Here is a unique use of sci-fi. For the most part this film is a drama regarding recovering from a tragic event that fundamentally transforms one's life over night. The concept of a doppelganger planet is used as metaphor for how decisions we make create new lives and even selves.
Article Type: Review
What could a 3-D family film from Martin Scorsese be like? With HUGO now as an example, the answer is magical. And it's a magic that Scorsese is best suited to bring to life — the magic of the movies. At one point, a young boy visits a movie studio and the director leans down to him and tells him if he's ever wondered where his dreams come from this is where they are made.
I immensely enjoyed Hugo, which is now one of my favorite films of the year. The dramatic visuals showing Hugo’s narrow escapes and life in isolation really made me feel empathy for him.
I found quite a few flaws in this film, although they are mostly on the scientific side. First of all, male elephant seals do not stay with and care for their young. Also, puffins, which live in the Arctic, cannot fly the great distance to Antarctica (which is about 22,000 miles away). Puffins are not built for flying long distances and are better adapted for swimming.
ANIMATION VOLDA is a unique festival run by animation students at Volda University College in Norway. Volda is a town of roughly 7,000 people of which 3,000 are students and the festival is primarily for students and festival guests.
The holidays have different meanings to everyone. For better or worse it's usually a time for family. Now from Aardman Animations, the creator of WALLACE & GROMIT, comes a modern look at Santa and his family. What we find out is that even good ole Saint Nick has a dysfunctional family.
David Cronenberg is not director shy in exploring the strangeness of sexuality. So it seems obvious that he would tackle psychoanalysis pioneers Carl Jung and Sigmund Freud. Based on Christopher Hampton's screenplay adaptation of John Kerr's book, the conflict between Freud and Jung centers around their relationship with patient / future psychoanalyst Sabina Spielrein, who will challenge their thoughts on repression.
Jason Segel has made his love letter to the Muppets. This nostalgic comedy is clearly made by fans. It takes some vibe from the TV series and some from the features. While it might not have the spark of the original MUPPET MOVIE or the very best of THE MUPPET SHOW, it respects those origins and presents a heartfelt film for a cynical world.
This is a movie for fans. While I haven't read the books it feels like every detail is here, because it's a slog to move through. If you don't care about these characters going in, it's not really going to change your opinion. For non-fans it really is like getting invited to a stranger's wedding.
If George Miller's original dancing and singing penguins film has a happy surprise than its sequel is the opposite — nothing about it is surprising. The story borrows a little from the original and attaches it to a familiar family/action plot. The first incorporated popular songs into the fabric of its world and the characters, while the songs here are uninspired, obvious or just not that good. Not even two krill that sound a lot like Brad Pitt and Matt Damon can save the day.
Tarsem Singh brings his unique visual style from his previous films THE CELL and THE FALL to this Greek myth epic. Within his surreal CG landscapes and strange, but beautiful, costumes, he gives us a classic hero and a maniacal villain. These elements worked for me. If you allow the simple man vs. man story and the visuals to sweep you along, you will find enjoyment in this 300-inspired actioner.
Interwoven throughout Clint Eastwood's biopic of J. Edgar Hoover is Hoover dictating his "Untitled FBI Story" to a series of young agents. One agent asks if the story of Hoover and the FBI can be separated. It's hard to say because for better or worse Hoover was the FBI for most of its existence. He became the Bureau's head in 1924 and stayed there through eight presidents. He asks another agent who the most famous man in the world is and the agent replies, "You, sir."
Depression is an oppressive force. It filters all light through murky waters that the sufferer is drowning in. Lars von Trier finds a metaphor for it that seems so obvious and yet it comes off ingenious. A mysterious planet is headed for a collision course toward Earth. That's a big weight on your shoulders.
For a heist to work it needs a good plan, but it also needs perfect execution. Brett Ratner's heist comedy has a good plan, but doesn't deliver on the details. It's inspired by the Bernie Madoff scandal where the fraudulent investor bankrupted the savings of thousands of people. In the film, a wealthy investor runs a similar Ponzi scheme, but in this fiction his victims set out to steal the millions he has hidden in his penthouse apartment.
