Avatar

Avatar certainly could have been a disaster, a technological husk with no soul. Worse, the reliance on CG characters could have landed it smack dab in the uncanny valley...the realm where special effects wizards attempt to match reality but reap unsettling and awkward results. Beyond all reasonable expectations, however, Avatar must be considered a smashing success.

It's easy to see why 3D has been pushed in lock step with Avatar; the film melds CG and reality to create breathtaking scenes and believable characters. The eye candy on offer simply hasn't been paralleled this year. But Avatar's most significant technological feat lies in its ability to confuse the viewer. Halfway through, I had entirely lost track of what was and wasn't CG. The main characters, though some of them were alien, appeared to be fully-fleshed entities, and the world surrounding them was simultaneously impossible and yet flawlessly presented before my eyes.

Beautiful scenery and high octane action can only carry a film so far, but Cameron's screenplay, though not without a few warts, succeeds in inviting viewers to a new world and lulls them into caring for its characters. The barebones story isn't particularly complicated, and many of the plot points are telegraphed well in advance. The focus here is on a simple story told well. Cameron takes his time introducing his world and slowly unraveling its mechanics. The 162 minutes are judiciously apportioned such that the pacing avoids the twin pitfalls of skipping proper character development and drowning in excess exposition. Some of the characters are necessarily flat, and a handful of one-liners fall a bit short, but most of the writing implies a sure hand at work.

Of course, Cameron writes with a message, and the elegance of his delivery comes very close to perfection. Science fiction and fantasy often deliver morally or politically charged messages via metaphor, and Avatar can be viewed as one epic metaphor. Said metaphors risk crossing the line from art to rhetoric when they try to attach explicit anchors to the real world, and Cameron's script commits this error in two unrelated lines. Still, considering the length of the film and the otherwise effective development of the metaphor, this is a decent record.

On top of these aspects of the film are more conventional concerns such as acting. Sam Worthington, Segourney Weaver, and a host of other notables fill their roles with polish, but again, the true acting miracle in Avatar revolves around the CG characters. Never will a glitch remind the viewer that they aren't watching humans. The wizards behind Avatar have managed to simulate the full breadth of human expression and movement; the execution is flawless.

Combined with another rousing score from James Horner, Avatar's superlative special effects, measured pacing, and likeable characters form an unlikely synergy. By the film's climax, my heart was in my throat every time the life of a character was threatened. Sitting through the credits, I realized that Cameron's enormous gamble had paid off. Avatar is a cinematic tour-de-force and fully deserves the accolades it will surely garner at upcoming awards shows.

Image source: hdwallpapers.in

Right At Your Door

NOTE: When I wrote this review a while back, it contained some small spoilers.  I've reordered this review so that this part is at the end and partitioned off for those who don't want to read it.  Moving along....

"WOW" was the word I kept silently mouthing as I watched this film. Cinematography, flawless acting, and an endlessly foreboding tone and script come together  in Right at Your Door for the most engrossing cinematic experience I've had in some time.
In a rare turn, the script and direction trust the intelligence of the viewer. In particular, subtle use of the radio provides small doorways into the current psychological states of the characters. Hence, the film isn't nearly as interesting or engaging if the viewer does not surrender their full attention. For the right viewer, however, that won't be the slightest problem. Additionally, there are any number of nuances to the relationships between the main characters; catching them all requires even more attentiveness. The director isn't hiding these things, however. These extra spices simply contribute to the feeling that the audience is watching real people. Plot points aren't telegraphed 20 minutes in advance in real life.

This riveting package comes in a small box. It was filmed on a small budget, but the claustrophobic quarters that provide the setting for the majority of the movie only add to the horror and futility of the situation. Considering that this is Chris Gorak's first film, I haven't been this excited about a debut since Shane Carruth's Primer (what's HE up to now?). Hitchcock ain't got nothin' on Chris Gorak!

Highly, HIGHLY Recommended!
************************************************************************************
Slight spoilers follow, but they all follow under this umbrella: "This is a small interpersonal story taking place within your typical disaster movie."


Another strenth of the script? It employs a gritty realism via the only source of information the main characters have on hand: the radio news station. The story of the disaster that has befallen the outer world unfolds through this mechanism, the application of which should trigger memories of 9/11 for all but the most obtuse. The comparison, however, is never explicitly made, and the implied connection between the American disaster and the events in this film is applied with finesse and grace.
*************************************************************************************
Image Source: IMDB

Bionic Commando (PS3)

The critical reception to Bionic Commando was anything but kind. The PS3 version of the game is sitting on GameRankings with an aggregate score of 72%. I've seen games get the short shrift before, but never so much as Bionic Commando. I have a small confession to make; I'm only halfway through the game, but I'm so enamored with it that I couldn't wait to write a review. Here's the breakdown:

Graphics: Stunning throughout. Animations seem realistic (considering the subject matter at least) and environments are breathtaking. Not much to say because there's nothing to complain about.

