Underworld: Rise of the Lycans

Genre: Horror/Suspense

Theatrical Release:Jan 23, 2009 Wide

Box Office: $33,165,746

I'll accept to actuality afraid that the Underworld alternation has accomplished a third installment. Apparently, these films aren't that big-ticket to accomplish because they accept never been big box appointment performers. With the additional movie, Underworld: Evolution, accepting captivated up things too neatly for this assembly to abide affective forward, the filmmakers accept adopted to do some backtracking. This is an "origin story" - one that allotment to the alpha and chronicles how the vampire/werewolf war started. The limitations of the Underworld adventure are on display: the storyline about replicates that of Underworld and Underworld: Evolution, acceptation that if you've apparent one or both of them, there's no acute acumen to absorb your adamantine becoming dollars on the third.

The affidavit for watching the aboriginal two Underworld movies were simple: Kate Beckinsale in a bound covering costume, lots of fast-paced action, Kate Beckinsale in a bound covering costume, affluence of claret and gore, and Kate Beckinsale in a bound covering costume. The fast-paced activity and claret and claret are still present in Underworld: Rise of the Lycans, but Kate Beckinsale is boilerplate to be begin (excepting a abrupt actualization abreast the end in a blow that I accept was aerial from the aboriginal film). Back Underworld would not be Underworld after the dominatrix aspect, Rhona Mitra accomplish into the bound covering costume. The aftereffect is agnate but not absolutely the same. Beckinsale's husband, Len Wiseman, who directed the aboriginal two Underworlds afore axis his absorption to Live Free or Die Hard, has ceded the top armchair to Patrick Tatopoulos (a beheld furnishings authority who formed on the antecedent two Underworld films), although he gets a adventure credit. Tatopoulos, it should be noted, does a adequate job of assuming Wiseman's style.

The adventure takes us aback hundreds of years to back the werewolves were disciplinarian to the vampires. (A allegiant apostle of the cine ability alarm this aspect allegorical.) Viktor (Bill Nighy), the baron of the bloodsuckers, has a accurate affection for Lucian (Michael Sheen), the best and bravest of his wolf bite-infected pets. Unfortunately, as abundant as Lucian brand Viktor, he brand Viktor's daughter, Sonja (Rhona Mitra), alike more, and the activity is mutual. Back sex amid vampires and lycanthropes is forbidden, the two charge accommodated in secret. Alike afore they are begin out, the activity leads to their downfall. In adjustment to save Sonja's life, Lucian charge abolish the collar that inhibits his shape-shifting. This is an breach that acreage him in a corpuscle and, while he's there, his words and accomplishments bulb the seeds for the insurgence that will alpha the war.

Those who awful Twilight because of the way in which it defanged vampires while axis women into victims can blow calmly here. Sonja is annihilation but a victim and the vampires, abnormally Viktor, are awful pieces of work. The botheration with Underworld: Rise of the Lycans is the way in which it repeats all that has gone before: banned love, desaturated color, blood-soaked battles amid CGI werewolves and all-too-destructible vampires. The accomplished acquaintance feels obligatory. If the filmmakers were activity to go to all the agitation to accomplish a new affiliate to this saga, why not do article absorbing with it?

Bill Nighy, who had a cogent role in the aboriginal Underworld, is a contentment to catch in the way he blithely overacts. This is accurate scenery-chewing. Here's a accepted amateur who has adopted to go as far over-the-top as the administrator will acquiesce (and that turns out to be absolutely far). There are times back it's absurd not to chuckle. This first-rate amateur achievement causes the added sedate assignment by Michael Sheen and Rhona Mitra, who booty their genitalia seriously, to achromatize into the background. (Although, to his credit, Sheen does accompany the affair during scenes back he gets to bark snippets of "rousing" dialogue.)

The appropriate furnishings are beneath absorbing than in the antecedent two installments, conceivably because of bread-and-butter restrictions. They assume like they were done cheaply and/or quickly. Granted, we're not accepted to accept that an army of werewolves is affronted a castle, but neither is it declared to be accessible that the absolute arrangement was put calm on a computer. The akin of captivation accepted by the adventure has not been accomplished by the furnishings technicians. Also, the action scenes are accumulated with the now-popular fast-edit address that makes them difficult to follow.

