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For a long time, Alejandro Amenabar has been one of my favorite writer-
directors for the twisted suspense thrillers. He was quite prolific at
the turn of the century -- "Thesis" (1996), "Open Your Eyes" (1997) and
his English-language debut "The Others" (2001). His biographical drama
"The Sea Inside" won an Oscar for Best Foreign Language Film in 2004.
Since then though, his output had been sparse. That was why when I heard that he will be releasing a new film this year entitled "Regression," I made sure I went to watch it.
Seventeen-year old Angela Gray accuses her father of sexually abusing her. Detective Bruce Kenner is assigned to her case. The father meekly admits to the crime, but does not actually recall doing it. Kenner seeks the help of Psychology professor Kenneth Raines to elicit his repressed memories, as well as those of the other members of the Gray family, via hypnotic regression. What is revealed from these sessions are diabolical confessions of such disturbing nature that Kenner himself could not get them out of his own mind.
Ethan Hawke is such a good actor, really. From his feature debut in "Dead Poet's Society," then "Before Sunrise" (and its series), "Gattaca," "Sinister" to his Oscar-nominated performances in "Training Day" and "Boyhood," this guy can really portray the most ordinary characters and wind up making them very memorable. His intense take of the obsessed Bruce Kenner was riveting and infectious. His visions become our visions, his beliefs our beliefs. He had a flawless interactive rapport with Amenabar's camera, registering and conveying the anger, paranoia, confusion, and fear of his character so well on screen.
Emma Watson returns on her trajectory to becoming a serious movie actress after being sidelined by unfortunate roles in "This is the End" and "Noah." The talent and the promise are there, but the connection with her role as the troubled Angela was not as convincing as that of Hawke's. Her best performances were still those for Hermione Granger. Her young adult performances in films like "Perks of Being a Wallflower" and "The Bling Ring" had a certain unnatural stiffness in them, as it was again here as well.
Credible supporting performances were given by David Thewlis as the authoritative Prof. Raines and David Dencik as Angela's repentant father John. Going a bit over the top was Dale Dickey and her exaggeratedly demented performance as Angela's grandmother Rose. The strangest casting decision was that of Lothaire Bluteau as the priest Reverend Murray. He exuded such a creepy vibe, which of course may be the director's intention.
While "Regression" was still not on the same level of excellence as "Open Your Eyes" or "The Others," Alejandro Amenabar returned to form with this comeback project of sorts. The script, though weak and flawed in certain aspects (like motive, for one important example), was still logical and grounded despite dealing with controversial religious and psychological matters. The storytelling engages you despite the dark unpleasant topics and relentlessly morbid atmosphere. I am looking forward to the next Amenabar opus. I hope it does not take so many years anymore. 7/10
When I saw the name of Eli Roth as director of this film, I should have
taken that as a warning that this was probably going to be a bad movie.
Roth's previous work either as director or writer were mostly crazy
violent and gory just for the sake of being gory. Unlike his other
films though, like the dreadful "Hostel" or the awful "Aftershock",
this one had a known movie star in the lead role -- Keanu Reeves. It
was because of Reeves that convinced me that I could give this film a
Successful architect Evan Webber is an ideal husband of an artist wife and a model father of two. One day (ironically it was Father's Day), Evan was left behind at home because of work while the rest of his family went on a beach vacation. That night, two sexy young ladies show up at this door lost and soaking wet from the rain. Evan kindly admits them into his house so they can get dry and call for a cab. However, these two liberated girls had kinky shenanigans in mind for Evan, and then some.
In spite of the fact that the script and the acting were already pretty cheesy from the very start, the premise of the film actually seemed promising at first. Things do get interesting when the girls came into the scene and turned on their charms in an attempt to seduce the faithful family man. After that key scene though, the rest of the film turned south and just got more and more ridiculous up to the very end which unfortunately did not come right away.
