Wednesday, December 18, 2013

Movie Review: The Hobbit: The Desolation of Smaug

 


When Smaug slowly emerges from the massive pile of treasure at the heart of the Lonely Mountain, making only his eyes visible and keeping his immense size a mystery from the audience, the young nerd deep inside of me was just about as gitty as you can be. I was hooked, drawn into the world of Middle-earth in a way I never imagined possible again, especially after the first part of this Hobbit trilogy, An Unexpected Journey, turned out to be such a massive disappointment.

If there’s one thing I can say for certain about this latest Hobbit film, The Desolation of Smaug, it’s that it’s better than its predecessor in nearly every way: It’s more exciting, the story is more coherent, and the photography is a hell of a lot better. Yes, when compared to the Lord of the Rings trilogy, the adventures of Bilbo Baggins (Martin Freeman) and the dwarves of Erebor falls short. But if Desolation is any indication of what comes next, The Hobbit trilogy may yet be able to craft its own unique take on the world of Tolkien — assuming Peter Jackson stops pushing hard for this to be a prequel, and allows this adventure to stand on its own two feet.

Thursday, October 17, 2013

PlayStation 3 Review: Beyond Two Souls

When the game is hitting all the right notes, "Beyond Two Souls" is wonderfully imperfect and will leave you mesmerized by its quality animation, beautiful soundtrack, and unique twist on the coming-of-age drama. 



If I had written this review a third of the way into Quantic Dream’s Beyond Two Souls, I would have poured my emotion onto the page, urging everyone to play it immediately or risk missing out on one of the most moving works of art to grace this console generation. Regrettably, my positive reaction has cooled some after finishing the game, which turned out to have a serious identity problem long before its final act. At some point Beyond Two Souls, which is at times a wonderful, human story full of great characters, falls into a mess of Hollywood pulp and convention, desperately trying to make sense of its own unnecessarily complex narrative. And for a game like this, which functions as more of an interactive movie than a traditional video game, a story and characters means everything.

Tuesday, October 8, 2013

Movie Review: Gravity (2013)

A visceral film that feels like a lucid dream.


I once had a film professor who told me that movies should overwhelm you, fully absorb you into them, and truly become larger than reality. For this reason, he opposed watching a movie on small media devices, feeling as though the experience is damaged in the process. I always agreed with him. But I never agreed with him so firmly until I saw Gravity, the epic by visionary director Alfonso CuarĂ³n, who very well may have just crafted his masterpiece. Watching Gravity on anything other than a high quality, large screen would be a sin from which there is no penance, dooming you to lose the full effect of one of the most moving works to ever grace cinema.

Rarely is every aspect of a film -- from the acting, direction, photography, and beyond -- in such perfect sync, uniting harmoniously to craft something that will undoubtedly become timeless. Gravity is one of the most awesome things I have ever witnessed. It’s a visceral film that feels more like a lucid dream, and it’ll stand as a compelling example of purely visual storytelling.

The story is, at least on the surface, a simple one, taking place in near real-time, while avoiding the gimmicky feel that usually accompanies the idea. On a mission to repair the Hubble Space Telescope, Dr. Ryan Stone (Sandra Bullock) and veteran astronaut Matt Kowalski (George Clooney) are caught in a cascade of debris caused by a missile strike, which is systematically wiping out everything in low-Earth orbit. As time goes on, these characters attempt to survive one terrible event after the other, culminating in one of the most intense films I have ever seen.

Saturday, October 5, 2013

Movie Review: Don Jon (2013)


Jon Martello (Joseph Gordon-Levitt) basically has his pick of an array of hotties on the New Jersey bar scene, never scoring below an eight, even if he’s had a few too many drinks. Jon has a natural way with women; shoot them once glance and it’s a near guarantee he’ll be taking them back to his place before the night’s out. But this shouldn’t come as much of a surprise; after all, his friends do call him “Don Jon”.

So, if Jon is such a master of finding women to slam, why does he spend most nights alone at his computer, masturbating compulsively, even after he’s just had sex with a dime? Jon explains to us – in the graphic detail you’d expect from a Jersey-Italian stereotype — that he simply doesn’t get off to women like he does porn. Women in porn will do anything to please a guy and, let’s face it, real women rarely have perfect porno bodies. To Jon, the real thing is boring by comparison. When it comes to the ladies, Jon seems to be more into the game of womanizing than he is the actual sex – or hell, the women themselves.