co-writers Ivan Raimi and Alvin Sargent apparently adopted the more is better approach with what could be Raimi’s final film of the Spider-Man franchise. The desire to include more villains, more action, and more romance gave birth to a Spider-Man 3 bloated with unfulfilling storylines, underdeveloped characters, and a film that’s literally all over the place. It's sort of fun, but not the Spider-Man film we've come to expect from Raimi and company.
The Many Stories
Mary Jane (Kirsten Dunst) gets her name in lights and Peter Parker (Tobey Maguire) is right there supporting his woman, clapping and singing and preparing himself to pop the question. But there’s trouble brewing in their relationship as MJ gets dumped from her Broadway show and wants someone to listen to her whine, and Peter’s not fulfilling his duties as a sounding board. Instead he’s busy soaking in all the adoration being lavished on Spider-Man by the citizens of New York.
Meanwhile Harry (James Franco) still wants revenge for his father’s death at Spider-Man’s hands. After a sweet chase scene in and out of the streets and alleyways, the New Goblin develops a medical condition and for a while everything is hunky-dory. But things don’t stay that way…
While Peter’s dealing with Harry and MJ, Flint Marko escapes from prison bent on helping his sick daughter. In a strange twist of events, he’s chased into a particle physics chamber and becomes Sandman. Then to make things even more complicated for poor Peter, a new photographer named Eddie Brock (Topher Grace) shows up at The Daily Bugle and wants Peter’s job – something that doesn’t sit well with the normally even-tempered Parker. And speaking of Parker’s easygoing personality, a black goopy thing crawls out of a meteor which just happens to land right next to where Peter and MJ are making out. After hitching a ride on Peter’s scooter, the gooey substance attaches itself to Peter, turning Spider-Man’s red and blue suit black. It also turns Mr Average Geeky Guy into an arrogant, self-centered creep.
So, let’s recap: We’ve got Peter’s romance with MJ on the rocks, Eddie trying to hone in on Peter’s job, Sandman causing chaos and robbing banks, Harry wanting Peter dead for killing his dad, and an outer space hitchhiker screwing with Peter/Spider-Man’s personality. What’s missing? A love triangle introduced in the shapely form of Gwen Stacy (Bryce Dallas Howard). And, of course, Venom - the villain Spidey fans love and who doesn't get nearly enough screen time in Spider-Man 3.
The Good in spider man 3
The action sequences are, for the most part, spectacular. The fight scenes live up to the standards set by the previous Spider-Man films, yet it’s when Raimi allows Maguire as Parker a few quiet moments to reflect on life that the film really comes close to matching Spider-Man and Spider-Man 2 in tone. Maguire has grown into the part and Spider-Man 3, while not the best of the lot, features his best performance of the series. The same can be said of James Franco who redeems himself after a series of bad film choices (Flyboys, Annapolis) by making Harry into a multi-layered character such as we haven’t seen in the previous two outings.
Bruce Campbell steals the film as a French restaurateur who tries to help Peter pop the question. Topher Grace and Thomas Haden Church are also terrific, with the totally buffed up Haden Church selling the part of a desperate dad without the benefit of much dialogue. Grace is given a lot to say and as the film’s comic relief, he seems right at home spewing one-liners and lightening the mood.
The Bad in spider man 3
Spider-Man 2’s Doc Ock set the bar high for villains and neither Venom nor Sandman come close to achieving what Alfred Molina pulled off. Venom’s underutilized and Sandman’s just not an interesting foe. Sure, he’s big and sandy and the effects look awesome, but either I missed something or the rules on how to deal with him change as the film plays out which is very frustrating for someone not familiar with the comic books.
Bryce Dallas Howard is pretty however her Gwen Stacy got the short end of the stick when it came to character development. But at least there is a real spark between Howard and Maguire, which can’t be said of Dunst and Maguire onscreen. The total lack of chemistry this time out is startlingly apparent, and Dunst’s MJ isn’t even fun to watch (or listen to). MJ’s too needy in Spider-Man 3 and it’s a real downer when she’s onscreen.
Some Spidey fans are going to love it when Peter Parker breaks out in his best John Travolta/Saturday Night Fever impersonation, but seeing the beloved character disco dance his way down the streets was unnerving and completely silly. And when Peter hits the dance floor to strut his stuff, Raimi pushed things too far. It’s corny and out of place, and a really bizarre way of showing the character’s darker side. Actually, other than a scene with Grace, the whole depiction of Parker’s inner battle is bland. Most of it’s done by having Maguire part his hair on the other side and let a few wisps hang down in his face, while flirting with various women in a totally harmless manner. The 'evil' turn Parker takes doesn't get dark enough.
Another major disappointment is the ending of Spider-Man 3. Lord of the Rings: The Return of the King just barely got away with multiple endings, but Spider-Man 3 doesn’t pull it off. There’s a terrific - and appropriate - ending, and then there’s two more tacked onto that. Enough already!
The Bottom Line of spider man 3
Spider-Man 2 is one of my all-time favorite comic book-inspired films. Spider-Man 3 doesn’t even rank in the top 10. The first Spider-Man did a fantastic job of telling the origin story. I’ve never picked up a comic book and with Spider-Man I understood the hows and whys of the webslinger. Spider-Man was fun. With Spider-Man 2 Raimi allowed us inside Peter Parker’s head, delivering an emotionally gripping story along with a few incredible action scenes. But Spider-Man 3 is crammed full of mini-plots, most of which aren't allowed to play out completely. Even 140 minutes isn’t long enough to do justice to three villains, a love triangle, and a Peter Parker who takes a walk on the wild side.