Keanu Reeves is one enigmatic star whose career definitely had its ups and downs. In the beginning, he was able to balance his comedy ("Bill and Ted's Excellent Adventure"), romance ("A Walk in the Clouds"), drama ("My Own Private Idaho") and action ("Speed" and "Matrix"). Since the turn of the millennium though, his career turned for the worse, with no really memorable roles to speak of. His last two films, "47 Ronin" and "John Wick," brought his name back up for the better. However, "Knock, Knock" knocks him down again with a performance so dismal it will be long-remembered for all the wrong reasons.
Keanu Reeves' wretched portrayal of Evan Webber is simply beyond embarrassing. Reeves playing monster with his family at the start was just the first of many cringe-worthy scenes for him in the whole course of this film. As his character was threatened with death later in the film, Reeves' impassioned appeal for his life was so hilariously delivered with the craziest of words, it actually had me laughing out loud in spite of myself. Finally, when a scene came when we see Reeves' head on the ground with only his comical facial emoting, I totally lost it laughing. I cannot fathom how a star of his stature could have allowed himself to suffer such shameful indignities.
We can't really expect much from the other relatively unknown actors in the cast who also came up with similarly ludicrous performances. Lorenza Izzo (Eli Roth's wife in real life) and Ana de Armas (the hotter blonde vixen) played the two seductresses Genesis and Bel with such loony, over-the-top abandon. Aaron Burns played the gay friend Louis, who was more concerned about the artwork than people. They did look like they were having a lot of fun doing their inane scenes (even though the situations were not supposed to be funny).
What was on Eli Roth's mind when he wrote and directed this? Were all the outrageous scenarios and lousy hammy acting done on purpose to somehow make this film stand out? Was this all an elaborate warning about logging out of Facebook once you are done with it? Anyway, everything was so exaggeratedly bad it was actually uproariously funny. It was definitely not what I expected going in, but I did get a good laugh out of it so I won't call it a total disaster. 3/10.
This is an Argentinian film about Fr. Jorge Bergoglio's life prior to
Papacy. Based on its simple and straightforward trailer, I am not
really expecting too much. However, I still watched the film to learn
more about this beloved man and how he rose among the ranks to be the
anointed leader of Catholics worldwide.
"Papa Francisco" (also called "Francis: Pray for Me" or "Francisco - El Padre Jorge") tells the life story of the Fr. Jorge Bergoglio (Darío Grandinetti) from Argentina, from his boyhood to his election as Pope in 2013. These were told alongside the fictional story of Ana (Silvia Abascal), a agnostic Spanish lady reporter (with an Argentinian mother) assigned to cover the Papal election of 2005. Ana met Padre Jorge when they sat across each other on a train going to Rome, and from then became lifelong friends.
The Ana character may have been based on Elisabetta Pique, an Argentine journalist and friend of Padre Jorge, who wrote the biographical book "Pope Francis: Life and Revolution" upon which this film was based. The book was said to be based on interviews on more than seventy people who knew the Pope very well. While individual stories may have read well as a book, but these same stories may also have led to the rather disjointed nature of this film.
The film, written and directed by Beda Docampo Feijóo, told the Pope's story in bite-sized episodes, flashing backwards and forwards in time. These scenes just seemed like simple renditions of the highlights of his life, with no effort to connect them into one cohesive whole. There were scenes about controversies, but these were executed with no tension at all. The best example would be this confrontation scene with a lady politician who wanted him to lay off on his crusade against corruption. Padre Jorge says a few eloquent words, and the scene was over, no more follow through on what happens next.
There were good episodes, like the one where the young Jorge (Gabriel Gallichio) met a beautiful lady at a wedding reception where they danced the tango, exchanged books and phone numbers. Unfortunately, we never hear of her again after she left on a bus. In fact, that would be the way this film treated most of the other characters from Padre Jorge's past, like his mother or his friends. They were never mentioned again when Padre Jorge was already cardinal. The only exception would be Padre Jorge's book about St. Francis. We saw it given to Jorge by his grandmother when he was a young man, and we would see that book again before he was announced as Pope.
