CAPTAIN AMERICA: THE FIRST AVENGER by jaiskizzy

gist: after many failed attempts to join the military, steve rogers' patriotic persistence and self-less valor make him the perfect candidate for the super soldier program. from scrawny to brawny, he becomes captain america, the country's bellwether against the nazis. mighty shield in hand and the howling commands right behind him, the star spangled man takes on the menace known as the hydra, led by the crimson craniumed agent schmidt. all together now: america, fuck yeah!

reaction: does anyone else rememer the old captain america cartoon with the stiff movements and the very catchy theme? how about the low-budget captain america movie in the '90s? beyond those two and a few comic issues, i really didnt know much about the guy with the capital a on his forehead. wasnt really into the character, probably because im pinoy. so, when the news of this movie being made broke out, other than solidifying the possibility of an avengers movie, i didn't know what to expect. will it be a great comic book movie in line with its marvel predecessors? will it be an indiana jonesy adventure flick? will it be chock full of action but story anemic or vice versa? will i stop asking questions and get on with the review?

it's really good. it's one of the best comic book movies ever made, with just the right amount of pulp and camp, action with impact, and a story that's rich and compelling. joe johnston directed the rocketeer, which was awesome, and he was able to infuse into captain america the positives that made rocketter one of my favorite guilty pleasure films. much like the super serum, he took the thin pages of the comic book and injected it with his vision and made it come to pulsating life on film. i love that he took time with the origin section to really capture the essence of steve rogers' character and give meaning to his every move as the blue boy scout. a satisfying spectacle from start to finish.

i admit, i wasn't initially convinced chris evans would fit the role. he's the guy who wore the whipped cream bikini in one movie and played human torch in the other, hard to take him seriously. but i guess i underestimated his acting skills because the dude delivered. with the help of seamless cgi tinkering, he embodied both versions of steve rogers to a tee. i cant even imagine now what the movie would have been like if will smith had been cast. also worth mentioning were the performances of tommy lee jones and hugo weaving.

speaking of mr. weaving, red skull was just superb. apart from the other obvious uses, the visual effects on the villain was amazing. the texture, contours, the lip movement, menacingly creepy but glues your eyes to the screen.  also, this is one of those films where you wonder if anything was left to gather dust in the cutting room floor at all because the narrative was smooth and fluid, with beat-perfect transitions between scenes instead of a firm chapter-based structure. heck, even the montages gelled well with the finely-tuned story progression.

marvel has done it once again. captain america is a testament that respect for the source material and the audience are the main components to a successful comic book adaptation. your move, dc.

good: the adaptation, pulp, chris evans

bad: peggy carter

ugly: hugo weaving

verdict: 9 vials of super serum

fucky barnes.

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TRANSFORMERS: DARK OF THE MOON by jaiskizzy

gist: after saving the world twice from decepticons, life seems to be back to normal for sam "ladiesman217" witwicky with a new out-of-his-league girlfriend and a struggle to find a job. meanwhile, the autobots have been doing some freelance asskickin and on one of their 'con hunts, they uncover a government secret that would make conspiracy junkies crap bricks: the old space race was caused by a cybertronian ship that crashed on the moon. earth is once again the ring for an all-out robot royal rumble that will finally determine the fate of mankind and the franchise's fourth film.

reaction: the needs of many outweight the needs of a few and the many disappointed geeks who watched revenge of the fallen needed a better movie, myself included. part two wasn't a piece of crap but it was near the raped-my-childhood level, particularly with the devastator bullshit. so explosions expert, michael bay, was given a chance to close the trilogy and redeem himself. end result: although this threequel is far from the excellence of the first, it definitely makes the second one forgivable.

michael bay is the go-to guy when you want to blow stuff up in movies. he has mastered the art of mayhem. every action sequence with the bots was pitch perfect. i couldnt imagine how he sets these up. you see a decepticon flipping cars over and a car that transforms then reverts to car mode and you believe it because it looks real. that alone is a testament to michael bay's distinct destruction direction. sure, he needs to do a lot of homework plot-wise but lots of other directors have that covered. only a completely misguided moron would come into a michael bay film and expect the profound and the pathos of kubrickian scale. the same idiot would easily get bored at the non-action parts. it's mike's weakness, yes, but these scenes are there for a reason. one is so that you could catch your breath. they dont require you to cerebrate, you just have to pay the same attention you gave the pyrotechniques and listen. (and if you did, you'd actually have known what a certain character was going to do long before) i really think there should be a sign outside to leave your elitist snob hat or the adhd cap of your inner child at the entrance and enjoy the mecha porn.

