i'm beginning to think people only say a movie is good because of it being long and having a good camera. to me the only highlight was cillian murphy's performance. the rest of this was just some dumb, boring trek.

It's not who I am underneath, but what I do that defines me.
Bruce Wayne is constantly tortured by his childhood memories when he witnessed his parents being murdered. Taken under the wing of The League Of Shadows, a deadly ninja assassin army devoted to erasing crime with their own brand of harsh justice. After completing training, Wayne refuses to join them on account of not agreeing with their methods, he returns to Gotham City to reek his own one man war against crime.
Director Christopher Nolan literally goes back to Batman origins to not just give the dead franchise a kiss of life, but actually to spark it into a sort of triumphant homecoming. Gone is all forms of camp veneer so evident in Joel Schumacher's offerings, and in place we have a darkly rich picture intent on fleshing out Batman's motives, and crucially, his fractured persona.
One of the most pleasing things to me was that Nolan paced this picture to perfection, the build up of character, and then birth of the Bat, dominates for practically the first hour of the piece. This gives Batman Begins some crucial heart, it really helps us to focus on this weird super-hero now that we have some meat on his bones. We then follow Wayne from a Chinese prison to The League Of Shadows monastery, watching his transformation from brawling man of anger into a controlled fighting machine. A machine that still roams with a revenge laden heart.
Then its to Gotham City where he then births Batman and all bad guys are on his agenda. Mob boss Falcone, the mysterious Scarecrow, and also a face from his past that rears its surprising head. Wayne is driven by powerful motives, and it's here in the second part of the film that Batman Begins rewards those who indulged in the character build up. In come the stunts and outrageous sequences, all played out in Nolan's desperately dank Gotham City (a far cry from Tim Burton's dark Oz like scapes). This Gotham is pot boiling to disaster and is crying out for the Bat to sweep all before it, and thankfully Nolan and his cast fulfil all the early promise to deliver a wonderful action fantasy that caters for all ages.
Christian Bale dons the Batsuit and it fits like a glove, his Bruce Wayne may lack the ebullient charisma that Michael Keaton's had, but his Batman is mean and moody and comfortable with the zippy dialogue. Michael Caine plays Alfred the loyal servant to the Wayne family, much heart and emotive drive from Caine ensures the role is a roaring success. Cillian Murphy is Dr Jonathan Crane/Scarecrow who actually scares more as Crane with his piercing eyes and devilishly smirky leer, whilst both Gary Oldman (Jim Gordon) & Morgan Freeman (Lucius Fox) are solid with what little they actually have to do. Liam Neeson gets his teeth into a meaty role as Henri Ducard, and as a character arc he gets the best scenes (Nolan clearly having great fun here).
Minnor let downs to me without hurting the picture are Katie Holmes (pretty but hardly convincing as Assistant D.A. Rachael Dawes) and Rutger Hauer as Earle (a little bit of menace wouldn't go amiss here Rutger old man). Still, as I said they are very minor let downs because as comic book adaptations go, Batman Begins is from the top draw, a franchise re-suited, rebooted and completely reinvigorated. But now the test comes with that all important sequel... 9/10

Our full review here: good.film/guide/piece-by-piece-is-2024s-most-surprising-and-inspiring-movie
Oscar-winner Morgan Neville's new music bio-documentary, PIECE BY PIECE is smart, uplifting and wondrous. The whole “LEGO thing” seems like a bizarre way to encapsulate of one of the millennium’s most unpredictable musical talents, but it makes sensational sense when you get to know Pharrell and figure out how his mind ticks.
Non-music fans might be tempted to wave Piece by Piece away, but with its focus on the energy we share and the space we occupy, it’s a surprisingly holistic experience for anyone. It’s not so much a film about music as it is about inspiration, and the explosive kaleidoscope of visual creativity on screen truly makes Piece by Piece stand out.
Our full review here: good.film/guide/piece-by-piece-is-2024s-most-surprising-and-inspiring-movie

Pharrell Williams has decided to tell us a story of his life thus far using Lego as the creative conduit. The Lego bit is quite impressive and creative, the rest of it is really neither here nor there. Perhaps that's because he is just too young to present us with a compendium of his achievments. The boy from Virginia Beach lucking out when a big noise producer spots his band "The Neptunes" and gives them a chance, his persistence to get noticed, the undulation of his fame, his struggles with success and failure, friendships and family. His increasingly pivotal position in African American culture is all laid out like a yellow brick road, bumps and all, but none of it is particularity interesting. It isn't that different from the story that could be told by almost anyone trying to make it in the entertainment industry - actors, singers, musicians. There are the occasional graphics to tell us who is who, but the lego-fication of the animation sometimes makes it quite difficult to tell the characters apart and it does rely on quite a bit of knowledge of the man's career and of hip-hop to take much from it. It also doesn't really let us appreciate the music. Not that it needed to be a portmanteau of music videos, but the very thing that made and makes him relevant to so many hardly features at all. It's an imaginative production to look at, but the substance is lacking on just about every front.

I adored this movie
For background info, I love Pharrell. He is my favorite artist and he has been for a long time now. My parents listen to that type of music so I got it from them. I love his music. So I was going in expecting a fun time with great music and I would probably learn a thing or two. But damn, I got so much more. I love the way Pharrell thinks. The way he sees life. It might seem crazy what I'm about to say but this movie changed my perspective on things. On life. The music was amazing just as expected. A lot of Pharrell’s music is nostalgic to me. So hearing these songs just made me feel so nostalgic. The movie is funny too. Not the funniest thing ever but it is funny at times. Guys, don’t compare this to the other Lego movies that came before. They are wildly different types of films. So just because it’s a movie using Lego as their animation style, don’t compare them. I won’t lie with you and say I didn’t get teary eyed at parts of this movie. Cause I feel what he’s feeling. I know. Probably not in the same exact way but similar ways. Just an all around inspiring film. It’s inspired me to just start. It’s never too early to start on your dream. After Hurricane Milton making me and everyone in Florida stressed and not in a good mood, this is something I needed. It made me…**_happy _**
**_9.5/10_**

David Yates now really begins to take these stories to a new, potently darker level as "Harry" (Daniel Radcliffe) comes into possession of a book - formerly the property of the eponymous Prince. His skills increase exponentially and he soon begins to question whether he, himself, might be closer to the evil lord "Voldemort" than he had ever thought. The three principals are very much on the same wavelength now; the supporting cast likewise and there is even a little late hormonal activity as the awkwardness of teenage years (remember?) starts to feature too. This film also sees the arrival of Jim Broadbent as "Slughorn" - quite an engagingly enigmatic character and we can easily now sense that the battle lines are starting to be drawn... This is highly entertaining cinema. A big scale production and fine scoring builds on a strong story with characters we now know. A big screen must.