Story: I've heard that this aspect takes some criticism; apparently the ending is love it or hate it. I'm enjoying the story partly because of the effective voice-acting. Steve Blum always puts on a good performance, and he's effective here as Super-Joe. I'm not familiar with the VA for the main character, but he certainly does a good job of making me believe he's enjoying the swinging as much as I am- which brings us to...

Gameplay: There's nothing else on the market like BC. It's not an FPS or even a standard 3rd person shooter. The main focus is on effective use of the bionic arm. The result has been compared to the Spider-man games, but such a comparison leaves out the nuances that BC brings to the table. First of all, the level design is superb. Whereas the Spider-man levels games are typically limited to swinging around the same old skyscrapers, BC's levels are filled with all kinds of broken buildings, suspended railways, caverns, and more. Even if the mechanics of the swinging were identical, the game would play much differently. But the swinging requires more precision than SM. Some players make the mistake of giving the game five minutes and deciding it sucks. It takes a bit of practice to get the hang of using the arm, but once you've got it, you're in for some gameplay gold. The reason the game "works", in my opinion, is that it doesn't focus on split-second reactions and near-impossible jumps. Instead, the emphasis is on tactics. How does one effectively navigate the war-torn landscape and attack ones' foes while evading their gun-fire? Answering this question is the job of the player. Using the arm, for instance, to swing into battle and then swing out to recover is a rewarding experience. The boss battles, in particular, do a fantastic job of highlighting the difference between this game and your vanilla third person game.

Sound: WOW! If you're familiar with the themes from past BC games, you'll recognize some remixed themes. This soundtrack, however, is simply outstanding. From the elegant piano theme in the main menu to the thundering symphonic arrangements during battle, these pieces do much to elevate the gameplay to something truly special. On a related note, I intend to do some serious searching for the sheet music to the menu music; I would love to play that on the piano.

Let's talk downsides for two seconds. I've heard a lot of criticisms, and these are the two that I deem to be accurate:
1) Radioactive out-of-bounds. Linear games have the difficult task of creating some means to provide limits to the environments. The standard but laughable solution of times past has been the familiar "invisible wall". BC tries something new by simply killing the player if they stray out-of-bounds for too long. It is explained that much of the city is irradiated and that our protagonist must avoid this stuff like the plague. Most of the time, this radiation is clear enough to see. But those few times it surprises you can get pretty annoying. This solution to an old problem might even be elegant if well-implemented, but there are some weird choices here. Sometimes, the UPPER HALF of a building will be irradiated. Usually, level limits are lateral in natural, so coming across this can be vexing.
2) Collectables. See, you're gonna die a lot; this isn't an easy game (on Normal, at least). Most games don't make you re-collect collectables if you die before reaching the next checkpoint. Well, BC does. Get used to it.

These cons are really quite minor in comparison to the fantastic gameplay on offer. Every major aspect of BC screams high production values, and the gameplay offers something truly novel and rewarding. The price of BC has plummeted in most places. I found it new for 20 dollars. Don't believe the critics; Bionic Commando is an astonishing accomplishment.

Image Source: IGN

Repo: The Genetic Opera

Phantom of the Opera
Sweeney Todd
Moulin Rouge
Saw

Here...let me save you some time. If you liked any three of the four listed above, RUN to your nearest video store. You've got an unforgettable 90 minutes ahead of you. If not, keep reading- there may be hope yet.

Repo: The Genetic Opera is classed as a rock opera. Like a normal opera, there is little to no spoken dialogue. The music, however combines the melodic and lyrical cleverness of Sweeney Todd with the industrial riffs of Korn or Nine Inch Nails. If you like the aforementioned bands, Within Temptation, Nightwish, Therion, or even Sarah Brightman, you can stop reading and hit one click purchase. More time potentially saved....

So you're still reading...well, a guy tries. Repo features a fantastic cast of actors and actresses. Anthony Head (Buffy's Watcher), Alexa Vega (from Spykids, but you won't recognize her now), Paul Sorvino, Sarah Brightman, and Paris Hilton will all surprise you (well maybe not Sarah- you knew she could sing, right?).

Visually, the film is a tour-de-force. The sets and costumes all come across as the labor of love that they are. I mentioned Saw above, however, because the film's premise is inherently gory.

The story is both engaging and surprising, and the writers melded the plot so seamlessly with the music that the resulting synthesis is stunning.

My one and only personal problem with the film is that it descends into self-indulgent raunchiness a couple of times. It disturbs the flow of the film. The deleted scenes indicate that a good bit of this was cut, but the minute or so that survives is unfortunate.

That one problem won't be an issue for most people that get their hands on this film, and it does little to deter my nearly unreserved admiration for and recommendation of the film. It attempts something new and daring: the synthesis of the opera concept with the industrial sound and the theatricality of Phantom.