Award-winning Argentinian actor Dario Grandinetti plays the senior Padre Jorge. His last film of note was "Wild Tales", an Argentinian film which was nominated for the Oscar for Best Foreign Language Film last year. While he may look sincere, Grandinetti did not really capture the charisma of Padre Jorge. The delivery of his lines were so stiff and lifeless. There was no passion that could be felt nor inspiration that can be drawn from his dry performance. Grandinetti's Padre Jorge did not smile much nor exude warmth, so unlike the person he is portraying. 24 year-old Argentine actor Gabriel Gallichio certainly had more charm in his few scenes as the young Jorge during his student days.
This was a simple biographical film with no high artistic aspirations. It was just a plain retelling of various events in the present Pope's lifetime with no unifying concept. This film does not have cinematic artistry nor wide audience appeal of other biopics like "Gandhi," "The Last Emperor," or even "Romero". It would probably appeal only to Catholics who simply want to know more about their present leader. But even with those modest expectations, this uneven film would probably still fall short. With his growing worldwide popularity, I trust Pope Francis will have a better film about him in the future. 5/10.
This sequel to last month's live-action version of the manga/anime
"Attack on Titan." That was a much-anticipated film because of the
popularity of the anime. However, it was uniformly met with bad reviews
and fan disappointment because of the poor Titan special effects, but
more because of the significant, arguably ill-advised or unnecessary
changes in the storyline made to fit a live-action format.
The first episode ended with the revelation that Eren was actually the special Titan who was killing the other regular Titans. This sequel began with an inquiry conducted by a ruthless Director General who seemed to want nothing but to execute Eren. Of course, Eren's friend Armin bravely argued for his friend. The action builds up to a climactic grand three-way fight among three special Titans on the outermost wall.
This sequel, released just a month after the original, was only about an hour and a half long. The first 20 minutes or so was just a reiteration of the event in the first film. For me, the two films could have been simply integrated into one longer film. We do not see much of the regular Titans anymore in this film. We will also see the origin of the Titans and the reason why Eren become a Titan recalled in flashbacks which i wished were treated with more details and clarity.
Like the first film, and even more so in this sequel, we see over-the- top acting from most of the cast. The main group of young soldiers, led of course by the trio of lead characters: Eren Yeager (Haruma Miura), Mikasa Ackerman (Mizuhara Kiko), and Armin Arlert (Kanata Hongô). The Mikasa of the films was not at all like the Mikasa in the anime. We see at least one act of bravery from each of their friends as well, namely Sasha Blouse aka Potato Girl (Nanami Sakuraba), Jean Kirstein (Takahiro Miura) and Sannagi (Satoru Matsuo).
We see more of the bespectacled yet incredibly (and hilariously) hyperactive senior female officer Hange Zoë (Satomi Ishihara). We will get a surprising revelation about the enigmatic Shikishima (Hiroki Hasegawa), the character that replaced Levi Ackerman, "Humanity's Strongest Soldier" in the manga/anime. A similarly remarkable storyline follows the human antagonist Kubal (Jun Kunimura). Unfortunately, the film does not give us a satisfactory explanation about what happened to these last two characters.
This film just sought to close the main storyline started by the first film, direct to the point. No more side detours were included. It was all over in less than 90 minutes. Unfortunately, a major part of this sequel was just a lot of talking, with practically no action in the first hour. By the time it reached the battle-royale in the last thirty minutes, a lot of the audience may have already zoned out. It was not really much of an Armageddon as promised by its title. 4/10.
According to the 2012 animated film, Count Dracula ran "Hotel
Transylvania" as a resort for monsters who wanted to get away from the
humans who frighten them. One day, a human boy named Jonathan stumbles
upon the existence of this hotel and falls for the Gothic charms of
Dracula's daughter Mavis. Being the over-protective dad that he was,
single-dad Dracula does everything to keep the two from falling in
In this sequel, Jonathan and Mavis got married and have a son Dennis. Dracula was very concerned that his grandson Dennis was already turning five, but was not showing any signs of being a vampire. So while Mavis and Jonathan fly to California to visit his parents, Dracula and his wacky gang of monsters bring Dennis to a vampire summer camp, hoping the kid's fangs come out faster.