Disney continues their winning streak with this showroom quality release. The 1080p AVC-encoded transfer has impeccable detail from the slightest dents and rust on the cars to the vast crowds of vehicles at the races. Color quality is electric, giving viewers vibrant primary colors, especially the neon in the Japanese sequence. Digital anomalies are pretty much absent. With so much red in the palette, the absence of banding and aliasing is impressive.
While it's not perfect, Sony does bring a handsome transfer of this low budget production, which is destined to become a cult classic. The MPEG-4 AVC encoded Blu-ray is true to its source. The color palette is desaturated and dark due to the low light. This lessens detail in the outdoor night sequences, as well as suffers from limited pixelation, but the picture becomes richer in the brighter indoor scenes. Film grain is natural and unobtrusive. Black levels, however, are inconsistent, but shine in the inky black of the alien invaders, which are meant to look like black holes running across the screen. And boy do the glow in the dark teeth of the aliens pop.
From Fox comes a beautiful transfer of Francis Lawrence's romantic ode to the circus. The AVC encoded 1080p transfer is a nearly perfect. The color palette is rich and nuanced. The bookend sequences, which have a heavier film grain, have a more natural tone. When the film moves to the Depression era, the saturated colors pop. The lavish red of August's ringmaster jacket. The rustic circus banners. The detail provides that virtual 3-D appeal. Look at the detail of the face of elephant and the vintage costumes. The only blaring problem is pixilation during the scene where Jacob catches the train at night. This is probably due to the scene being shot day for night and digitally rendered dark.
Most people know and love Puss in Boots, the charismatic feline companion of Shrek, but who knows his mysterious past? Puss in Boots, a new animation from DreamWorks reveals the thrilling adventures the swashbuckling orange tabby went on before he met the ogre. The film is a clever mash-up of many well-known nursery rhymes and fairy tales such as Jack and the Beanstalk, Mother Goose, and Humpty Dumpty.
Can a former supporting player (Shreks II, II and IV) carry his own film? The answer is yes, especially if it sets up his backstory, introduces a female rival/love interest, provides plenty of entertaining set-pieces and a despicable villain or two.
Part of what made SHREK 2 work was the addition of Puss in Boots to the franchise. It's not surprising that he would get his own film. Unfortunately some of the sharpness the character brought to that film has been declawed for this one. The irreverent take on fairy tales is gone. In its place — cat jokes.
Roland Emmerich is best known for destroying the world in films like INDEPENDENCE DAY, GODZILLA, THE DAY AFTER TOMORROW and 2012. This period political thriller is the furthest from his other work as any film he has done. It’s also easily his best film. Do I believe in its central premise that Shakespeare didn’t write his plays? Not any more than I believe that Shakespeare based ROMEO AND JULIET one his own love affair with a noble woman who dreamed of acting.
Disney proves once again why Blu-ray is so great for animation. This 1080p/AVC-encoded transfer of the new WINNIE THE POOH feature shows off the richness of the hand drawn animation. Line quality is detailed throughout. The watercolor backgrounds are painterly. Colors range from the subtle to the striking primaries used for Pooh's shirt for instance. Blacks are inky and consistent. Digital compression issues are nonexistent. The picture is about as flawless as it can get.
Both the award winning documentary !Women Art Revolution and the associated booklet should have pride of place in libraries that collect resources on American art history.
What to do with these characters has been Warner Bros.’ challenge for years now. The classic theatrical shorts have matured from classic to just plain old. (Masterpieces all, but old just the same.) Attempts to bring them up to date have given us excretions like Loonatics, so-whats like Baby Looney Tunes and faux old-time toons like Carrotblanca. Under exec-producer Sam Register, they’ve finally gotten it right: contemporized their merrie menagerie while keeping their core personalities intact.