in the first two films, sam is thrust into the fray mostly because he cant opt out. here, with the world oblivious to his heroics, he involves himself by his choosing, making the character more mature, and i believe shia did really well portraying that. backing him up are some new faces, great actors in silly roles. malkovich as a crazy boss and mcdormand as a quirky government agent. but i liked the addition of tudyk the best. dutch needs a movie of his own. and so we arrive at the meat of the matter, the switcheroo issue that everyon's fussing about more than the film itself. am i alone in liking carly better than mikaela? megan fox has the two-movie, fantard-following edge, she's sex appeal in the flesh but she cant act to save her life. rosie huntington-whiteley, although nowhere near oscar material, had greater range as a first-time actress. also she had something megan fox doesnt: charm. and that british accent easily disqualifies her as a skank. case in point: in part one, the first time sam's parents sees mikaela, she just stands there, exuding the trophy-gf vibe to stress how lucky sam got. here, everytime sam introduces carly to anyone, she's so bubbly and affable. bottom line: cameron diaz clone > ms. stubby thumbs.

other things i liked were how real world events were incorporated into the mythos, the flying squirrel scene, and the comic relief. and i'll say as little as i can about the cgi cast to avoid spoilers. it's still good to hear peter cullen voicing optimus prime. it was cool to hear leonard nimoy as sentinel prime who looks just like him. liked the new ferrari autobot but not the wreckers. was still hoping to see starscream (my fave) as the scheming sycophant but alas he's underused yet again. still no sign of the dinobots or unicron. and when optimus prime said they had a ship that can take them to the moon, i thought sky lynx? omega supreme?!? but nah. it was astrotrain. (just kidding) also, absence of gestalts was a big minus.

anyways, transformers: dark of the moon was not the best way to end the trilogy (kinda abrupt) but it's entertainingly satisfying. the long queue an hour before screening, the applause when the credits roll and the growing profit from ticket sales mean only one thing: even if there's a decepticon that transforms into a toilet and rosie huntington-whiteley sits on it for two hours, people will come to watch. actually, that's a good idea if you think about it.


the good: the bots, the mayhem, the new chick
the bad: lack of strong story and character development
the ugly: john malkovich
the verdict: 8 energon detectors



sentinel grime

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GREEN LANTERN by jaiskizzy

gist: van wilder is a cocky cockpit jockey who becomes the first human member of a space police force called the green lantern corps. he is given a power ring which, through his will and imagination, he can use to make constructs in his fight against evil. with the moled gossip girl in tow, he must prove his mettle by defeating the hydrocephalic hector hammond and ginormous being of fear known as parallax. all together now: in brightest day, in blackest night, no evil shall escape my sight. wish i may wishi might have this wish i wish tonight!

reaction:after the success of iron man, and most recently thor, it was no surprise that dc would expedite the adaptation of their titles. however, instead of following batman's triumph with a better superman reboot or a wonder woman film, they chose to imitate their marvelous rival and decided to introduce a second-tier character to the theater patrons. i have no deep knowledge of the green lantern stories, but i knew the basics. it obviously had a more of a sci-fi lean than fantasy, and so i, and much of the moviegoers, expected a visually appealing, story-rich space opera. however, with the opening backstory narration failing to hook the audience, this movie was ripe for nitpicking from the get-go.

the keyword for this movie is convenience. the script was written in such the way that nearly every scene that moves the plot forward seemed convenient. with lots of telescopes in the world, i cant believe nobody saw abin-sur's ship enter the earth's atmosphere. he crashed on a beach and surprisingly, there was no one there. and when hal jordan was whisked away by the green orb thing, he was standing in an empty street. i could go on but that would be practically retelling the whole movie. this lazy script was also peppered with cheesy lines and im not buying the excuse that it was intentional, for humor, campiness, not taking itself seriously. ryan reynolds sure seemed serious when he said "he was afraid" like a little boy in a bad coming-of-age b-movie. but i'll get to the acting in a sec.

i dont know what happened but this surely wasn't martin campbell's cup of tea. his direction had a lot of misfires and there were many poorly executed scenes. some were just downright funny even though they were meant for laughs (parallax's end of the street attack). also i dont understand how green lantern can fly from earth to oa and back repeatedly and parallax's trip takes three-quarters of the film's run time. also there's suddenly a big event gathering the main human characters where some shit happens so that green lantern can showcase his power publicly for the first time. and then there's that mid-credits scene that in the context of the movie doesn't make any sense at all. put there solely for the purpose of teasing a sequel without providing proper character development for the involved party. i mean, green lantern's weakness against the color yellow wasn't even explored at all...

