Beetlejuice Beetlejuice (2024) Review:

Continuation of classic stories is a gamble. Even when the right people are involved, expectations are very high and can lead to disappointment. Diminishing returns are unfortunately inevitable and are only avoided on rare occasions. Even then, whether it is better or not, gets debated on back and forth depending who really feels strongly about it. For Beetlejuice (1988), it was a special movie that has a very devoted following. The name other than being associated with the constellation, is now recognized as a Halloween icon. Languishing in development limbo for decades (not even years), it became very hard to believe that a sequel would be worth it. Of course many people would love a return but with too much time passing, possible cast members not returning or essential components being left out are all things viewers should rightfully be concerned about.

Surprisingly though, things actually turned around. Director Tim Burton finally returns to head the sequel to his original classic. As like the release of the original, many years have passed since the events of the first film. After the death of Lydia Deetz’s (Winona Ryder) father, she and her daughter Astrid (Jenna Ortega) come home to her mother Delia Deetz (Catherine O’Hara) to pay their respects. Meanwhile Beetlejuice (Michael Keaton) is looking to get out of the neitherworld again somehow. Whether that be by finding Lydia or another way after his ex-lover Delores (Monica Bellucci) goes on the hunt for him. The script was written by Alfred Gough, Miles Millar and Seth Grahame-Smith. All three have decent credits to their name where the first two worked on Spider-Man 2 (2004) and Smith from The Lego Batman Movie (2017). With that said, the film does a very good job at keeping connections straight which is very important.

Backstories for all the time passed between this film and original are a must and it was done expertly. Using Charles Deetz’s death for the reason to move the plot is perfect since disgraced actor Jeffrey Jones should no longer be cast in movies. Explaining why the Maitlands did not reappear within the film is also spot on for covering. It’s those little details that really help make the audience feel like care when into the story. The narrative itself is good too, as it naturally gives Beetlejuice a good reason to be involved. However, there are two main flaws to the final screenplay. The first being that as like the original film, there are a couple of sing along sequences. That’s fine, but it seems to be drawn out for longer than needed. The first film had it short and to the point for a gag payoff. This one felt like it took its time.

The other issue was that it felt like there were just too many characters. The essential characters from the first film are not in question. Lydia is now a popular paranormal TV host and her manager Rory (Justin Theroux) is there trying to keep her going. There’s also Willem Dafoe playing Wolf Jackson, a dead actor who’s in search of capturing Beetlejuice playing a glorified cop. There’s also Lydia’s husband Richard (Santiago Cabrera) who Astrid really wants to get to know better. Astrid even meets Jeremy (Arthur Conti) a boy she thinks she likes. All in all, these plot threads all convene on each other at some point, but really clutter up some of the flow too. If the undead cop and ex-lover were removed from the film, the time they took up could have been used elsewhere and the story still could have played out the same way more or less. It’s a little frustrating that wasn’t looked into further before finalizing on the script.

The acting is as good as usual though. Michael Keaton brings it his all with his return as the leading bio-exorcist. The quips are still there, along with occasionally breaking the fourth wall which the character is great at doing. It is great to see Winona Ryder and Catherine O’Hara return as well with their off brand humor. Jenna Ortega is also good as an add on to the franchise. All other actors perform well too. For visuals, the cinematography was handled by Haris Zambarloukos, who also shot for Mamma Mia (2008) and Thor (2010). The look and feel is very much the same to the original as are the practical effects, which includes stop motion animation and real props. Music is also kept equally competent with Danny Elfman returning to score the movie. These are the parts that make this sequel worth a watch.

Some could see shortcomings in the script having too many characters and some scenes that take a little long but it’s not a massive issue. Everything else is from the acting, effects and music are completely maintained to that of the first movie.