Finally, let me make a plea. If you like the film or think you'll like it, buy it: Repo! The Genetic Opera All people involved would like to make a sequel or a prequel, but the movie opened in very few theaters. The hope is that it becomes a cult hit such that dvd sales can fuel another movie.
Image Source: IMDB

Appleseed: Ex Machina

The first Appleseed film (from 2004) was quite a treat. The cell-shaded CG graphics looked very good for the time. Complementing this obvious standout aspect was an intriguing story and an excellent soundtrack. It's worth noting that the story, in particular, felt like a genuinely original re-animation of sci-fi concepts.

Fast forward to today and we have the sequel, Appleseed Ex Machina. It's pretty simple to separate what works and doesn't in Machina:

GRAPHICS:
The level of detail in the graphics has improved dramatically, and characters look less like geometric objects with textures painted on and more like genuine people. The cityscapes are even more impressive. Furthermore, the action is more frequent and looks even slicker.

My two gripes with the visuals are these: First, in what is all too common in action movies like this, the best scene is the first one. Hands down. I don't understand why so many directors feel the need to frontload their movies. I will say that the movie is less guilty of this than its predecessor. Second, movement outside of action scenes still looks a bit jerky. Some might fault mo-cap technology, but for my money, Final Fantasy: Advent Children boasted some mighty believable movement.

STORY/WRITING:
Here's where Ex Machina falls apart. The story here isn't anything you haven't seen executed better in anime/other entertainment. Compared to the plot of the first movie- which created a unique sci-fi framework, this one felt like a filler episode. The villain was cliche, the story far less complex/meaningful than the first, and any intrigue or mystery the story might yet have held was ruined by the horrible writing. The film tasks itself with letting the viewer in on a number of concepts necessary to the plot, but rather than integrate them seamlessly into the dialog, it bashes the viewer over the head with them.

MUSIC:
The soundtrack wasn't bad- I just didn't notice it most of the time. This constitutes a slight letdown considering how often I return to the soundtrack from the first movie.

OVERALL: Ex Machina is a sight to behold and warrants a blu-ray purchase. Just don't expect it to expand much on the ideas introduced in the first Appleseed.

28 Weeks Later

In order to review 28 Weeks Later, it's necessary to say something about 28 Days Later:

This first leg of the franchise managed to transcend the genre by putting characters at the forefront and weaving poignant moments and themes through an unpredictable narrative. Sure, it was a zombie movie, but it wasn't JUST a zombie movie.

Days also managed to function as a well-oiled piece of science fiction. It established the rules regarding the "rage virus" and then set our protagonists free to work against it.

Simply put, 28 Days Later is not only a classic of the horror genre, but one of the best dramas I've ever seen.

So where does Weeks stand? Separated from its forebear, Weeks is a more than competent zombie thriller. It features some truly beautiful cinematography in spots (though there's a good deal of the ever-popular "shaky camera" work to bring the film down in this category). The action is also quite good in spots- there's a kill scene about 2/3 of the way through that won't be soon forgotten.

Viewed as a sequel to 28 Days Later, Weeks is all over the place. It needs to be said that the first 30 minutes made me feel like I was watching a true successor to Days. Somehow, the intimacy of strangers so well captured in Days had been resurrected.

Unfortunately, the rest of the film doesn't hold up as well. By the halfway point, the plot has degenerated into the genre standards. It executes them well, But the movie no longer feels like Days- no matter how much the score claims otherwise.

On a particularly disturbing note, the film breaks continuity with Days regarding the contagious nature of the virus. People get splattered with zombie blood and walk away no different than before. As someone who hopes Boyle returns to direct the inevitable third movie, this change bother me most of all.

Weeks still struck me as the second best zombie movie I've ever seen. The action is tight, the sights are breathtaking, and the plotting is fast enough to account for deficiencies in depth. Just don't be surprised that director Fresnadillo hasn't managed to one-up Danny Boyle- few can, right?
Image Source: IMDB

Antibodies

I've seen some films with narrow audiences, but this takes the cake. The film has the most to offer to somebody who values the Old Testament (specifically Christians and Jews) due to the number of OT references along with a couple of NT refs. Thematically, the film explores some of the more troubling concepts in Christianity, especially.

What, you say? There are plenty of Christians and Jews. Well, all of the philosophy and theology is heavily wrapped up in one of the most graphic serial killer films to come around in some time. Not only are there some graphic images (grisly stuff as well as a pretty graphic sex scene), the language invites even worse images than appear on screen.

So for the Christian or Jew that can get past the above, this is an extremely interesting film. Come for a psychological thriller with superlative acting and cinematography, stay for the way the director plays with Biblical concepts and forces you to think.

Finally, I'll say 1 more thing for those who are still on the fence. The film begins with a quote from Dostoevsky. In retrospect, the choice is incredibly apt; I feel that Dostoevsky could have written this had he lived now. If the names Ivan and Raskolnikov bring forth positive memories, then you're in for a treat.

Image Source: dreadcentral.com