From the poster alone, we already know that this sequel will be a cute juvenile romp with delightful "monsters". The story line is reminiscent of other films, like "Sky High" or "The Incredibles," about the distress caused by an offspring who apparently did not have the superpowers of his parents. In the first film, the laughs came from Dracula struggling with the problem of his daughter falling in love with a human. In this sequel, it was also Dracula's struggles about this grandson that make this film funny (mildly) more than anything else.
Since this is a sequel, the artwork was basically the same as the first one, with most of the characters coming back to reprise their roles. Curiously, the look of the new main character baby Dennis was not at all original. With his full head of wild curly red hair, Dennis looked almost exactly like the baby brothers of Merida in "Brave." The design of Great Grandpa Vlad and more so his scary sidekick Bela and his army of ghoulish vampire bats could be the stuff of nightmares for very young kids. The special effect of flames looked very good.
Adam Sandler's voice was very apparent as Count Dracula. You can totally imagine him talking in that "Dracula" accent. The cast list boasts of an impressive roster of noted comedians past and present who were all able to project their comic personas through their voice work for their characters. Of course, Sandler's usual movie posse is there composed of Kevin James (as Frankenstein), Steve Buscemi (as Werewolf Wayne), and David Spade (as Invisible Man Griffin). Andy Samberg plays the goofy Jonathan opposite teen star Selena Gomez as Mavis. In smaller supporting roles are Megan Mullally and Nick Offerman (as human grandparents Linda and Mike), Dana Carvey (as Camp Counselor Dana), Fran Drescher (as Frankenstein's wife Eunice), and the most esteemed Mel Brooks (as Vlad).
This another one of those zany, hyper, and yes, predictable animated films for the juvenile set, ultimately not too memorable. Despite the illustrious cast of comics though, the big laughs in this film are only few and far between. At most, a smile or a little chuckle here and there are all you get. Despite some disturbing scenes of apparent child endangerment in this film, you know this is all done in the spirit of silly fun and nothing bad is really going to happen. 5/10.
This film tells the true story of a group of men who dared to climb to
the peak, braving a harsh environment physiologically-incompatible with
human life. Bob Cotter ran Adventures Consultants, a service to guide
climbers willing to shell out $75,000 up to the Everest summit. His
support staff includes base camp manager Helen Wilton, medic Dr.
Caroline Mackenzie, along with a number of expert climbers and native
sherpas for guides.
For the fateful climb on May 10, 1976, we follow expedition group leader Rob Hall and his group composed of doctor Beck Weathers, mailman Doug Hansen, journalist Jon Krakauer (who eventually wrote the book about this climb), female Japanese veteran climber Yasuko Namba and others. Before their big climb on May 10, they first had a month-long training camp on the lower levels of the mountain in order to acclimatize their bodies to the inhospitable conditions. While the group was up the mountain though, a deadly blizzard descends upon the mountain, placing all the men on the mountain in extreme peril.
Jason Clarke radiated a lot of warmth as compassionate New Zealander expedition group leader Rob Hall. His conversations with his pregnant wife Jan (played by Keira Knightley in a brief yet remarkable supporting performance) were touching and heartbreaking.
Josh Brolin was loud and arrogant as the wealthy Texan climber Beck. John Hawkes was perfectly self-effacing as Doug, a poor working man whose climb was partially sponsored by school children. Despite his prominent billing, Jake Gyllenhaal plays only a small role as an unconventional surfer-type rival guide. As in his previous films, Sam Worthington was not really very memorable as Bob Cotter. Emily Watson was motherly as the distressed manager Helen.
I am partial to mountain adventures more than the beach. Based on my limited number of hikes up mountains like Pinatubo or Diamondhead, reaching the peak gives such a victorious feeling of exhilaration and accomplishment. Knowing my limitations as a climber, I know that climbing even a segment of Everest is but an impossible pipe dream.
That is why I liked this movie a lot. With its spectacular cinematography, this film brought me up to the summit of Everest in such a realistic, involving way. The places on the majestic mountain which I never would have even dreamed of seeing, like the Base Camp (17,000 ft), the Balcony (27,390 ft) or the Hillary Step (28,740 ft), were right there in front of my eyes!