Harry Potter and the Half-Blood Prince may be the most mature film of the franchise with fantastic character development, but at the cost of action and a somewhat slow pace.
The beginning of the film suffers from what a lot of these films do where the audience is taken from location to location, without any explanation as to why. It is difficult to follow at times, but it's a sacrifice that unfortunately has to be made when adapting a long novel into a feature-length film. Despite this film being the slowest of the series, it does a tremendous amount of leg work setting up the epic conclusion. From the introduction of the Horcruxes to the multiple scenes of Voldemort's past, the audience gets a ton of background information revealing details from the previous film that creates a more coherent story structure.
Half-Blood Prince has a more focused return to Hogwarts and the class aspect which I enjoyed. Jim Broadbent's Professor Horace was a great addition and his connection with Potter is so seamless, with some aid from the Half-Blood Prince's textbook. Not only does Harry have great chemistry with Professor Horace, but his relationship with Dumbledore blossoms, and his reverence for the headmaster is captivating. It was great to see these two finally working together and trusting each other. Previously Harry would always hold information or Dumbledore would tell Harry to never mind, but finally, they get on the same page, and it was great to see.
This connection aids tremendously in the final scenes of the film. The trials that these two characters are put through are immense, but Harry's trust in Dumbledore is shown in a very uncomfortable scene of Dumbledore forcing down a poison of some sort. This struggle crescendos into an incredibly impactful finale with Dumbledore, unfortunately, dying at the hands of Snape. There were some fantastic character moments between Snape and Malfoy, and the light inside both of them is hinted at in this final scene. Dumbledore's death is felt, not only by the students of Hogwarts but by the audience as well. This is one of the more effective deaths in the series due to the audience's time with the character, as opposed to the death of Sirius Black in the previous film.
Overall, this movie is slow and can drag on a bit. But there are some great character moments and plot developments that make this a fantastic beginning of the end for the series.
Score: 84%
Verdict Great

Has the quality direction of _Order of the Phoenix_ but manages to separate itself from that movie by having a script that isn't shit.
Final rating:★★★ - I liked it. Would personally recommend you give it a go.

Hormones over excitement as part six is merely an appetiser to the double billed closure to come.
Death Eaters are running amok as Dumbledore has an important task for Harry and Voldermort has one for Draco; all set to the backdrop of raging adolescent hormones. While Harry also acquires a rather helpful book written by the mysterious Half-Blood Prince.
Potter 6 is not as dark as the pre-release chattings suggested it would be. Yes there's the usual dark moments, including a shattering turn of events that sets it up nicely for the finale, but this instalment is mostly fun, gentle and even sexy. Harry, Ron & Hermione are more under threat from their own adolescent urges than they are from the swirl of a Death Eater or the appearance of one young & creepy Tom Riddle. This of course makes for good viewing to most of us who have grown with the characters, with the principal young actors having nicely grown into said characters. But can it sustain a two and half hour running time? No it can't is the ass numbingly honest answer. There's some quality set-pieces including Quiddich (for a change) and a swamp attack by the Death Eaters, but by and large it's talky and breezy in equal measure.
A filler Potter movie then, one that is far breezier than expected. Good but not great, but as a set up for the epic conclusion it hits all the right buttons. 6/10

"Harry" has an extra-curricular experience with a "Dementor" which draws the attention of the newly rejuvenated Ministry of Magic and after a show trial in which he is ably defended by "Prof. Dumbledore" our trio return to a school that is all but under martial law. A new Defence Against the Dark Arts teacher (a rather Margaret Thatcher-esque Imelda Staunton) is taking over the school by degree, imposing strict rules that merely serve to encourage the pupils to go underground to learn the more practical skills that will be needed if they are ever to face and defeat the evil "Voldemort". All of the characters from the previous stories are now knitting together much better; I still miss Richard Harris as "Dumbledore" but Stauton is as magnificently evil as Emma Thompson is wonderfully pathetic and we have a cracking battle at the end. Our wizards are now fully cognisant of the dangers they face and have a much clearer idea of the enemy, too. David Yates does better, I think, in condensing this super-long novel into one film; again a two-parter would probably have done better justice to the detail and nuances of the JK Rowling story; but we get more than enough of the gist of the story to make do. Great stuff.

Harry Potter and the Order of the Phoenix is another solid entry into the series with fantastically high stakes, production value, and emotional scenes that leave a lasting impact.
From the beginning minutes, the movie is doubling down on the dark tone the previous two began to establish. The threat of Voldemort still looms, but it is incredibly frustrating that no one seems to believe Harry and Dumbledore. That frustration is perfectly mirrored with Harry as he grows incredibly angry throughout the film, paralleling his connection with the Dark Lord. This more mature and seasoned Potter is a highlight, and his leadership begins to take center stage as he organizes his classmates to train to fight against the dark arts. These scenes are some of my favorites in the film.
This entry expands on the wizarding world with the Ministry of Magic and the Order of the Phoenix. The Ministry of Magic is terrible in this film, they are completely mad and delusional to accept any other explanation for the events that have taken place in the previous entries. This is none more present than the introduction of Mrs. Umbridge. She is the worst, and Imelda Staunton does an excellent job of being the worst. I hated her throughout the entire film and every one of her sly smiles was like nails on a chalkboard. Safe to say her finale was oh-so-satisfying.
The ending is slightly rushed, but the action is fantastic. It was a bit unbelievable that a group of students could face the Death Eaters by themselves, but the movie addressed the criticism when the Order came to save the day. I do have to say, the death scene of Sirius Black was pretty anti-climactic. The hit he takes happens so fast and he gingerly falls back into the portal never to be seen again, it did not have the resolution I would have hoped for with him being such an influential person in Harry's life. Plus, his limited screen time in the series draws back the effectiveness of his death. Despite that, the special effects in the Dumbledore and Voldemort battle were spectacular and unique, a brilliant way to cap off the film. Especially with the ending shot of Cornelius Fudge just realizing "He's Back"
Overall, this is a slow movie with a limited amount of action. But the world-building and character development are some of the best in the series. It is not going to be everyone's favorite, but it was a great addition, even though the rewatchability is not that high.
Score: 85% |
Verdict Great

Front and Centre for Dumbledore's Army.
Term 5 at Hogwarts for Harry and the gang and it's a deeply unsettling time. Harry faces getting expelled and finds himself shunned by many around him. This at a time when the Ministry of Magic compounds his misery by insisting to all and sundry that "you know who" is not back again.
Given that JK Rowling's fifth book is considered to be something of a door stopper, a book more of interim Potter filler than any great amount of substance, credit has to go to new to the franchise director, David Yates. For Yates and his screenwriter Michael Goldenberg have managed to craft a briskly entertaining segment in under 2 hours and 20 minutes of film. Yes it's safe to say that it ultimately does feel like an interim filler movie, one that is for fans and not newcomers to the series, but the effects are superb (except Grawp that is), the action is much and suspense is not in short supply. While it also finds Radcliffe as Potter finally hitting his acting stride.
New into the magical fray comes the wonderful Imelda Staunton as Dolores Umbrage, the sort of cheery psychotic teacher we all had bad dreams about in our formative years. Also most welcome is Helena Bonham Carter as nut job harpy Bellatrix Le Strange, it's an appetiser of substance and we can't wait to see some more of her from here on in. Of course the usual problem of not enough screen time for the regulars still exists, but it's now become a figure of grumpy acceptance in the grand scheme of Potter World. Neatly keeping the story trimmed of extraneous fat, Yates doesn't disappoint in delivering a last quarter as memorable as any so far in the series. Big rewards await those who wait, because the showdown that crowns Order of Phoenix is a magical mêlée of wands and wonderment; a face off between good and evil, a free for all that joyously assaults the senses.
Roll on Half-Blood Prince, where it's great to know that Yates has been further entrusted with the Harry Potter reins. 7.5/10