Points Earmed --> 7:10

Pokémon: Secrets of the Jungle (2020) Review:

Long running series like Pokémon at some point began falling off movie critic’s radars. Movie reviews in the mainstream seem to only cover new material that comes out that no one sees coming. When a franchise is deep into its more than ten film run, most viewers who don’t follow to tend to drop off. It’s only recently that Marvel Studios has been feeling similar pain due to the oversaturation of properties, timelines and multiverses flooding the franchise. At this point anyone who were to watch something continuing for that long either must be a super fan, or is just devoted so much to keeping track of how the franchise progresses or regresses. For Pokémon, it has had its fair share of upward and downward swings. Recently it has done better in its outings, but it definitely took time.

Written by Atsuhiro Tomioka and Tetsuo Yajima, who also directed, this feature seems to be another one off movie set in another time than the anime. At least there’s no expectation of it fitting in anywhere within the anime now. The story for this entry has a different character starting off with the audience. A Zarude Pokémon which happens to be quite aggressive in nature happens to stumble across a human infant. With no success in trying to find the child’s parents, the Zarude (Edward Bosco) becomes Dada and the infant becomes Koko (Kimlinh Tran). There the two bond and learn about their world with a little help from everyone’s favorite Pokémon trainer, Ash Ketchum (Sarah Natochenny) and Pikachu (Ikue Ôtani). As the last Pokémon film to date, it is a decent last watch although not as epic feeling.

What sets this story apart from others is that Ash plays a side character to this movie. The main focus is on Dada the Zarude and Koko. Writing focuses a lot on where one belongs, how they fit in and one’s true purpose. These are all good questions every individual asks themselves at some point or another. This also gets put on both Koko and Dada. The Zarude Pokémon feels out of place with his own kind and the human isn’t sure what to make of himself. The dynamic between the two also feels very authentic as with a child having no other parent that it seems only natural that’s how they would react. The last time there was this much attention put into a mysterious character pairing was from Pokémon 3 The Movie: Spell of the Unown (2001).

There are other characters that appear like team rocket and Dr. Zed (Billy Kametz) who is in search of important information that belongs to the area Koko comes from. It is only because Ash does this character get involved. Otherwise there would be no plot moving forward from that point on. Even with that said, the scope of which this takes place doesn’t feel as grand. For the voice acting, all perform well. Sarah Natochenny in her last film entry playing Ash gives her all like usual despite not being the main character. The same could be said for Kimlinh Tran, Kellen Goff and Edward Bosco who all have many voice acting credits to their name prior to this even if it wasn’t from Pokémon. Michele Knotz and James Carter Cathcart as team rocket always provide a good showing as the second set to voice the usual villains that follow Ash.

From a visual point of view, the animation maintains the same level of quality that has been presented in the past few features. With over twenty animation directors on board the production, it looks like the right people were there to keep things on track. Ryô Kujirai being credited again for cinematography still isn’t clear and at this point, oh well. Lastly the music composed once again by Shinji Miyazaki was average at best. The music wasn’t all that memorable even though it feels like this film had elements to that of a musical, which is not a thing for this franchise. Perhaps this was just changed for the northern American markets. That’s just a guess though. Either way, still not as impactful as the music used to be for a lot of the earlier films.

Cinematography and music are side components that still don’t leave a lasting impact anymore. The scale of which the plot takes place doesn’t feel as high in importance either. However as the last film to date, the voice acting is still spot on, the animation looks good and the script changes its focus a little to help keep the viewer’s attention.

Points Earned --> 6:10

God’s Not Dead (2014) Review:

The concept of God is a question that has challenged philosophers and the communities they belonged to for centuries. Whether it be a religion that focuses on a single deity or multiple, it is about following a higher order that directs its people to act a certain way to live a better life. Of course there are those who don’t believe in this either or anything at all. In a perfect world, everyone should be able to live among each other no matter what their beliefs are. Sometimes, those values and morals are challenged and people have to make a decision on it. To some, viewers may find this particular film very simplistic in the message being conveyed but even so, it’s always a possibility of this scenario coming up. In a time where people are constantly being challenged for the groups they belong to, the story is only all the more relatable.