Does one accept to be a fan of the alternation to acknowledge Underworld: Rise of the Lycans? Probably, back the cine assumes a acquaintance with the saga's mythology. The blur can be watched and accepted by a abecedarian (although I accept apparent the added two, I can't affirmation to bethink them decidedly well), but there's no acumen why addition alien with Underworld would appetite to bother. The aboriginal blur was decidedly bigger and, therefore, is the abode to alpha for anyone with a atom of interest. Underworld: Rise of the Lycans is an also-ran that is acceptable to be accepted alone by completi

Starring: Rhona Mitra, Bill Nighy, Michael Sheen, Steven Mackintosh

Starring: Rhona Mitra, Bill Nighy, Michael Sheen, Steven Mackintosh, Kevin Grevioux, Danny McBride

Director: Patrick Tatopoulos

My Bloody Valentine (2009)

Tom (Ackles) returns to his hometown on the tenth anniversary of the Valentine's night massacre that claimed the lives of 22 people. Instead of a homecoming, however, Tom finds himself suspected of committing the murders, and it seems like his old flame (King) is the only one will believes he's innocent.

Ip Man - Review

If you look at the last 5 movies in Donnie Yen’s filmography, I feel that his better works had resulted from his collaboration with director Wilson Yip. In Painted Skin and An Empress and The Warriors, he was relegated to supporting roles, with the former being ineffectively cast against type, and the latter playing second fiddle to the leads Kelly Chen and Leon Lai. With Yip, he’s the able star of the show, and in each of the movies, was put to do what he does best – numbing arse kicking action, with SPL sparring with Sammo Hung and Wu Jing, Dragon Tiger Gate having to lead Nicholas Tse and Shawn Yue battling bad hair days, and introducing some wildly kinetic Mixed Martial Arts action in Flash Point. So how does his latest collaboration with Wilson Yip fare?

They do no wrong. I shall now proclaim unabashedly that I absolutely love this movie! It’s been some time since we last saw a biopic on one of the Chinese’s martial arts folk heroes, with Jet Li’s Fearless being the last memorable one to hit the big screen. While Li lays claim to three of such roles in the iconic Wong Fei Hung (in the Tsui Hark movies), Fong Sai Yuk and Huo Yuan Jia in Fearless, after which he felt he had to hang up his martial arts roles because he thought that he had communicated all that he wanted about martial arts through these films. And thank goodness for Donnie Yen still being around to pick up from where the genre left off, and presenting a memorable role which he truly owned, with Ip Man being the first cinematic rendition of the Wing Chun martial arts grandmaster.

In this bio-pic, Ip Man, one of the earliest Wing Chun martial arts exponents credited to have propagated its popularity, gets portrayed as the best of the best in 1930s Fo Shan, China, where the bustling city has its own Martial Arts Street where countless of martial arts schools have set up shop to fuel the craze of kung fu training. With each new school, the master will pay their respects to Ip Man and to challenge him to a duel. Ip Man, an aristocrat who spends most of his quality time developing and perfecting his brand of martial arts, will take them on behind closed doors, so as not to damage his opponents’ reputation nor embarrass them in public. His humility is his virtue, and his style is never violent or aggressive, which often gets assumed and mistaken for being effeminate, since Wing Chun after all was founded by a woman.

The bulk of the story gets set in the outbreak of the Sino-Japanese war, and it’s not all fight and no story. Witth this historical setting, at times it does seem that there is an air of familiarity with the type of stories told, with how the Japanese Imperial Army had made life really miserable for the Chinese, and how the Chinese being fragmented in spirit, fail to unite during dire straits. More often than note, martial arts become a unifying force, and this aspect of the narrative might seem to be a walk in the usual territory.