A sudden and violent storm causes the team of the "Ares" mission to hastily abandon their camp and return to the relative safety of their orbiting spacecraft and a journey home. Giving the command to leave, their commander "Lewis" (Jessica Chastain) is informed that one of their number has been killed. Thing is, once the dust has (quite literally) settled, we discover that "Watney" (Matt Damon) is anything but. Impaled by an antenna needle he is alive and alone. Now a sort of space-bound "Robinson Crusoe" adventure ensues with "Watney" trying to ensure he repairs the damage to his body the uses his training - as a botanist - to find a way to survive. Everyone back home assumes he is dead - it is only when an eagle-eyed scientist notices that some of the equipment is moving that they try to re-establish contact. Now, with NASA Director "Teddy" (Jeff Daniels) and "Mitch" (Sean Bean) it's a race against time to cobble together a rescue plan before poor old "Watney" turns into one of his life-sustaining potatoes! I found this at it's most effective when it is just Damon using his guile to find innovative ways to survive. I can't swear to the plausibility of the science, but peppered with some pithy pieces-to-camera in a video diary style and his favourite (not) disco music Damon ensures that the film builds nicely allowing us to invest in his survival. I began to lose interest once the political melodrama kicked in, though, and but for the last exciting twenty minutes, I felt the film lost it's way as the scientific responses all just became a little too predictably convenient and oddly enough for a science fiction film, far-fetched! Some spectacular visual effects are put to great use complementing a strong, visionary and speculative, story of a man using his wits to survive and the all but 2½ hours really does fly by. It's even got a bit of ABBA too!

I feel like this science fiction movie was a stunning achievement, for at least a couple of reasons. Firstly, for much of the time it is a one man show, and that can be risky in a feature length film. It worked with acclaimed actors Tom Hanks in Cast Away, and with Robert Redford in All is Lost, but could it work with Matt Damon in a sci-fi flick? Well, I answer that question with a resounding ‘yes.’
The movie does cut away to planet Earth and the spaceship returning home without him, so it isn’t all Damon all the time. And some humor is injected here and there to offset the character’s grim situation. I liked the line where he referred to himself as the greatest biologist on the planet. As the only current resident on Mars at that time, he was also the worst biologist on the planet!
Another reason this film is remarkable is because there is a lot of science here, which drives the plot as he has to solve continuous problems that arise, not with brute strength or other physical,skills, but with his analytical mind. And yet the details don’t get tedious or overly technical. Oddly enough, it is not a movie I will watch multiple times, as I have lesser robust sci-fI entries such as Super 8 or Monsters, but I plan to watch it at least one more time, just out of appreciation for the solid job that was done in adapting what much must have been a very challenging story to film and have it be both entertaining and informative, both scientific and an amazing adventure.

***Realistic account of trying to survive on Mars while awaiting rescue***
In 2035 an astronaut (Matt Damon) gets stuck on Mars after he is presumed dead and his team departs without him. When NASA eventually finds out that he’s alive & well they have to find a way to save him. But can he survive for the next couple of years until they arrive? Jeff Daniels plays the director of NASA while Jessica Chastain plays the leader of the vessel. Sean Bean, Chiwetel Ejiofor and several other notables are on hand.
The only way for Ridley Scott’s "The Martian" (2015) to work is if it can convince you that Damon’s character is actually on Mars, which it does spectacularly and realistically (minus a few forced dramatics or stabs at humor here and there). If, like me, you’re fascinated by Mars or the potential of living on another planet in the real world, “The Martian” is a must.
It’s reminiscent of movies like “Armegeddon” (1998), “Mission to Mars” (2000), “Gravity” (2013) and “2001: A Space Odyssey” (1968), albeit without the fantastical elements of some of these. It even brings to mind the first acts of “Planet of the Apes” (1968) and “Beneath the Planet of the Apes” (1970).
The movie scores pretty well on the female front with Chastain, Mackenzie Davis, Kate Mara and Kristen Wiig. Davis looks good in tight pants.
The film runs 2 hours, 24 minutes.
GRADE: A-/B+

Liked it.

This movie is very entertaining and really imaginative. The narrative is well controlled so you don't feel bored or exhausted. The part that I like best is when the accident happened and Witney lost all his crops, the despair he had and the noisy scary sound of strong Mars winds blowing outside the base. The real loneliness.
However, this movie's plot was too straight-forward as I see. Nearly every action proposed by the sorts of parties and organization was execute, taking the story forward without stagnation. But this also made everything look too artificial. In comparison, Robinson Crusoe was much more twisted.

This is a movie following the lead started with Gravity with the human main character fighting for survival in space.
The plot has a good combination of suspense, action, humor and drama. Damon performs well and the rest of the cast does a good job and has been well chosen.
It is not a magnificent movie but it is good enough to fill a couple of hours of entertainment.

This is a movie that I have to say that I have a bit of a difficulty in rating. Quite honestly I was sorely tempted to remove a star, or even two stars. Why? Because it is full of Hollywood nonsense, scientific errors, it is rather predictable and it did feel a bit like a Apollo 13 rip-off. Why did I not remove those stars? Well, it is rather entertaining even if, at times, I squirmed in my seat.
The movie starts of with a somewhat implausible event where a unexpected storm hits the Mars camp which forces the ground crew of the Mars mission to hurry back to the launch vehicle before it tilts over. The launch vehicle gradually tilts a degree at the time. Is it just me finding this strange? Would storms on Mars defy the usual rules of weather dynamics that they would exert a constant pressure which would cause a slow but constant tilt of a construct like that. No gusts, no change in pressure? And why would it gradually tilt at all? Once the force would be enough for the landing struts on one side to leave the ground it would pretty much tilt right away. Okay, I am being picky so lets give that a benefit of a doubt for the time being.
Obviously one guy is lost during the dramatic events. This is equally obviously 100% predictable. The fact that the guy is still alive after the rest of the crew blasted off is obviously also 100% predictable but then, this you should have pretty figured out from the title of the move after all.
A lot of the rest of the movie is following this guys quest for survival on Mars using the left over equipment at his disposal and the NASA crew on Earth trying to rescue him. Yes the NASA crew on Earth does discover that he is alive which, again, is pretty much predictable. Of course this gave Hollywood the opportunity to add a utterly dislikable political bureaucrat that is pretty much in the movie for one reason and one reason alone…to be dislikable. Personally I just found him tiresome. But then, Americans seems to like these kind of people given the kind of trash that we see being pushed towards the upcoming presidential elections…from both sides!
There are a lot of good stuff in the movie. Even though it is rather predictable there are some suspense in it, there are a lot of good scenery, and even though you pretty much knows what is going to happen you do feel like cheering for the hero. Given the script I think a lot of the actors did a rather good job of their roles.
If the script writers would have brought on some decent scientific advisors I would say this would have been a great movie but it was frequently goofed up with issues that was just stupid. Like digging down a nuclear reactor a few feet in the ground. What the f… good was that supposed to do? And the constant use of simple plastic and duct tape to seal the environment. Yeah, right. Sure, Mars do have some atmosphere so it is not vacuum we are talking about but then in other scenes they seemed to assume almost zero atmosphere and made quite a bit use of explosive decompression effects.
Okay, okay I am probably nitpicking quite a bit here but, unlike many Science Fiction movies, this one tries to give an impression of being within the realms of realism and it is just too full of classical Hollywood mishaps for my taste.
As I wrote above I still think it is a movie worth watching. It has some suspense, it is well done from a photographic point of view and the actors are doing a decent job. I think 7 out of 10 stars is a fair rating but it should certainly not have more.