Written by Hunter Dennis, Chuck Konzelman and Cary Solomon, the script is about college freshman Josh Wheaton (Shane Harper) beginning his first semester at his dream college. Unfortunately, things don’t start off strong when his philosophy class headed by Professor Radisson (Kevin Sorbo) asks Wheaton and his peers to denounce the existence of God. Being a devout Christian, Wheaton challenges Radisson, only to be put on the spot and having to put all his focus on passing that class than the rest of his courses. Meanwhile Josh’s girlfriend Kara (Cassidy Gifford) tries to keep him focused and leave the whole debate behind. The movie was directed by Harold Cronk who has directed productions before this but is probably best known now because of this feature. Writers Konzelman and Solomon have also worked on productions together so there’s credit to that team too.

For the story itself, it is serviceable for the overall message it is trying to tackle. It’s important to stand up to adversity and remain fervent in one’s feelings. There’s absolutely nothing wrong with that and one should always expect there will be naysayers. With that said, it felt like the script could have used a couple more revisions before finalizing it. For one, the character plot threads are more intertwined that one might realize. This can definitely make the stories feel a little too convenient in their execution. That’s not to say that it’s not a small world out there. But too many connections in one sitting gets a little hard to believe. The other issue with the production is that it is a Christian genre movie. Although there’s nothing wrong with that either, it will only interest those of that faith and a few here and there who would be curious or considering converting over to watch. However, that is less likely.

For the cast performances, most of it is acceptable. Shane Harper as the main lead is convincing. Although he was in only some TV shows prior, this probably became his big break. Kevin Sorbo, best known for starring in Hercules: The Legendary Journey’s and Andromeda is unique in playing the challenger to the main character. The counter arguments they exchange together is interesting to listen to. There is however one character played by Dean Cain that is completely over the top. His character is made to be 100% callus but it comes across unbelievably inhuman. Maybe there are people out in the world like that but it seems highly exaggerated. Other than this though the other actors do fine. There’s appearances from David A.R. White, Willie Robertson, Marco Khan and even The Newsboys band consisting of Duncan Phillips, Jeff Frankenstein, Jody Davis and Michael Tait.

From a visual perspective the camerawork is handled professionally. Shot by Brian Shanley who has multiple credits to his name prior to this production does a decent job. All scenes have proper lighting and there are no shots that are disorienting to look at. For the musical score, the composer was Will Musser. Both Musser and Shanley worked on similar productions together so it’s no surprise they are together again. The soundtrack itself contains multiple songs from various Christian performers like The Newsboys and even Shane Harper. The score itself although short on the album is well composed using guitar, piano and strings. It’s too bad there wasn’t more of the movies score to feature as that particular component can be just as effective as the soundtrack music. Considering it is a Christian film though, getting anything is rare.

Being that the film is religious to begin with, may be a turnoff for some. Writing felt like it could have used some touchups as the character stories cross a lot and one character is written very cartoonishly. The music and camerawork are still solid in their execution though. Additionally, the topic of focus along with decent acting still makes this movie a little better than average.

Points Earned --> 6:10

Miss Bala (2019) Review:

International travel can always be a very rewarding experience. There’s so many places to visit and experience with people never before interacted with. Much of the time, as long as you stay within the means of what is safe and recommend, everything should be fine. Of course this isn’t 100% guaranteed but the best one can do is try. For those who are bilingual and are more familiar with their native roots it can be easier to navigate through what seems like maze of possible terrors. Again though even with this advantage bad timing is always a thing and that’s what happens here in this story, which is actually a remake of the same name in 2011. It’s a little weird since it was done within the decade the original was made seeing that it wasn’t that old to begin with.

The story is about Gloria (Gina Rodriguez), an up and coming Latin American makeup artist. One day, she takes a trip into Mexico for a close family friend Suzu (Cristina Rodlo) who is hoping to make it into the latest beauty pageant being held locally. So with that, Gloria is assigned with doing her makeup for that very thing. Unfortunately, that very night they head out to make connections with Chief Saucedo (Damián Alcázar), a gang called Las Estrellas interrupt and the two are split up. Gloria sadly witnessed the gang entering and is told she will be reunited with Suzu only if she cooperates. These are just not the kind of situations any regular person wants to be put into. It is though something that is quite possible in real life to happen. For whatever reason it doesn’t seem like anyone from the original film worked with the crew for this production.