the film had its merits but they were few. the cgi was nice, but not wow-factor impressive. i liked the second skin suits that channeled an automan vibe with the animated chest logo. i liked how the suit was a construct, and therefore had to be cgi, and the cumbersome putting on of normal clothes in contrast with the insta-costume was a good touch. there's little bits of positives here and there (like the star sapphire nod) but the only other pluses worth mentioning are the performances of sinestro and hector hammond. the supposed eyecandy blake lively was pretty much useless other than being the love story foil, which felt forced. as for hal jordan, it's hard to look at ryan reynolds and not giggle at his attempt to win an oscar. he's convincing when he's being arrogant, but beyond that, the guy from buried was nowhere to be found.

anyways, i guess this has pulled back the possibility of a justice league movie a dozen notches. a haphazard amalgam of what worked from previous comicbook films, this green lantern's light is pretty dim.


good: hammond, sinestro, suit
bad: script and direction
ugly: hammond
verdict: 6 power rings



the grim lantern.

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THOR by jaiskizzy

gist: on the day of his kinging, thor is instead punished by his father, odin, for his arrogance by stripping him of his god mojo and banishing him to midgard, as surreptitiously orchestrated by his envious stepbro, loki. with the black swan on his side, the asgardian douchebag must endure an earthbound lesson on humility to regain his powers by proving he is worthy to stand once again as thor, the god of thunder! (violently shakes a piece of sheet metal)

reaction: ever since marvel meddled in the filmifying of their comic book properties, output quality has considerably increased. a big slice of this improvement is the fact that the movies had been made-to-measure to please both comic book fans and non-fans alike. a great example is iron man, a relatively second-tier character in the marvel universe. after the two box office hits, his cosplay presence was cemented. hot on his jetboot heels, aiming for the same is thor, an even more obscure marvel character, virtually unknown to non-readers, especially when compared to the superhero triumvirate of superman, batman and spider-man. and pun intended, thor hit the nail on the head. (loki facepalm)

i thought kenneth branagh was an odd choice to direct but i stand corrected because loveless delivered the goose, especially in the non-earth scenes where the language is in shakespearean. when the first set and costume photos came out, they gave a campy vibe and the geek consesus was this would be the tensies flash gordon. but by odin's beard, we were proven wrong when it all hit the silverscreen in ethereal 3d. kenny has done a wonderful job of turning a mythical realm into a beautiful place in space and making its existence believable. plus, i absolutely must praise his theater-ish framing and blocking, and how thor arrived god-sized and gradually turned to human height as the story progressed. it is also worth pointing out that jokes were sparse and that thor's terrestrial descent did not call for a learning-the-earthly-ways comedic montage. 

i genuflect in thought at the mortal named chris hemsworth. this guy came from nowhere and just ninja smokebombed his way into popularity. he embodied thor pretty well, perfecting that smug smile and asgardese. i also have high praise for the guy who played loki, who amazingly looked so much like loki. that was some great schemer/faux innocence/unhinged outburst acting. the portman as jane foster was kind of meh but better her than some bimbo actress who wouldnt have been convincing in a high iq role. it was also great to see kakihara as hogun but i dont think he fit the role. i think oh-dae su would have made a better hogun. and then there's kat dennings whose comic relief role was immaterial. darcy who? there wasnt even a darcy in the comics. i wonder who she  to have herself squeezed into this movie. seriously, her addition was a subtraction.

so yeah, marvel has proven once again that you can make a damn good comic book film. you just have to have the right people, a compelling story and respect for the source material. sure, ticket sales dont necessarily mean great movie, but comic adaptations are always on a hit or miss case. and considering that the vast majority of moviegoers arent fans of the inked pencils and the onomatopoeia, thor is a thunderous triumph. can't wait for the avengers movie! joss whedon make it awesome! 

good: hemsworth, hiddleston, branagh
bad: throwaway characters, single location
ugly: them frost giants
verdict: 8 broken mugs


assguardian.