But with its array of charismatic supporting cast with the likes of Simon Yam as Ip Man’s best friend and industrialist Quan, and Lam Ka Tung as a cop turned translator, there are little nicely put sub plots which seek to expand the air of respect that Ip Man commands amongst his community. The story by Edmond Wong did not demonize all the villains, often adding a dash of empathy and sympathy to the likes of the Japanese General Miura (Hiroyuki Ikeuchi), a highly skilled exponent from the North called Zhao (Fan Siu Wong) as well as Lam’s translator character who is deemed as a traitor for being in the service of the Japanese. Ip Man the family man also gets put under the spotlight, where his passion could sometimes leave him neglecting his wife and kid, and through the course of the story this focus often leaves one quite exasperated for his family’s safety as he puts his countrymen above self and family when going up against the oppressive Japanese forces.

So what’s the verdict on the action? Action junkies won’t have to wait too long before watching Ip Man in action, and to Sammo Hung and Tony Leung Siu Hung’s credit, they have intricately designed some of the most varied martial arts sequences in the movie, such as private fights in his home, a factory melee, a Japanese dojo battle as seen in the trailer, (which I know has actually sent some positive vibes amongst moviegoers, mouth agape at that incredible scene of Yen continuously beating down a karateka) being somewhat of a throwback and reminscent of Bruce Lee in Fists of Fury, and a ringside duel amongst others. And it’s not just Ip Man who gets in on the action, but specialized martial arts moves designed for the various practitioners as well. It’s so difficult to name any particular one as a personal favourite, though I must add that you definitely won’t feel short changed by the time the inevitable final battle comes rolling along and gets delivered with aplomb.

I’m no Wing Chun practitioner, but Donnie Yen has this marvelous calm and zen like approach with his Ip Man taking out his opponents quite effectively with the minimal of moves. Like Huo Yuan Jia, he doesn’t deliver the killing blows to friendly opponents, but rather simulates the various hit points, which actually calls for some astonishing control of strength and precision. This approach will change of course as the opponents become anything but friendly. And unlike the usual martial arts stance of crouching low, here we see him standing tall and striking with such precision and efficiency, it’s like poetry in motion with some astounding closed quarter combat utilizing plenty of upper limb strength.

With Wong Kar-wai at one point also declaring interest in making a Ip Man movie, I thought that this effort will be hard to beat, just like how Tsui Hark has crafted some of the more definitive movies in modern times about Wong Fei Hung and Jet Li benefiting from a major career boost, I’d say Ip Man just about cements Yen’s reputation as a martial arts leading man, which I guess the cinematic world these days severely lacks. Definitely recommended, and surely a thrill ride for Donnie Yen fans!

Twilight

Drama, Romance, Thriller and Teen

November 21st, 2008

Rated PG-13 for some violence and a scene of sensuality.

STARRING

Kristen Stewart, Robert Pattinson, Billy Burke, Peter Facinelli, Elizabeth Reaser, Cam Gigandet, and Nikki Reed

Review
I am not now nor have I ever been a 13-year-old girl, but "Twilight" made me wish I could be, at least for a couple of hours, the better to appreciate a movie that has been targeted to that demographic with the delicious specificity of a laser weapon. ¶ In case there are no teens in your immediate vicinity, "Twilight" is based on the book by Stephenie Meyer, the first of a quartet that has sold 25 million copies worldwide and been translated into 37 languages. Meyer is not exactly a great literary stylist but she has come up with one heck of a romantic concept. But let her 17-year-old heroine, Bella Swan, beloved of Edward Cullen, tell you all about it: "About three things I was absolutely positive. First, Edward was a vampire. Second, there was a part of him, and I didn't know how dominant that part might be, that thirsted for my blood. And third, I was unconditionally and irrevocably in love with him." ¶ As romance fans know, love needs obstacles to hold our interest, and in this egalitarian age, obstacles are hard to come by. The Oscar-winning "Ghost" of several years back had one lover living, the other deceased, and "Twilight's" notion that he's undead and she's not is just as good, maybe better. Connecting this to the extreme emotions of the young teenage world, where every moment is a crisis and the chaste romance of passionate soul mates is more attractive than dubious sexual shenanigans, was the masterstroke that created a phenomenon.