Writing the script was Gareth Dunnet-Alcocer, who would later write for Blue Beetle (2023). Alcocer has prior credits to his name but they ae not any many would know. Directing the film was Catherine Hardwicke, better known for her big break in movies with Twilight (2008), that kicked off the whole franchise. For the story, it’s a decent effort. One thing the film crew gets right is tension. Since the film sits under the thriller genre, having good tension is key. Again, no right minded individual would want to be held captive by someone in order to find the thing they want most. Perhaps the parts that seem unnecessary are the one note side characters. Suzu’s son and a DEA soldier that Gloria meets are just not given a whole lot. They kind of just play the character they first appear as and that’s it.

Acting overall though is fine. Gina Rodriguez as the main character is convincing in her role. More known for her roles in TV shows like Jane the Virgin and Carmen Sandiego, seeing her play a leading role in a theatrical film is cool to see. Cristina Rodlo as Suzu is okay too, although she’s not around as much since she’s the plot device. Damián Alcázar is a veteran Latin actor and plays his part well. The other actor not mentioned yet is Ismael Cruz Cordova who plays Lino, Gloria’s captor and leader of Las Estrellas. Cordova plays a nice contrast to that of Rodriguez’s character. Cordova would later go on play a role in Amazon’s The Lord of the Rings: The Rings of Power series. From a visual perspective, some viewers may be disappointed that it doesn’t contain a lot of action.

This is more a thriller though so expecting a lot of action may not be realistic for the setting. Shooting the scenes for this crew was Patrick Murguia. Getting his first break in American cinema with movies like Brooklyn’s Finest (2009) and The Frozen Ground (2013), Murguia is competent as the cinematographer. All shots are decently lit and visible for audiences to understand what’s happening in every scene. Lastly, composing the music to this production was Alex Heffes. Although this feature doesn’t have what sounds like a recognizable theme for the story, the score does have moments that help build the tension. There’s an even blend of instruments heard ranging from synthesizers, strings and Latin percussion. It’s not super special but it does match the tone and setting of the story well.

While it may seem like the movie is action packed, it is not recommended to go in with that expectation. The side characters are also a little unnecessary unless they were given more development. Still though the experience is entertaining enough with appropriately tense music, competent camerawork and acting.

Points Earned --> 7:10

Honey (2003) Review:

The entertainment industry is probably one of the biggest fields to get into. At least from a natural progression. There are those who have a meteoric rise to stardom but this has only recently come about with the advent of social media. Prior to this, a lot of this was based on reputation, branding and perhaps internal sacrifices. How this was done wasn’t spoken of very much because it either was considered not important, confidential or it was actually something more. Again, more recently it has come out that some people were pressured into doing certain things no one would repeat. Unfortunately, this is what many people have believed what this particular work place has turned into. It also gets a little hard to believe just how successful some performers become without this coming to mind. However, when someone does make it big and sticking to their gut and morals, those are the best stories to hear.

This movie focuses on this kind of story, following the heroine of Honey Daniels (Jessica Alba). She is a up and coming dance choreographer looking to take her career to the next level. Every day she strolls into the hall her mother (Lonette McKee) rents out in a dilapidated building. People show up and enjoy their time together while practicing their next show. Although everybody looks out for each other, the streets can still be dangerous, which is why Daniels is friends with Chaz (Mekhi Phifer) and Gina (Joy Bryant), who knows how to keep trouble at bay. The script was written Alonzo Brown and Kim Watson in their only theatrical credit. They do have experience in other projects but much of it belongs to music videos, which make sense. The same could be said for the director.