Spider-Man 3 is critic-proof and will no doubt make a ton of cash, but it doesn’t deliver enough bang for the buck. The film actually leaves you hoping Raimi and Maguire will return for one more shot at making the definitive Spider-Man movie, because 3 isn’t it.
Grade: C+
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| | | | | Monday, March 12, 2007
300 Movie Review
Posted by bepenfriends
300 Movie Review
Sweating it out at the Hot Gates
The title of "300," the new piece of Hollywood action porn, refers to the number of Spartan warriors who futilely but audaciously took on the Persians oh-so many centuries ago. But that number could also represent the number of stars many of the exhilarated boys would give this movie upon exiting -- "boy" being a state of mind, of course. I'm inclined to give 298 fewer. Then, sadly, I'm no longer the sort of lad who goes for souped-up remixes of, say, "Gladiator."
For fans of the Frank Miller-Lynn Varley graphic novel from which "300" has been adapted, the movie parks itself in the big manly wheelhouse of lots of filmgoers. But there's a stale, synthetic airlessness about the movie. Imagine a large cast trapped in a series of spectacular screensavers. It could be ancient Greece. It could be somebody's hard drive.
Either way, the film never feels like more than an exercise, for the filmmakers and the actors. They appear to have spent the entire production at whatever gym Hercules went to. Indeed, if you happen to enjoy spending almost two hours watching a bunch of worked-out UK thespians battle for the survival of Hellenism in only sandals, leather codpieces, and vermilion capes, run don't walk.
Written by Kurt Johnstad, Michael B. Gordon, and the director Zach Snyder, whose other movie is 2004's "Dawn of the Dead" remake, "300" brings us the mythic Battle of Thermopylae -- also known as the Hot Gates -- as narrated in a spirited storybook manner by the Spartan battler Dilios (David Wenham, an Australian).
There, in 480 BC, the Spartans try to hold off what they think is a million or so Persian invaders from entering central Greece. Sparta's King Leonidas (Gerard Butler) defies the will of the Greek people and the governing council, leading his men to their legendary doom. While Leonidas and his men are off bludgeoning for valor, his wife, Queen Gorgo (Lena Headey), remains behind both to ward off the leering insinuations of Theron (Dominic West), a scheming politico, and to urge the government to commit more troops to back her husband.
The brawling sequences have a kind of visual awesomeness. Scenes of the men slashing and impaling each other, while muscle rock plays on the soundtrack, are usually chaotically edited, but occasionally the frame slows so that the maneuvering and stabbing and leaping and linebacking operate at a dreamy clip. It's as if everybody is slaughtering everybody else underwater. (There's a sex scene that seems shot at the same speed, but the brawls are less ludicrous.)
Blending digital fakery with real athleticism, these are show-stopping sequences that deserve an ovation for the technicians, stunt coordinators, and production-design team who've brought them off. When the men aren't fighting, though, the movie is almost dead. Boredom builds up between the artificial opera of the battles like plaque.
The movie needs more of the campy bluster the Scottish Butler injects into a few scenes. Once, he chomps on an apple atop of a pile of massacred Persians. He's like Sean Connery doing Robert Duvall in "Apocalypse Now" in a chicer version of the costume Connery wore in "Zardoz." Butler gives us a flash of hunky, clunky Richard Egan in 1962's " The 300 Spartans," too. Otherwise, the movie is busy trumpeting such abstract principles as Glory, Duty, and Destiny, in speeches roared by the cast as though Herodotus himself had written them.
It's a testament to the inherent cinematic depth of Miller's graphic novels that the movies based on them are so vicariously dull. "Sin City" was like watching your buddy get a lap dance. "300" is often like watching that buddy play a video game. There's no room to breath but plenty of time to wait. And nothing seems approachably real. Even the blood is digital.
Much has been made of the allegorical potential of "300." Could Leonidas be some President Bush stand-in? Might the Persians be, well, the current Middle East? The movie could be all things to all people. For me, the fight is unfair. "300" is about a bunch of hot white metrosexuals -- those pecs, those abs, that hair -- against a million freaky nonwhite club kids. In other words, the gays. King Xerxes's hangout is full hookah-puffers, derelicts, and girls making it with girls (let's call them lesbians). His army is full of monsters seemingly from the Troma Films creature shop.
The dreaded Xerxes himself (Rodrigo Santoro) appears to be a 9-foot-tall Yul Brynner . His skin glitters. His head is totally shaved. His nails are manicured. His body is pierced and gold chains run from his scalp to his ankles. It's Yul, the mystical Miami nightclub version! During their big mano-a-mano attempt at negotiation, Xerxes tells Leonidas nothing would bring him more pleasure than for the Greek king to kneel down before him in submission. Leonidas recoils. So did the dudes next to me in the theater when Xerxes started to make his move.
According to this outrageously flagrant movie, the Spartans didn't just die for Glory, Duty, and Destiny. They died to keep the Hot Gates from turning into another gay disco.
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