'The Martian’ is definitely in the creative wheelhouse of filmmaker Ridley Scott whose Science Fiction sensibilities are grounded in colorful futuristic fantasies that tiptoe in grand whimsy. The veteran auteur responsible for such pop cultural high-minded spectacles in ‘Alien’, ‘Blade Runner’ and even the mixed bag reception of ‘Prometheus’ certainly brings a sophisticated and thought-provoking vibe to the probing aura of ‘The Martian’. As with other Scott-helmed productions, ‘The Martian’ settles nicely in its majestic scope that taps into visual wonderment, humanistic curiosities, technical impishness and the surreal spryness of the SF experience.
The exploratory nature of ‘The Martian’ is its own noteworthy mission. Scott arms his frothy planetary odyssey with a sense of thematic inquisitiveness and intelligence while meshing human consciousness and scientific forethought. Clearly, ‘The Martian’ is astutely meditative and one can thankfully block in their memory banks some of Scott’s mediocre misses (anyone care to recall the monumental mishaps in the form of the flimsy ‘The Counselor’ or the unintentional laughfest that was ‘Exodus: Gods And Kings’?). Rightfully so, ‘The Martian’ shares its crafty crater of similarities with other space-place spectacles that resonated with the imagination and innovation such as the Academy Award-winning ‘Gravity’ and the under-rated ‘Interstellar’.
Quite frankly, ‘The Martian’ is elegantly arresting in its sheer skin for both the character studies and the major plight involved (particularly anchored on the shoulders of star Matt Damon as the contemplative lead) as well as the trademark Scott-induced flourishes that incorporate crisp and cunning visual special effects and a sweeping musical score that invites a transfixing hold on one’s indelible spirit.
‘The Martian’ is the film adaptation of Andy Weir’s best-selling tome. Scott’s disciplined direction and screenwriter Drew Goddard’s ambitious vision of Weir’s compelling written material seemingly gels in convincing, cerebral fashion. The premise is not wildly original as it revisits the familiar foundation of a lost soul in survival mode trying to take on the treacherous surroundings with philosophical conviction. Nevertheless, this does not make ‘The Martian’ any less formidable in its soul-searching perspective. Scott’s narrative on individualism and isolation with a tremendous technological tilt truly registers with boisterous bounce. Amazingly, Scott has assembled a capable and committed cast that are dedicated to making ‘The Martian’ look resourcefully skillful in its masterful mischievousness. Sure, The Martian’s lengthy running time is staggering but it is compelling enough to invest in its meandering, adventurous narrative.
The ultimate nightmare (or perilous predicament…take your choice) has been realised for one stranded space traveler in Mark Watney (Matt Damon). You see…poor astronaut Watney had the misfortune of losing contact with his commander in Melissa Lewis (Jessica Chastain) and the rest of his crew when undergoing a scientific expedition to examine the terrain on Mars. Courtesy of an unexpected freakish storm Watney is separated from his comrades and believed to be dead as a result of the hazardous weather conditions on Mars. Lewis and her associates have no choice but to head back to Earth as searching for Watney may prove to be futile and endanger their lives as well.
Thus, Mark Watney is basically his own forced-upon version of ‘Robinson Crusoe On Mars’. There is no option for Watney but to allow his major survival instincts to kick in while striving for his jeopardised livelihood on the unpredictable and treacherous Red Planet’s jagged landscape. Despite being stuck in hostile territory, Watney must use his background skills as a trained botanist to cultivate the scarce food he must rely on for his unconventional nutrition. The only ‘companion’ that Watney has to relate to rests in the recorded device that captures his harried thoughts through video diaries (at least this is more practical than what Tom Hanks’s ‘Castaway’ character had in his possession with inanimate object best buddy, Wilson the volleyball).
In the meanwhile, the devastating news about Mark Watney’s possible death far beyond the reaches of home hits his colleagues understandably hard as tributes start to pour in remembrance of the seemingly dearly departed space pioneer. Soon, there is some measure of hope when NASA officials that include head honchos Teddy Sanders (Jeff Daniels from TV’s ‘The Newsroom’), Vincent Kapoor (the Oscar-nominated Chiwetel Ejiofor from ’12 Years A Slave’) and Mitch Henderson (Sean Bean) find evidence that Watney may be alive and ready to be rescued. Naturally, a sense of urgency is warranted to retrieve the weary astronaut without causing too many public relations waves. This puts press aide Annie Montrose (Kristen Wiig) into damage control mode in particular.
Okay...so it is not as scenic as Yellowstone National Park but the rocky region in THE MARTIAN still has some unassuming charm, right?
Okay…so it is not as scenic as Yellowstone National Park but the rocky region in THE MARTIAN still has some unassuming charm, right?
Importantly, ‘The Martian’ is clever and carefully conceived because it does not have to rely on the excess baggage to convey its entertainment value in a series of hyperactive and hedonistic happenings. Ridley Scott is soundly methodical in presenting a low-key terrifying tale of loneliness and resiliency and what it takes to handle the pressure of adversity when there is no glimmer of humanity around to reinforce or remind one of such psychological obstacles. The intriguing factor here is the science-friendly serving of intelligence and insight that builds up the audience’s appreciation for the underlying suspense. Interestingly, the conflict approached in ‘The Martian’ is not so much the back-and-forth high-scale struggles of man versus outlandish creature or an over-the-top diabolical deviant out to destroy the world in cartoonish fashion. No, the genuine combative and confrontational war of will is contained in one vulnerable man’s ability to face the unknown grounded in both doubt and determination. Hence, Scott has made a palpable thinking man’s Science Fiction exposition rooted in articulated forethought.
Damon more than holds his own as the disillusioned botanist/astronaut out on an ominous limb as his doomed odyssey of uncertainty is something that the common viewer can embrace and relate to without question. The perceived opulence in ‘The Martian’ is not contained in the film’s production values per se (Scott has made previous movies with more visual vitality and purpose) but subtly showcased in the concepts of knowledgeable tidbits concerning food rations, mathematical equations, crucial time tables, planetary probes, NASA-themed procedural techniques and aerodynamics considerations.
Hopefully, ‘The Martian’ is not dismissed as a foreign alien in the minds of ardent movie-going SF enthusiasts looking for a realistic and soulful space-age adventure with a refreshing backbone of scientific curiosity and candidness.
The Martian (2015)
20th Century Fox
2 hrs. 35 mins.
Starring: Matt Damon, Jessica Chastain, Jeff Daniels, Kristen Wiig, Michael Pena, Sean Bean, Chiwetel Ejiofor, Kate Mara, Sebastian Stan, Donald Glover and Benedict Wong
Directed by: Ridley Scott
MPAA Rating: PG-13
Genre: Science Fiction/Space Adventure/Science and Fantasy
Critic’s rating: *** 1/2 stars (out of 4 stars)