Heading this project was Bille Woodruff, a director who has worked with the likes of Toni Braxton, Céline Dion and the Backstreet Boys. The reason why he was chosen for this is quite obvious due to his music video experience. From a story experience, it is a mixed bag. The execution is fine, but the writing itself is very been there, done that. As mentioned before, hitting it big most of the time in the entertainment business means sacrifices have to be made to move up; some of which are inappropriate. This is where Michael Ellis (David Moscow) comes in. Ellis happens to catch Daniels doing her work and becomes her mentor. He’s the guy with the access to everything upwards but of course he’ll push for what he wants too. It’s as cliché as it gets but also probably what many have to come to expect.

The acting from the cast is fine. Jessica Alba although not acting much now and is still very successful, does fine here. This would be the movie that put her on the road to starring in Sin City (2005) and the Fantastic Four (2005). Mekhi Phifer and Joy Bryant both play good supporting roles to that of Honey Daniels. Lonette McKee as Honey Daniels’ mother is good too. KcKee was in films like The Cotton Club (1984), Jungle Fever (1991), Malcolm X (1992) and Men of Honor (2000). Lastly David Moscow was good as the guy with connections although his role was fairly straight forward. The strongest feature to this movie should be at the least its choreography. Thanks to Laurieann Gibson, that was achieved. Although she had some credits prior to this, Gibson would move on up to other celebs like Madonna and Lady Gaga.

Assisting in that visual contribution was John R. Leonetti who was already well established for his skills. Having worked on films like Child’s Play 3 (1991), The Mask (1994), and The Scorpion King (2002), it is fair to say he was ready to take on the music genre too. Leonetti’s camerawork blends seamlessly with the dance moves and makes it feel very much like an extended music video. Which is no surprise as the film score to this feature is not really there. Apparently Mervyn Warren, who also composed for Steel (1997) and A Walk to Remember (2002) wrote music for this too. Although that’s a little difficult to say where because much of it is taken up by the music played for the dancing that happens throughout the entire film. It’s probably there but likely no one will be trying to find where it plays.

The layers to the story and music are quite thin and uninspired. The story itself though is understandable, the actors are good in their performance and the dance choreography combined with the camerawork entertain on the level that it was intended for.

Points Earned --> 7:10

The Three Musketeers (1993) Review:

Heroism almost feels like stuff of legends now a days. Prior to modern times, so many battles were fought in close quarters. The older the era, the more claustrophobic combat was. It’s crazy that now, confrontation is met with very distant attacks. Drone strikes, missiles, bullets; they all get fired at a distance with extreme accuracy. Now imagine having to charge using the bayonet or with even sharper blades like swords. It’s just not a thing now. In cinema, there are only some stories that have continued to portray such action harkening back to those times. Films like The Mask of Zorro (1998) or Pirates of the Caribbean: Curse of the Black Pearl (2003) brought back swashbuckling to the masses. Believe it or not Disney gave it a shot with this movie too based on the popular story from Alexandre Dumas.

The screenplay was written by David Loughery, who wrote Passenger 57 (1992) the year before. With a plot that’s fairly simple to follow, audiences are introduced to D'Artagnan (Chris O'Donnell) looking to join the king of France’s league of Musketeers. Only on his travels to learn that Cardinal Richelieu (Tim Curry) has disbanded the group with three remaining faithful to their oath. Those three are Aramis (Charlie Sheen), Athos (Kiefer Sutherland) and Porthos (Oliver Platt), hoping to find a way to rid the Cardinal of his treason and his top henchman Rochefort (Michael Wincott). Meanwhile the king (Hugh O'Conor) and his queen (Gabrielle Anwar) are unaware of those plans. The film was directed by Stephen Herek known for heading Critters (1986), Bill & Ted’s Excellent Adventure (1989) and The Mighty Ducks (1992). He would also later direct Disney’s live-action 101 Dalmations (1996).

The story itself is probably the films greatest weakness, being predictable. That’s not to say it’s bad, not at all. But there’s nothing that feels different or new being told in the execution. It just feels like a very safe rendition of this classic story, which kind of makes sense because this is by Disney at the time. Right from the beginning it’s obvious as to who the main focus will be on, who’s on the bad side and who’s on the good side. That doesn’t mean the acting isn’t professional though. All actors provide a showing that an audience member of any age would enjoy. Chris O’Donnell is the play it safe hero who doesn’t do anything wrong. Charlie Sheen plays the romantic suave member, Oliver Platt plays the goof and Kiefer Sutherland is the more serious of the three.