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SUCKER PUNCH by jaiskizzy

gist: violet baudelaire is sent to a mental institution for poor marksmanship. there, she dreamweaves being in a brothel where clothes-deprived girls dance to survive. (why she chose that particular fantasy, i'll never know) in this imaginary realm, she concocts the idea to escape as per a wise man's instructions in another world she had imagined while dancing. inception much? with the help of four other girls, baby doll gyrates her virginal hips for attention in the first layer pseudoworld and goes kick-ass mode in the second layer pseudoworld to obtain the five items essential to their freedom.

reaction: first, a quickie on the sucker punch hate brigade. most of the criticism seems to stems from the fact that something else was expected from the film. some wanted packed action and were put off by the ponder-prompting metaplot. some demanded taut storytelling and were bitchslapped by all the armed fighting. why oh why do these people enter the movie theater to look at a painting? yes, you paid good money to be entertained but it doesn't mean you're just going to passively sit there and wait for whatever it is you want to see or hear and curse the movie to tartarus if you don't.

anyways, sucker punch is basically alice in wonderland gangbanged by 300. girls in an imagined setting doing unreal feats. but underneath all the fist and bullet trading is a story that, although simple enough to catch, requires a deeper train of thought for proper comprehension. but even then you'd still have doubts for certain aspects point elsewhere. that feeling where you need to debate what the movie's about or to recall details that one could have missed, let's call it the "afterview". and smart moviegoers who absorbed at least the bits and pieces of the film's true meaning will be engaged in further discussions due to a lingering afterview.

the pussy parade is led by emily browning. she's lookin all grown up here. i really didnt think she'd work, never having seen her in any role like this but she played the innocent girl with a badass slut inside real well. she also smoothly flew through the fight scenes. this is her show of course but it would have been greater if the same amount of screen time was relegated to her mysteriously enthralling dance routine, which was limited to the lame sway intro. as for the deuteragonist damsels, they did their parts okay but a teeny bit more characterization would have made the turncoating valid. plus in movies like this, you really don't for high-grade acting so vanessa hudgen's wallslide crying was weird.


there are a number of action set pieces that bend reality, all awesomely executed, but my favorite is the first one with the giant shoguns. it's a great way to immerse the audience to baby doll's dance-triggered world (where they all defy gravity but land the exact same way). there's a scene in the dressing room where the girls are talking and the camera makes an impossible one-take shot. this i think encapsulates how zack snyder uses the advancements in cgi to put a skew on traditional filmmaking. the action scenes, the color correction, the shots, nearly everything he has done here is abusing the technology. years ago, none of it could be done in the same magnitude. sure, with avatar and a gazillion cgi cartoons, the envelope has been pushed a lot but snyder has distinct style that reroutes where all those rendered pixels can go. and with sucker punch, the clunks of cgi physics (especially with real human character interaction), wirework and slow-mo/fast-mos are gone, leaving a nigh-perfect jaw-detaching eyecandy overdose.

i like how sucker punch is both a fanservice to guys and a girl power push for girls. i like how the main characters are girls in whorific costumes but sensually downplayed with no ass shots or in your face boobs, integral to most action flicks. it's not a great movie but it's really not as bad as some consider. i am definitely on board for the zack snyder superman.



good: action sequences, the visuals, the "afterview"
bad: little character development, studio cuts
ugly: vanessa hudgens
verdict: 8 lobotomy needles



sweet pee/baby dull.

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SONGS FROM THE SECOND FLOOR by jaiskizzy

gist: i am honestly lost for words. nothing can be said enough to summarize this movie, yet on the other hand, a one-sentence description of any scene may be too much. this is one of those films best viewed with virgin eyes.

reaction: holymotherfuckinshitballs. what did i just watch? roy andersson's sånger från andra våningen (or songs from the second floor, to the non-swedish readers) is definitely one of the weirdest films i have ever seen. and i love every odd frame of it. it starts with a guy talking to another guy who is inside a tanning bed and its just gets weirder and weirder from there. all scenes are shot static (except for one, if i remember correctly) framed in a way that the main focus is on the particular characters central to the sequence at hand but with room for extras and events in the background or on the sides to memontarily capture your attention. there is one where in there's a long road in the background and as the scene progresses, you realize that there are people who have been actually walking along that road beginning from horizon cut-off at the very start of the scene towards character situated at the sequence focal point. weird, eh? but something even weirder happens right after. yes, i am a junkie getting ultra high on weirness overdose.

funny is the other simple word i can associate with this complex peculiarity. everything is done seriously and nearly every scene is glum, but there'll be lines of dialogue, actions and little things that made me laugh, kind of like the way you laugh when you're outside and you see something bad happen to someone and you're not supposed to laugh but you cant help it (schadenfreude). it's exactly that. not corny or forced or inserted for a longer run time. this is a level of funny no pinoy slapstick comedy movie could ever attain. and beyond the absurdist comedy is the profound way the scenes meld together. there's a scene that didn't seem to make any sense and then later on, it a connecting scene reveals that the previous one was actually a rehearsal. mental drop kick!