In the Hong Kong action thriller The Prosecutor, a young man named Ma Ka-kit lives with his Uncle Ma in a low-income home. He rents out his address in an effort to make some extra money, but he receives a package containing a kilogram of cocaine and gets arrested for drug smuggling. Chan Kwok-wing, the second defendant in the drug smuggling case, is found to be the one who purchased Ma Ka-kit’s address.
Ma Ka-kit (Mason Fung) is convinced by his defense lawyer Li Sze-man ( Shirley Chan) and legal executive Au Pak-man (Julian Cheung) to plead guilty to reduce his sentence. But once the case reaches leniency court, Ma Ka-kit is sentenced to 27 years in prison while Chan Kwok-wing (Locker Lam) is acquitted. Now, Ma Ka-kit’s fate rests in the hands of Fok Chi-ho (Donnie Yen), a former narcotics police detective turned public prosecutor.
Written by Edmond Wong (Ip Man 1-4, The Monkey King: Havoc in Heaven’s Palace), The Prosecutor is inspired by the real case that transpired in 2016. The film is also directed and produced by Donnie Yen (who also directed Sakra).
Fok Chi-ho is brought to the DOJ or Department of Justice under the tutelage of pupil master Bao Ding (Kent Cheng) and is told flat out upon arrival that the DOJ typically leaves decision-making in the hands of chief prosecutor Yeung Dit-lap (Francis Ng).
Surprisingly, Donnie Yen was hesitant to accept this role since most of the action was injected into the film once he signed on. Yen wasn’t familiar with legal dramas initially, but worked with Edmond Wong and his stunt team to create a film that is dramatically engaging with dynamically unique action sequences.
In foreign martial arts films, it’s often that the action is great but the story and acting are pure trash or lackluster at best. But The Prosecutor is a thrilling and engrossing drama first highlighted by its action. Donnie Yen turns 62 this year, but his martial arts is as hard-hitting and breathtaking as ever. What works in The Prosecutor’s favor is a solid script from Edmond Wong and Yen being surrounded by a talented cast.
There’s an ongoing conflict between how the legal system and DOJ specifically operate and how Fok Chi-ho is as a new prosecutor. Fok fights hard for Ma Ka-kit and this one case specifically solely because he’s a young man with a bright future who is stuck thanks to his practically nonexistent relationship with money. Everyone at the DOJ is constantly ribbing Fok over Fok’s troublesome mindset of giving the little guy a fair shake despite whether or not it’s normal protocol. It’s essentially the government with endless wealth at its disposal and a cut-and-dry mentality versus the financially destitute underdog.
The Prosecutor isn’t overloaded with action but features several memorable sequences that should be considered some of Donnie Yen’s best. The opening is a drug bust that shows Fok on his last big outing as a police officer. He gets a hold of a police shield and demolishes everyone as the camera shifts to a first-person POV. Donnie Yen throws in a few dropkicks for good measure.
Once Fok shifts careers, former subordinate Lee King-wai (MC Cheung Tin-fu), takes over as police inspector. The two collaborate on an insane action sequence in an alley that features Lee King-wai doing MMA takedowns not unlike what Yen did in Flash Point. The scene is highlighted by Yen Tokyo Drifting a white car into the tiny alley flawlessly followed by jumping out of the car and beating everyone down with a hockey stick.
There’s also the club sequence that’s already eye-catching thanks to its dynamic lighting, but features some crazy drone camera shots and Fok holding off 100 men on his own. The absolute best sequence in the film is the subway finale. Seeing so much bone-crunching action in a tiny moving space is jaw-droppingly great.
My initial desire upon hearing about The Prosecutor is that Donnie Yen would shout OBJECTION! or OVERRULED! regularly and then he’d beat up criminals with a flurry of punches, no less than 17 dropkicks, and top it off with an emphatic suplex. That’s basically what you get with The Prosecutor, but it’s also surprisingly well-written with solid acting from an all-around superb cast.

A meaningless continuation of a saga that was decidedly concluded in Return of the Jedi. This is a poor attempt at converting something that was created as a mythical epic into a soap opera.

An enjoyable beginning to the sequel trilogy!
'Star Wars: The Force Awakens' entertained me. It felt like a fresh direction for the overall franchise, which I guess is little surprise given George Lucas was not a major part of this. I actually didn't notice a great deal of difference, or at least as much as I thought there'd be given his exclusion.
I enjoyed seeing the new cast merge with the old trio, even if there are only small appearances from two of the latter. Daisy Ridley and John Boyega are excellent additions, both give top performances - I will say I didn't sense major chemistry between the two, but I assume that'll come soon enough. Adam Driver, meanwhile, suits his role nicely.
Original trio Harrison Ford, Carrie Fisher and Mark Hamill all feature, though - as alluded to - Ford is the only one that has a major part to play. Either way, it's cool seeing them back in the franchise.
Everything else about the film satisfied me, I'm not saying it's perfect - esp. the plot - but I found it perfectly fun to watch. For me, it's a strong start for this era of 'Star Wars'.

**The following is a review that I originally wrote in 2015.**
Was it perfect?
No.
Was it basically a shot for shot retread of A New Hope?
Yeah.
Did it under-develop characters and plots of almost everything interesting to near Boba Fett-ian levels?
Sure.
Did the entire thing rely on about 47 ridiculously implausible complete coincidences that the story would have fallen apart without?
Sounds accurate.
But after more than three decades, is Star Wars finally back?
Damn right.
Apart from my just plain enjoying it, The Force Awakens makes me excited for the future of the franchise the first time in.. Well ever really. I liked the blend of new and old material, but I hope that moving forward, the series relies more on the new. I don't mean ditch all the original characters, I just mean we don't need endless callbacks to the past in Episode VIII. It worked fine for this one, and I totally get needing to re-acclimatise audiences, so I'm absolutely understanding of it in this case. But I hope they get away from that in future, and it seems very much as if that's the direction they're taking.