We see everything along their snowy way -- those elegant yaks, those serene Buddhist monks, all the way up to the legendary peak with the little flags summiteers have planted their as a sign of their successful conquest. We will also see the various faces of the human spirit when challenged by the elements -- from triumph, valor and brotherhood to despair, defeat and resignation.
Thankfully, the very real dangers of the climb, like the wide crevasses to be crossed on rickety ladders, the icy wind burning the skin off your face, the nasty frostbite that could cost you to lose frozen body parts, or the avalanches that can rumble down on you at anytime, are to be experienced from the safety of your theater seats.
The parts of the film when the characters were just making their way up the mountain and training for the big climb may be slow for certain audience members. You will learn a lot about the medical aspect of climbing up to an oxygen-poor altitude such as that of Everest. For me, I vicariously immersed myself in that literally breathtaking climbing experience which for certain I will never have myself.
Man, in his quest to prove that he the master of this world, has this unquenchable desire to conquer the earth's highest peak -- Mt. Everest. However in climbing Everest, the last word, as the film tells us, always belonged to the mountain. 8/10.
"Heneral Luna" tells us a more detailed account of the life of one of
the revolutionary heroes we learn about in school, yet know practically
nothing about -- Gen. Antonio Luna. Practically all we know about him
is that he had a very bad temper which gained him a lot of enemies,
eventually leading to his assassination. Aside from telling us specific
situations where this legendary temper flared up, we also get to meet
him more intimately as a leader, a soldier, as a son and as a man.
Even from his intense penetrating gaze and formidable mustache in the poster alone, you already know John Arcilla will be excellent in this film. His comic timing was impeccable. It was a most vibrant performance of a most vivid man, making him really loom larger than life. He was over-the-top in his explosiveness, just the way Tarog wanted him to be. The way he was built up, we were ready for that climactic assassination scene, however outrageous the savagery.
Mon Confiado was a picture of ironic calm as President Emilio Aguinaldo. The more movies we watch about the revolution certainly brings up more and more questions about the controversial Aguinaldo. Nonie Buencamino was so slimy as his treacherous surname-sake Felipe Buencamino. That nonchalant look on Lorenz Martinez face was so hateful as he essayed the role of the equally haughty Gen. Tomas Mascardo.
It was also such a casting risk and surprise to put known comedians in such key roles, like Epy Quizon as Apolinario Mabini, Leo Martinez as Pedro Paterno and Ketchup Eusebio as the vengeful Capt. Pedro Janolino. I must admit their presence can be distracting in certain dramatic moments, particularly Eusebio. Or maybe that was their purpose -- to balance out the severe seriousness of those scenes.
You immediately upfront that the filmmakers were aiming high for this film. The initial introductory texts were written in English, signifying intentions for this film to make the rounds of foreign film festivals. (I read that there were even certain reels with English subtitles shown in some more upscale cinemas.) The presence of disclaimers stating that this is a work of fiction inspired by fact could somehow raise an uneasy question as to how much fiction was in there mixed among the facts.
This film will also grab you with its gorgeous cinematography. The images on the big screen had such vivid colors and innovative camera angles. The period production design and the costume design were meticulous in detail. During a beautifully-edited flashback sequence, there was a stylized scene about Rizal's execution that was so uniquely and hauntingly rendered. There are most gruesome and graphic special effects showing the violent brutality of warfare which will shock you.
The historical storytelling was very clear, exciting and engaging from beginning to end, with a fresh graphic novel feel to it. Humor was such an unexpected yet integral element of the script, from those crisp off- color expletives of Luna to those sarcastic side comments of Lt. Rusca (Archie Alemania) and many more in between of different shades. The patriotic sentiments were very poetically-written, but the way they were delivered here felt sincere. They did not sound preachy or cheesy, like when such lines were mouthed by Robin Padilla in "Bonifacio" or Jeorge E.R. Ejército in "El Presidente".