this movie is proof that creativity has no bounds. you can always do something new and different. only people who arent born creative, who have no self-developed vision would say otherwise and insist imitation. i dont know who this roy andersson guy is but he just blipped in my directorial radar. he's on an entirely different plateau, a place i wanna stand on the precipice of and jump off one day.


good: the weirdness, the funniness, the progression of scenes
bad: lack of backstories
ugly: lasse's wife. half-naked. ugh.
verdict: 10 jesus-swinging-on-one-nail crucifixes


thongs from the second drawer.

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THE GREEN HORNET by jaiskizzy

 gist: that guy who knocked up that bitch from grey's anatomy is so rich, he had lypoed all his fat off and is banging chicks on the hoods of luxury cars. and then his dad dies and he befriends a guy who looks like harold from harold and kumar who has ass-kicking listed in his resume. the two become overnight lawbreaking superheroes and soon are windborne dust in the eyes of the media-fed public and of disco santa claus, chudnofsky. and then an environmentalist kermit the frog wearing a la salle jacket starts telling green jokes, you know, just to make the whole thing greener.

reaction: i saw a couple of tv episodes and that scene in the bruce lee biopic where jason scott lee slides down a pole instead of using the stairs. also read a couple of issues of the kevin smith-penned comic. that's the range of knowledge i have about the green hornet. and im pretty sure most of the people who saw this movie know even less. so i find it annoying when they just flat-out say they didnt like the movie, them who were probably expecting something in the vein of nolan's batman and raimi's spider-man. there is so much to appreciate in the green hornet that i doubt they even noticed. one perfect example of this is during most of the mumblecore scenes, i was the only one laughing my balls out. there were some pretty funny lines that im sure didn't even reach their earlobes because, as with the average moviegoer these days, they weren't paying attention and were waiting for the next visual stimulus. these pinoyflick junkies and their longing for the loveteam's big kissing scene, the big drama slap-arama or the squeezed in joke stolen from current memes should not be even watching a film directed by michel gondry.

had i not shown my wife michel gondry's unique style, she probably wouldn't like the movie as she did. michel gondry is in a totally different directorial dimension and few really get his brilliance. with katovision, he showed the audience what most action movies eschew: how the asskicking is planned. you've seen action scenes where the protagonist takes down a whole gang of thugs seemingly impromptu, but of course, everything was rehearsed. kato lets us see how he processes the situation before taking action, hence katovision. and it is a-fuckin-mazing. wished gondry had used more of that multiplying background effect, just to give this new generation kato his own style. i was also blown way by the multiply splitscreen sequence. that thing is probably how you'll see your entire life flash before your eyes when you're about to die.

seth rogen's script is very seth rogenish. i understand the hate because he's a comedian and fat but you've got to give the guy some credit. his screenplay is peppered with funny stuff that are actually funny, and except for that one slapsticky bit in the end, none of them felt forced. his britt reid is a complete departure from the original, which fine because a serious millionaire playboy masquerading as a crimefighter is just another batman. as for jay chou, now, you know someone's a star when he's the sidekick but you know him more than the actor he's sidekicking for. im referring to bruce lee of course. he left a legacy that i strongly believe nobody will be able to equal. so it's only proper not to expect that much from jay chou. he struggled with english but he's okay as kato. but i really think it would have been a totally different movie if stephen chow had been kato. and then there's waltz who was great as the villain but was really sort of the same as hans landa. at least his character didnt need an origin story, where he's the product of something the hero did. he's already the bad guy, it's already his turf, and green hornet just basically shits in his kitchen. and finally, cameron diaz is not the cameron diaz we all salivated over for licking jim carrey's ear in the mask. wtf happened there? i dont know but edward furlong surely looks homeless.

conclusion: the best thing i could think of to defend my stance on this movie is this: round the interwebs some time ago was a faux trailer answerng the question what if wes anderson directed spider-man? dry humor, eccentric characters, indie rock music and the futura font. weird execution, totally different from what you'd expect but goshdarnit i would watch it and pretty sure would love it. green hornet is exactly that.

good: gondryisms, bruce lee homages, black beauty

bad: too much comedy.

ugly: cameron diaz. whose salad did she toss to land this gig?

verdict: 9 one-inch punches.

the grim horny.

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