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Star Wars: Episode VIII - The Last Jedi (2017) was just released, but my time didn't yet allow me to watch it. However, I do have time to review the film that started this new trilogy: The Force Awakens. At the time, it was my most anticipated movie of the year and I placed it second on the list of my favorite films of 2015 (just a bit below Mad Max: Fury Road).
So, yes, I do love this movie and it is definitely on the top3 of the saga! The cast choices are the undoubtful proof of the huge success that this film achieved. Daisy Ridley (Rey) is a massive discovery, her talent is limitless and she embraces her role like no other. She delivers a very emotional and powerful display, showing all of her acting skills. I can feel that she is 100% committed to her character and what a character to portray at your first big movie appearance.
Rey is excellently-developed throughout the film, she might mislead people into thinking she is just a mere scavenger, but once the movie gets going, she becomes an awesome character sharing some of the most epic moments in the whole runtime. She has an oddly mysterious backstory, which is going to produce theories and plot twists that I can't wait for, in the next films.
John Boyega (Finn) is a fantastic supporting actor and another great casting. He brings just the right amount of humor with some exceptionally delivered lines and his facial expressions and timing are perfect. Finn is going to be one of the audience's favorites for sure, his journey to encounter Rey is interesting and unique in the saga. In my opinion, it is his story that carries the beginning of the movie and that sets up a lot of characters and plot points.
Adam Driver as Kylo Ren ... Oh. My. God. What a performance! Driver is so subtle in the most meaningful moments but so compelling in the most menacing ones. He elevates Ren into a phenomenal antagonist with a splendidly written script. J.J. Abrams and co. do a wonderful job writing both the plot and the characters. Kylo Ren stands out, he is a multi-layered character with so much untold and hidden behind his personality and intriguing past. Once again, there are many theories and plot twists ahead that I'm drooling to know which one they are going to follow with.
Oscar Isaac is very exciting as Poe Dameron, another fabulous addition to the franchise. His character creates an honest bond with Finn and their interactions are pretty cool. They share some amazing scenes and Poe has all of the awesome X-Wing fights, which are outstanding. Supreme Leader Snoke (Andy Serkis) does not show up that much, but he definitely is a very threatening presence and a very well achieved motion capture work.
As for the original cast/characters, Harrison Ford has one of his best performances in the more recent years. Han Solo is one of his most popular characters and he portrays him flawlessly. Carrie Fisher returns as Leia and she offers a touch of reality to all of this. Every time she is on screen, everything becomes more realistic and tangible due to her graceful and humble display. Chewbacca has the usual funny "dialogues" with Solo and some glorious action set pieces.
BB-8 is what people feared the most since he could easily be annoying or irrelevant. Thankfully, he is another checkbox on the list of marvelous additions to the Star Wars universe. It is mind-blowing how a droid can provide so much laughter and terrific action scenes, he is unquestionably a toy worth spending your money on for Christmas. C-3PO also appears and elevates the level of nostalgia that everyone is already full of.
Moving to the technical aspects of the film, J.J. Abrams proves himself to every single person that doubted him since he is the main reason why this movie is one of the greats. From the seamless editing to the great camera work during the impressive action sequences, he enhances the story so much with his distinct use of visual storytelling. It feels like a real film and not just a Star Wars typical movie.
The visual effects are top notch and the cinematography could not be better due to the unbelievable practical backgrounds. Abrams uses a lot of long, wide shots with beautiful landscapes and mostly everything is real (besides the obvious, there is very few CGI, less than you probably think), which transforms every scene, every shot, into something more special. The tone is very well balanced between comedy and action, the storytelling process is astonishingly well handled and the pacing always maintains the tremendous excitement.
One of the common issues of all Star Wars films are the excessive exposition scenes. Well, J.J. massively improves on that aspect having just a couple of them and I am counting the traditional text that starts the movie. Like I said above, there is an extensive use of visual storytelling, in other words, everything that you see is giving you information while advancing the plot without actually literally telling you what is going on or what is going to happen.
John Williams' score continues to superbly accompany every scene, not only the action ones, but it also strengthens dialogues. I love the ending, but here is where both fans and critics are going to become very divisive. It ends with a huge cliffhanger and some people are going to be disappointed because they are left with this feeling of unfulfillment and if you don't know how to deal with it, you might think you didn't enjoy the film.
The truth is you can't have everything right now. This is a trilogy, so it is absurd to even expect that you are going to have everything that you wish for in the first movie of a new era. I wanted more from the second the film finished, I also felt a bit let down because the movie concludes with something I had been expecting forever. However, this is a great feeling to have because it means the film meant something, it means the movie was so amazing that I just can't wait anymore for the next one!
Nevertheless, The Force Awakens can't escape some minor flaws. While pretty much every single character is great, Maz Kanata (Lupita Nyong'o) is not. With so much practical effects surrounding every environment, a 100% CGI character is going to (negatively) standout. Besides, the whole subplot involving meeting with Maz feels a bit unnecessary and the story could have easily progressed without her.
However, my main issue with this film is its lack of originality when it comes to creating a new actual danger for the galaxy. I mean, the Starkiller Base is essentially another Death Star, just bigger ... Really? They couldn't figure out anything else besides another giant planet destroyer? It does not reflect J.J. Abrams' incredible direction and the production team's excellent work, at all.
Finally, there are some "problems" that I don't yet know if they are, in fact, problems. This is the first movie of the trilogy and some things happened that I don't know how or why they did, so I can't really fault the screenplay ... yet. We all know the huge plot device that Episode IV - A New Hope (1977) supposedly had for decades, but then Rogue One: A Star Wars Story (2016) was released and brilliantly solved what was already considered an internet meme.
This film does not have such a massive plot device, but there is one little moment that occurs in the first act that I still don't know if it is, in fact, a flaw or if there is an explanation waiting for us in the next movies.
All in all, The Force Awakens proves that the Star Wars franchise is still, very much, alive! This is easily one of the best films of 2015 and one of the best in the franchise. It features an outstanding cast with some excellent performances from the new actors joining the saga and powerfully nostalgic displays from the original members. Incredibly-developed characters carry this movie with the help of a mysterious and captivating screenplay, as well as a lot of visually exciting action sequences. J.J. Abrams has his stamp all over the film, with beautiful wide shots, massive practical effects, and exceptional use of visual storytelling. A cheap third Death Star and some very minor issues here and there don't allow the movie to shine flawlessly, but it is still freaking awesome! It undoubtedly belongs to my Top3, behind Empire Strikes Back and A New Hope.
Rating: A