It's very much to the credit of director Catherine Hardwicke and screenwriter Melissa Rosenberg that "Twilight" the movie really gets this. This film succeeds, likely unreservedly for teens and in a classic guilty pleasure kind of way for adults, because it treats high school emotions with unwavering, uncompromising seriousness. Much as you may not want to, you have to acknowledge what's been accomplished here.

Four Christmases

Who’s In It: Reese Witherspoon, Vince Vaughn, Robert Duvall, Sissy Spacek, Jon Voight, Jon Favreau, Mary Steenburgen, Dwight Yoakam, Tim McGraw, Kristin Chenoweth

The Basics: You’ve seen the billboard. Reese and Vince wake up in a grimy underground torture chamber to find themselves bound in giant red ribbon. Then the Saw guy makes them decide which one of them has to cannibalize the other in order to teach themselves the true meaning of Christmas. Okay, lie. That’s just the movie I wish I’d watched instead of this one where they have to visit their wacky divorced parents for the holidays.

What’s The Deal: Christmas movies are easy. All they have to be is adequately bland to keep on cashing in on TV every year until you’re old. And then that familiarity breeds a kind of weird mindwashing where people start calling everything a “holiday classic” and then eventually, Idiocracy-style, we’re all just watching flatulent buttocks do nothing but fart “Jingle Bells” for 90 minutes. Actually that would have been more fun than this movie, too.

Guess What Else You Don’t Need To Spend 10 Bucks For, 10 Bucks You Could Spend On About 3% Of A Really Decent Present For Someone You Actually Love: A scene where Jon Voight intones, “Family is the most important thing.” Seriously. Just when whatever minor laughs this movie delivers have finally been stomped on by the slowly creeping intrusion of comedy-killing heartwarmth, someone has the nerve to drag that one out. Because you didn’t know already that family was important, did you? DID YOU? Hollywood is so selfless when it comes to doling out important divorce-preventing wisdom. We should all be grateful.

The Almost-Save: Jon Favreau and relative newcomer Katy Mixon as the white-trash brother and sister-in-law who crush everybody at a game of Taboo. You can pretty much bail after that and go sneak into something else. You know what’s funny? Role Models. Go see that instead.

Or, If You Must See A Christmas-Themed Film About Families Who Don’t Get Along: Try A Christmas Tale (now playing in select big-city arthouses with highly readable subtitles) or just go Netflix The Ref again.

James Bond : Quantum Of Solace (2008)

Betrayed by Vesper, the woman he loved, 007 fights the urge to make his latest mission personal. Pursuing his determination to uncover the truth, Bond and M interrogate Mr. White who reveals the organization which blackmailed Vesper is far more complex and dangerous than anyone had imagined.

Forensic intelligence links an Mi6 traitor to a bank account in Haiti where a case of mistaken identity introduces Bond to the beautiful but feisty Camille, a woman who has her own vendetta. Camille leads Bond straight to Dominic Greene, a ruthless business man and major force within the mysterious organization.

On a mission that leads him to Austria, Italy and South America, Bond discovers that Greene, conspiring to take total control of one of the world's most important natural resources, is forging a deal with the exiled General Medrano. Using his associates in the organization, and manipulating his powerful contacts within the CIA and the British government, Greene promises to overthrow the existing regime in a Latin American country, giving the General control of the country in exchange for a seemingly barren piece of land.

In a minefield of treachery, murder and deceit, Bond allies with old friends in a battle to uncover the truth. As he gets closer to finding the man responsible for the betrayal of Vesper, 007 must keep one step ahead of the CIA, the terrorists and even M, to unravel Greene's sinister plan and stop his organization.

Also Known As:	Bond 22
Production Status:	In Preproduction
Logline:	James Bond infiltrates a drug ring that is flooding Britain with heroin
Genres:	Action/Adventure, Thriller, Adaptation and Sequel
Running Time:	1 hr. 45 min.
Release Date:	November 14th, 2008 (wide)
MPAA Rating:	PG-13 for intense sequences of violence and action, and some sexual content.
Distributors:	Sony Pictures Releasing
Production Co.:	Danjaq Productions, EON Productions
Studios:	Metro-Goldwyn-Mayer Studios Inc. (MGM), Columbia TriStar Motion Picture Group
Filming Locations:	Europe Tuscany, Italy
Produced in:	United States

High School Musical 3: Senior Year

"High School Musical" is responsible for its share of ills in the world: teenagers with perfectly good faces wanting to get nose jobs. The idea that the word "Sharpay" is an appropriate name for a human child. The rise in mainstream popularity of Bedazzler-embossed clothing.