Just like a Marvel film, there was an extra scene in the middle of the closing credits, suggesting a next film featuring Paulo Avelino as Gen. Gregorio del Pilar. There was also a brief cameo appearance of Benjamin Alves as a young Manuel L. Quezon, hinting at a possible trilogy. This is a very exciting plan indeed which we all hope will materialize given the success of "Heneral Luna".
I hear this is also under consideration of being submitted for Oscar consideration, and I support that campaign. The screening I caught today was a full-house despite being 1:30 in the afternoon on a weekday. It was really gratifying to see a quality Filipino film have commercial success even if it was not an inane comedy or "kilig" teen flick with box-office stars in the cast.
Kudos to Artikulo Uno Productions and director-film editor-musical scorer Jerrold Tarog for coming up with what may just be the best, certainly the most audacious, Filipino film released this year to date. Like Gen. Luna, this film leads a mad charge on horseback with a raised fist against Filipinos who say they love their country yet look out for their personal interests first. Let's hope this strong message hits its targets. 9/10.
Almost exactly one year ago, the first "Maze Runner" film was released
in local theaters. I thought that the action sequences within the maze
scenes were all quite exciting and very entertaining to watch. However,
after all the excellent suspense and tension built up in the first two-
thirds of the film, at the end nothing really gets explained clearly.
It felt like an incomplete film on its own. For those it gets
interested though, this sequel is expected to give answers to questions
raised in the first film.
While under the care of a high-security facility, Thomas becomes increasingly suspicious of Janson, the man in charge. When he overhears a sinister plot hatching, he gets his fellow Gladers out to brave the arid desert called the Scorch outside. However, it was not only the elements they have to worry about, there were still a horde of killer zombies called the Cranks out there to contend with. Thomas and his gang survive the Scorch and unite with the rebel group in the mountains in order to fight the danger foisted on humanity by the increasingly mysterious Dr. Ava Paige and her WCKD organization.
Dylan O'Brien continues his good portrayal of the ever-doubting Thomas. In this film, his character would need to make a lot of difficult decisions and O'Brien convinces us that he can make those hard choices. The other young actors in his gang do not really do too much to stand out. Aidan Gillen, the ever-slimy Littlefinger on "Game of Thrones" brings his smarmy charms in this film as the Rat-Man, Janson. One look at him and I cannot really separate him from his TV character.
Rosa Salazar gives a strong performance as Brenda, a survivor within the city ruins whom Thomas encounters. She registers better on screen than the main female lead Kaya Scodelario, who plays Teresa. It was good to see another "Game of Thrones" actress in there, the attractive Nathalie Emmanuel, who plays Harriet, one of the rebels. Veteran actresses Lili Taylor and Patricia Clarkson lend class to their rival scientist characters, Mary Cooper and Ava Paige, respectively.
The excitement build up strongly in the first act. However the second act in the Scorch felt a bit slow as the Cranks overstay their parts too long. Their horror scenes were effectively creepy at first but they get a bit too repetitive. A protracted hallucinatory party scene can also be quite head-scratching. The third act though hikes up the explosive climactic action and revives anticipatory audience excitement for the next installment. The production design of elaborate setup of the WCKD laboratory and the ruins of the huge city looked very good. At the end of the 130 minute running time, there are still a lot of questions about the true intentions of WCKD, or is that name alone already a giveaway clue?
There was no more maze in this movie anymore for the characters to run through. However, the maze is for the viewer who has to try to absorb this whole labyrinthine dystopian world that James Dashner hatched in his novels. Director Wes Ball does his best to make the complex plot engaging, exciting and entertaining with some pretty well-executed action scenes. Overall, when compared to the first "Maze Runner", this sequel was the more satisfying film for me. 7/10.
This charming children's film tells of a little white ghost who roams
the halls of the castle from 12 midnight to 1 am every day with his
ring of keys which can open any lock. However, he yearns to see the
brightness of the daytime. Upon advice of his friend the Owl, Little
Ghost needed to switch the time of a certain watch tied to him in order
to set the waking time he wanted.