**The Force Awakens: A New Hope 2.0**
The highly-anticipated follow-up to the Original Trilogy treads through familiar waters, taking the "safe route" approach. Though The Force Awakens has its fair share of phenomenal moments and is definitely an improvement over the Prequel Trilogy, its reliance on using the Original Trilogy (mainly A New Hope) as a template feels nothing more than an imitation of events that occurred prior.
At the end of Return of the Jedi, the Empire suffered a great loss, with the destruction of the Second Death Star and deaths of The Emperor and Darth Vader. It was implied that Luke, the last surviving Jedi, would restart a New Jedi Order (based on Expanded Universe media, which has been declared non-canon by Disney). That is indeed what happens; however, a rogue student of Luke's slaughtered his peers, seduced by the mysterious Supreme Leader Snoke of the First Order and adopts a new identity as Kylo Ren. In summary, the Jedi Order did indeed happen (off-screen), but gets wiped out (off-screen, again), leaving Luke the last surviving Jedi and retreats into exile (off-screen... seeing a pattern?). The Empire is basically resurrected as the First Order, with the Rebel Alliance becoming the Resistance, and once again, they're tasked with destroying a gigantic ball of death. Sounds an awful lot like A New Hope, as a modern-day "soft reboot."
Droid carrying top-secret info? Check.
Villain dressed in black with mask? Check.
Protagonist lives on desert planet? Check.
Discover that they're indeed Force-sensitive? Check.
Han Solo and Chewbacca escorting our heroes to destination? Check.
A cantina featuring a cantina band? Check.
Mentor figure (Obi-Wan in ANH, Han Solo in TFA) killed by villain? Check.
Battle of Death Star (Yes, I'm calling Starkiller Base a Death Star)? Check.
Does big ball of death get destroyed? Check.
Rey is indeed a Force-sensitive individual, but throughout the movie, she is just as good a pilot as Han Solo, is able to use a Jedi mind trick with ease, and easily overcomes the villain (Though it could be argued that due to Kylo Ren's injury from Chewbacca, he was weakened). There better be a damn good explanation as to why Rey is so strong with the Force when The Last Jedi is released. Anakin and Luke required training to become a Jedi, Rey is basically a pro with little to absolutely no training.
Finn... Though I did enjoy the idea of a Stormtrooper defecting from the First Order and eventually helping out the heroes, Finn got annoying quick. From cringe-worthy lines to his constant "Gotta get away from the First Order" state of mind, he should have been a more battle-hardened individual who eventually became disillusioned with the First Order. His more cowardly approach to defecting wasn't very well-executed. But I gotta admit that the relationship between him and Poe Dameron was well-done. Didn't feel forced, just felt natural. Him standing up to Kylo Ren in a duel made me respect his character a lot more. His battle with the other Stormtrooper was just amazing. I'm honestly hoping his character develops more in The Last Jedi.
I liked Poe Dameron from the get-go. From being a smart-ass to Kylo Ren to taking out multiple TIE Fighters, Poe is definitely a welcome new character to the Star Wars universe. Especially BB-8, just an absolute ball of cuteness. BB-8 was one of the two new characters that really stood out to me. Funny how Star Wars manages to make you like the droids so much.
Han Solo and Chewbacca play a substantial role in this film. Han Solo's death was beyond tragic, just seeing an iconic character we saw develop from a selfish, Force-denying individual to taking charge in dire times (putting his life on the line). Once Han Solo yelled out his son's name, I knew his time was up. Leia, now a General, doesn't really get much time to shine. She and Han have been broken up for some time now (I'm guessing since Ben Solo became Kylo Ren), but their bantering still remains. C-3PO (now with a red arm) and R2D2 (in low power mode due to Luke's departure) are basically given minimal roles in favor of BB-8. Luke Skywalker made an appearance in the very final moments of the movie, but does not utter a word. Just seeing his expression when Rey hands him his father's lightsaber was more than enough.
A quick summary of other characters: Captain Phasma, a more useless female version of Boba Fett. Maz Kanata, a color and gender-swapped Yoda who somehow manages to obtain Anakin's/Luke's lightsaber. Supreme Leader Snoke, a mysterious figure leading the new Empire (sorry, First Order) and first appears as a hologram (like the Emperor). General Hux, deliverer of a Hitler-like speech to his space Nazis.
Kylo Ren. In my opinion, Kylo Ren is the best part of the entire movie. Sure he worships his deceased grandfather Anakin Skywalker/Darth Vader and flips out into extreme tantrums, he is more than just an ordinary one-dimensional villain. He worships Darth Vader because he wants to carry on his legacy of killing the Jedi and achieve his intimidating status of being a ruthless individual. He is torn by both sides of the Force. He is indeed strong with the Force, stopping blaster shots in mid-air, freezing people in-place, and can probe the minds of others as a method of torture. His unstable crossguard lightsaber is appropriate for his uncontrollable anger and conflicted state of mind. Once he killed Han Solo, there is no hope for him returning back to the Light. He became a full-on evil person. I'm ready to see the damage he will do in The Last Jedi.
The action/set pieces were very well-done and that opening sequence with the raid on the Jakku village is one of the best and most chilling moments in all of Star Wars. The Battle of Takodana and the resulting battle was phenomenal and seeing Poe take out multiple TIE Fighters make him an exceptionally skilled pilot, even moreso than Luke. The final battle between Rey/Finn and Kylo Ren didn't feel choreographed at all, just felt like a battle between novices, unlike the highly-choreographed kicks and flips and lightsaber-twirling present in the Prequel Trilogy. Rey and Finn leaving Jakku in the "garbage" ship and the whole sequence through the Star Destroyer graveyard was beyond phenomenal.
Though The Force Awakens does indeed take steps forward to move the franchise forward into a new direction, it takes several steps back into familiar territory. And yes, it feels as if I have been ripping on this movie, but in my honest opinion, The Force Awakens is a solid entry to the Star Wars franchise. The action set-pieces were so well-done, the nostalgic factor of the Original Trilogy is prevalent, Kylo Ren proved to be a well-developed villain with room for improvement, and the relationships between the characters feels so organic and fluid-like, as if they're all cohesive with one-another.
My Rating: 7.5/10.0

Slumber Earthquake.
There really is no point trying to do an in depth review of this, it falls in line with a number of series blockbusters that are guaranteed to garner rabid responses, pro and con.
The Force Awakens is a film of many flaws, it has a pungent whiff of safeness about it, the charges of it being a glitzy remake are fair enough, while certain plot strands are frustrating and set to be big talking points for years - and years - to come.
Yet what about its worth to someone who is not obsessed with every finer detail? Someone who just loves the Star Wars universe as a spectacle prism of entertainment, and has just wanted a Star Wars film worthy of being fit to sit alongside that original trilogy?
This made me feel 11 again, took me back to a time in 1977 when I queued for three hours to see such wonders on the big screen. The Force Awakens is, in spite of the recognised flaws, a loving homage to a past love. It's sly with humour and nods to foundations, a blitzkrieg of effects and sound work (my Blu-ray viewing had my sub-woofer doing a jitterbug in the lounge), and it doesn't shy from surprise or the dangling of the carrot.
The makers have big heart and technical invention, the cast vibrant, spunky and strongly committed to the cause - the old hands a very reassuring presence - Yeah, so it's not sci-fi perfection, or any Star Wars geeks' idea of the perfect Star Wars movie (oh J.J. Abrams you devil you!), but it made this middle aged guy shed a tear of happiness. A moment to reaffirm why - as a young lad - I fell in love with film in the first place. 9/10

A very entertaining film filled with immensely fun nostalgic moments and lots of laughs, but this is movie is not perfect, no it is not.
**Spoiler alert!!**
This movie is an exact copy of the 4th one and this frustrates me more than it should. Although new characters and mysteries were introduced, the plot was too similar to the 4th film, but hey, at least they blew up the republic so no more boring bureaucracy!
One more thing that bothered me a lot is Kylo ren, not the character, the actor. I mean they couldn't pick an uglier wimp? I mean no offense Adam Driver, but bad guys need to look badass, and once you took of your helmet, you lost all hope of becoming a badass.
**Summary:**
Definitely a movie worth watching despite minor setbacks.