But most of the harshest critics of the 2006 Disney Channel movie were people who didn't see it. I've watched the original movie, the stage show and something called "High School Musical: The Ice Tour," and observed just as many smiling faces on the chaperones as the kids. Admit it or not, parents were having a good time, too.

The series premieres as a feature film with "High School Musical 3: Senior Year," and the songwriting and choreography are as exciting as ever. Unfortunately, the writing has become so bad that it becomes impossible to keep your head in the game - even as your toes continue to tap to the beat.

True, "High School Musical" was never about the plot. The makers of the 'tween phenomenon - including director Kenny Ortega, the Bay Area native who choreographed "Dirty Dancing" - proved that it didn't matter if you borrowed almost every story line and character from "Grease" and "American Pie," as long as the tunes were catchy and the dance numbers were energetic. But while the first two movies were at least cohesive, the writing in the third is a disorganized mess. The story rehashes conflicts from the previous movie, manufactures strife where there should be none and forces one-dimensional new sophomore characters into the narrative - presumably so there can be a "High School Musical 4."

"High School Musical 3" begins with a basketball game, and one of the most pleasingly kinetic song-and-dance numbers in the series, a fast-paced song destined for constant Disney Radio airplay called "Now or Never." Ortega and music supervisor David Lawrence augment the spectacle with little touches, such as the cheerleaders helping out with the chorus of the song. And everything is bigger and better on the big screen, including Efron's basketball skills, which became passable at some point in the past 12 months.

Troy (Efron) and Gabriella (Vanessa Hudgens) are back at East High School for their senior year, where they are deciding their futures. From there, we get more of the same from the earlier musicals. The central themes - conflict in the Troy-Gabriella relationship, Troy's inability to decide between sports and theater and even the scheming by bad girl Sharpay (Ashley Tisdale) - is a repeat from the first movie. Except in this case, the events never seem to fit together. Important things happen too suddenly, subplots are abruptly abandoned and large chunks of the script appear to be missing entirely. The move is a punishing 112 minutes long, yet it's so fractured, there are times it seems as if you're watching the trailer.

Efron is once again Travolta-esque, although he appears to be quickly outgrowing this material. Hudgens is still annoyingly bland both in facial expressions and voice. (Tisdale is the better singer, but she gets fewer songs.) The new actors - including Matt Prokop doing a "Parenthood"-era Keanu Reeves imitation and Jemma McKenzie Brown as a British version of Sharpay - act cute and slightly obnoxious, like the latter-day Scrappy-Doos that they are.

The most improved player is Corbin Bleu as sidekick Chad, who still has the Sideshow Bob hair, but seems to have worked diligently on both his acting and dancing during the break. "The Boys Are Back," featuring a junkyard dance-off performance by Troy and Chad, is probably the most thrilling number. Bleu is ready for his own leading role, if he can get something better than that movie about competitive jump roping ("Jump In!") that he headlined last year.

As for the G-rated content, parents who might have been worried about the relationship between Troy and Gabriella escalating can breathe a sigh of relief. With hand-holding in "High School Musical" and a kiss in "High School Musical 2," it would make sense that "HSM3" would feature a trip to second base. (And "High School Musical 5" would basically be a remake of "9 1/2 Weeks.") But no worries. If anything, Troy gets even less action in this movie.

A small spoiler lies ahead: Stanford and Cal graduates should be thrilled that "High School Musical 3" often feels like a promotional video for those schools, with one scene that appears to be shot on the Cardinal campus. The lone problem is Troy's statement that the colleges are 32.7 miles away from each other, which is at best extremely deceptive. Even without a flaming tanker truck to slow things down, the schools are a solid hour-and-15-minute drive from door to door.

-- Advisory: This movie contains one long kiss, some semi-dangerous break-dancing moves and a dangerous-looking tree house.