Since he did not know which watch, Ghost proceeded to switch the time of all the watches in the castle. While he was switching a valuable watch, a spirited kid named Karl sees him. Ghost takes the watch with him in panic, and Karl was blamed for the watch's loss. From there, the Ghost and Karl will go through a lot of mishaps and misadventures while trying to rectify the situation
As you can see for the poster, Little Ghost looks a lot like Casper the friendly ghost, and acts a lot like him too. The special effects used looked obviously practical, a foamy sphere for a head and a white sheet as his body. This is clearly for very young children. There is nothing really scary about this ghost. Even his dubbed voice sounds like that of an adorable child -- very cute indeed. He would be singing some songs too for some additional entertainment.
The adult actors all act in a clownish, cartoonish style as is customary for kiddie movies. Notably funny was Uwe Ochsenknecht, the actor who played both the Swedish general in the portrait and the haughty town Mayor. The actors who played the obese Chief of Police and the Clockmaker was also quite silly. Jonas Holdenrieder, who played Karl, and the actors who played his friends, did well. They were not pushy nor annoying like some Hollywood child actors were wont to do.
This is a German children's film dubbed in English. Being a European film, you cannot really expect the fast and frenetic Hollywood style of storytelling. The story was told in a slower pace which may make older kids who are more used to superheroes or monsters bored. There was only one certain point in the film when the child Karl will be in a very precarious situation, but you know things will all turn out for the best.
"The Little Ghost" will be funny and thrilling for younger kids. For adults though, the film's retro vibe and simple visual effects may seem hokey for most adults. Give it a chance though, and it may surprise and delight you, like it did for me. 6/10.
The first "Transporter" film was shown in the year 2002, followed by
sequels in 2005 and 2008. The main character was Frank Martin, a
mercenary "transporter" with mad driving skills whom people hire to
deliver people or packages anywhere. This series made an action star
out of then unknown actor Jason Statham, whose brawny heft and martial
arts abilities fit the character like a T.
Now that a much older Statham is now doing films like "The Expendables", producer Luc Besson decided to resurrect the character of Frank Martin with a new unknown young actor. Will this reboot be a success like the original, or will this fail in comparison like many reboots of other old film series?
Frank Martin was hired by Anna and her gang of high-class prostitutes bent on revenge. They had come up with an elaborate plot to get back at Karasov, the man who made their lives a living hell for the past 15 years. After the first deal, the girls wanted Frank to help them with the next step of their scheme, but he declined. The girls abduct his father Frank Senior in order to coerce Frank Junior to do their bidding.
New actor Ed Skrein is the new Frank Martin. "Game of Thrones" fans will recall Skrein to be the original actor cast in the role of Daario, consort of the Khaleesi. He is of the same mold Jason Statham was cut from, tall, manly and well-built. However, Skrein, with his chiseled face and glamor posturing, felt too much like a fashion model to be convincing. Even if he gets disheveled by the action, he never really comes across as a genuine rough and tough action hero, like Statham did. He has got the suave and skills part down pat, but too bad he did not have the Statham charm to complete the package.
Whatever charisma Skrein lacked in the lead role was made up for by Ray Stevenson in the role of the dad, Frank Senior. This veteran character actor owned the screen whenever he was on because of his magnetic screen presence in this secondary role. He seems miscast as a retired water salesman, but in a good way. He exuded so much confidence such that the unlikely things his character was able to do were somehow made believable. I actually wanted to see more father-son scenes between Stevenson and Skrein, as they had good chemistry together.
French model Loan Chabanol played Anna. She was sexy and seductive as the role called for. Chabanol and the other three girls fulfill their roles as eye candy here. They were avenging angels one moment and damsels in distress in another. The acting may not have been remarkable, but that is not exactly why they were cast in these roles.
On its own, "The Transformer Refueled" had its moments of great action, like the brawl in the disco storeroom, or that frenetic airplane escape scene. It does have the Luc Besson touch, though the director here was Camille Delamarre, who has been promoted from being editor of "Transporter 3". Frank's Audi sedan looks great. The familiar story is not much to care about, and will probably be forgotten soon. Nevertheless I am not totally trashing this. I think I would likely watch the sequel should there be one. Without the Jason Statham shadow it finds itself under, it was actually passable as a crime action thriller. 5/10.
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