So where were you when the Science Fiction cinema sensation ‘Star Wars’ took shape and captured the imagination of the massive global moviegoers’ escapist expectations back in 1977? Regardless of whether you existed thirty-eight years ago or not, the legend of George Lucas’ highly-heralded SF blockbuster that shattered box office records worldwide was automatically engrained in your cinematic psyche. Now nearly four decades later, the motion picture phenomenon that took place in ‘a galaxy a long time ago…far, far away’ has come to expand its entertaining promise and prominence even after numerous servings of movie sequels, television specials and other fanfare attributes that promoted the ‘Star Wars’ agenda throughout the countless years.
The modern-day arrival of yet another ‘Star Wars’ edition in the millennium movie-making age of technical and tactical brilliance is quite fitting and filmmaker J.J. Abrams is the right choice to helm this sacred film franchise and present a whole new litany of continuing adventurous narratives for a new generation of ‘Star Wars’ personalities dipping their tenacious toes into ‘the force of goodness’ battling ‘the dark side’ of authoritative evil.
In Abrams’s reboot ‘Star Wars: The Force Awakens’, the anticipation of enhancing and enlightening the reputation and respect of the Lucas landscape of stormtroopers, light sabres and of course the iconic ‘Star Wars’ returnees from the treasured trio of Harrison Ford (Han Solo)/Carrie Fisher (Leia) and Mark Hamill (Luke Skywalker) registers with a nostalgic blast of appreciation and exhilaration. ‘The Force Awakens’ is a sheer big screen celebration of majestic impishness and intrigue that will fortify the hunger of both casual and rabid ‘Star Wars’ fanatics. Indeed, the hype is warranted and Abrams, the mastermind of the big-budget movie sequelitis, is in top form as he triumphantly presents ‘The Force Awakens’ on a prized silver platter designed for its surging golden moments of charged ebullience.
In looking at the numbers game that is connected to the overall ‘Star Wars’ universe, it is hard to believe that the last prequel was released just a decade ago. Furthermore, it is mind-boggling that the aforementioned ‘Star Wars’ ‘royalty’ in Ford, Fisher and Hamill have shared the same space on film for the first time in over three decades since they last were featured in a ‘Star Wars’ movie together. Nevertheless, no one can deny that ‘The Force Awakens’ does not take the challenge in combining the remembrance of the ‘Star Wars’ installments of yesteryear with the fresh brand of current upstarts willing to engage in another boisterous saga that begins a whole chapter of compelling wonderment. The mix of veterans and novices in ‘The Force Awakens’ is quite interesting but the familiarity of the storytelling heft of good vs. evil is always a solid sell in the realm of the ‘Star Wars’ utopia.
The good news is that ‘The Force Awakens’ not only serves as a bridge that crosses both boundaries past and present in ‘Star Wars’ folklore but it taps into the masterful mystique that Lucas and company worked so diligently to showcase so historically some thirty-eight years ago. Still, some may have lobbied for a stronger storyline in ‘The Force Awakens’ as they may gently dismiss it as being merely thin in its premise while viewing it primarily as a launching pad to develop yet another series of movies to create the ‘Star Wars’ juggernaut for this current-day climax of warped speed wizardry. For those that want a basic outline of ‘The Force Awakens’ pulse it is as such where the beloved yet aging tandem of standouts Han Solo and Chewbacca (yes, good old hulking and walking hairball Chewie is back) is helping out heroic new bloods’ Rey and Finn (played by Daisy Ridley and John Boyega)’ in an effort to groom them for combating the emergence of Kylo Ren (Adam Driver), a villainous representative from the Dark Side of the Force.
Basically, ‘The Force Awakens’ is a grand and stirring homage to the prolific Science Fiction/space fantasy that dared to soar its ambitious wings while taking the old-fashioned concept of the good guys sparring with the bad guys and spinning a whimsical web of dark imperialism while searching for the intrinsic value of brotherhood. One cannot imagine the vitality of ‘Star Wars’ without the inclusion of notable and favorite characterizations that were instrumental in inviting a ravenous response to this filming phenom that has existed in your pop cultural lives for too many years to recount. In addition to joining top dogs in Ford’s Han Solo, Hamill’s Luke Skywalker, Fisher’s General Leia Organa (the former Princess Leia to all you old school ‘Star Wars’ enthusiasts out there) and Peter Mayhew’s Chewbacca, there is the welcomed presence of C3-PO (Anthony Daniels) as well. As for C3-PO’s newest sidekick BB-8, a mechanical rolling ball robot, he is the R2-D2 replacement that should easily win the heart of the kiddies looking for a cute contraption of a companion to treasure on the spot. It should be pointed out that ‘The Force Awakens’ is set 30 years from the last installment and thankfully this update has not lost a magical step since that time.
Anyhow, the First Order’s solar system mechanism needs to be destroyed and must be eradicated by the young talents in spunky and pretty Rey (think the athletic female version of Luke Skywalker) as she teams up with former stormtrooper Finn, a warrior with an uncharacteristic compassion for not killing any designated weak soul as instructed. Naturally, this duo (while under the tutelage of the mature and ragged-looking Han Solo) has their hands full as they clash with the nefarious General Hux (Domhnall Gleeson from ‘Brooklyn’) and his Special Forces protégé Kylo Ren that strikes an immediate comparison to ‘Star Wars’ most notorious bad boy in the deliciously ruthless Darth Vader.
Daisy Ridley's Rey and John Boyega's Finn are having a blast as the touted twosome out to save the day in J.J. Abram's celebrated STAR WARS reboot THE FORCE AWAKENS
Daisy Ridley’s Rey and John Boyega’s Finn are having a blast as the touted twosome out to save the day in J.J. Abram’s celebrated STAR WARS reboot THE FORCE AWAKENS
Thankfully, the majority of the audience may recall similar elements in ‘The Force Awakens’ that was touched upon in ‘Star Wars’ editions such as ‘A New Hope’ and ‘Return Of The Jedi’ where the same structure and theme of the plot points are somewhat revisited. As charming and stimulating as ‘The Force Awakens’ appears in its glorious presentation of being a beautifully shot and visually vibrant popcorn piece, the real find in Abrams’ spectacular space-aged spectacle is Ridley’s heroine Rey, whose emotional and physical commitment to this futuristic fable feels grounded in genuine suspense and praise. Ridley has legitimate game and carries this hot and heavy galactic actioner on her sturdy shoulders with the overwhelming pressure of headlining a cinema giant looking the re-enter the consciousness of rabid ‘Star Wars’ aficionados everywhere. Clearly, we are invested in Ridley’s Rey whose feistiness never undercuts her feminine convictions or courageousness. She runs circles around her male co-stars in fellow ‘Star Wars’ newbies Boyega/Finn and Driver/Kylo Ren and her sense of empowerment is what drives the authentic Force behind Abrams’ inherited ‘Star Wars’ workload.
‘Star Wars: The Force Awakens’ gleefully ignites the flashy flames of giddiness that we all associate with George Lucas’ indomitable big screen creation. The signature flourishes from composure John Williams’ commanding musical score to the stunning and innovative technical tweaking to the mixture of the old and new guard in front of the camera all make for an eventful and exciting return to the universal staging for a movie-making moment that will stand the test of time, the immense pop cultural movement at the movies known as ‘Star Wars’.
Star Wars: The Force Awakens (2015)
Lucasfilms
2 hrs. 15 mins.
Starring: Harrison Ford, Daisy Ridley, Carrie Fisher, John Boyega, Oscar Isaac, Adam Driver, Peter Mayhew, Domhnall Gleeson, Lupita Nyong’o, Andy Serkis, Gwendoline Christie, Kenny Baker, Anthony Daniels and Max von Sydow
Directed and Co-Written by: J.J. Abrams
MPAA Rating: PG-13
Genre: Science Fiction/Action and Adventure/Space Fantasy
Critic’s rating: *** stars (out of 4 stars)
(c) Frank Ochieng 2015

This movie is like a mix of honey I shrunk the kids' with some action in it, and it's made by Marvel. Plus it's really funny.