All of which have acceptable chemistry together although much of their humor is again, really not doing much that’s creative. There are a few slapstick gags that land, but the rest are mainly verbal quips between characters. Some of it works, other times it’s expected because of the role each actor plays. Tim Curry and Michael Wincott are both excellent in their roles but make it plain as day they are not on the right side of things. Making you wonder how the king and queen couldn’t see such obvious trickery. There’s also appearances from Rebecca De Mornay and Paul McGann. Going back to action though, this is where a lot of fun can be had. Sword fights are not the easiest thing to master nor seen anymore. So the fact that the actors not only duel each other well but make it look easy is very gratifying to watch.

Aiding in that visual entertainment is the camerawork provided by Dean Semler. Capturing many green landscapes to show the time period is a great way to establish the setting. The fight choreography was helpful too in making the action fun to watch. Lastly the film score was composed by Michael Kamen. Known for composing scores to many popular films like The Dead Zone (1983), Highlander (1986), Lethal Weapon (1987), Die Hard (1988) and even Don Juan DeMarco (1994) a year later, Kamen produced another good listening experience. Kamen has multiple motifs for the main characters and makes it feel like it’s a part of that era as well as keeping the sound like it is from this century. An album was also released which is nice because it does sound good on its own too.

Narratively speaking, the story is cut and dry – meaning it gets straight to the point and is not complex. This can make it a little too simple, especially with its rather simple humor. That’s Disney for the time maybe. However, audiences shouldn’t completely dismiss it as it is fun to watch with good acting, energetic action, competent cinematography and appropriate music.

Points Earned --> 7:10

The Ring (2002) Review:

Spirits and ghosts are a strange topic for various people. Some have no awareness of such phenomena, while others are quite in touch with the subject matter. So much that they keep a very far distance from anything related to it. Of course there are also others that find it crazy and still decide to pursue answers even though it is not recommended. There’s also complexities in translating supernatural instances like this for certain markets depending on where they came from. For the United States, this kind of movie wasn’t really a big thing. For last several decades, horror films consisted of monsters, serial killers and undead creatures. This film however is what reignited people’s interest.

 Originally the concept was based on a book and adapted into a movie in Japan by Kôji Suzuki during the mid-1990s. The American release would not come out until almost a decade later. The story is about Rachel (Naomi Watts) a private investigator who’s looking into the death of her friend’s daughter. The reason for her death witnessed by her friend was due to a mysterious VHS tape that she had watched a week earlier. Perplexing as that may sound, apparently the girl who died wasn’t the only one who saw the tape. Seeking answers, Rachel pairs up with her separated husband Noah (Martin Henderson) to look into the details of the tape. Meanwhile they try to help their child Aidan (David Dorfman) cope, as he was friends with the recently deceased. The screenplay was adapted by Ehren Kruger, the same writer from the first three Transformers sequels.

 Kruger did have a horror film under his belt before though with Scream 3 (2000). Directing this feature was Gore Verbinski, who after this would go on to direct the popular Pirates of the Caribbean franchise. Together these two produce an adequate viewing experience. The idea and how it began has a nice hook to it. Viewers will definitely find it creepy and for younger viewers not knowing what a VHS is will make it all the more alien. The story itself is also interesting as to how things came about. Slowly but surely, pieces to the puzzle are revealed which allows the audience to understand (mostly) why things occurred the way they did. Not all of it makes sense but the creepy visuals help with that. The practical effects use in the movie look good and the spirit played by Daveigh Chase has burned the iconic image of a horror girl into the mainstream conscience.

 People who love gore may not be as pleased if violence is to be expected. The acting is believable though. Naomi Watts is best known from Mulholland Drive (2001) but has played in several other movies too. Martin Henderson as the father does okay for the role. He would later play a character in Smoin’ Aces (2006). David Dorfman as the child is okay too, being that the character he plays is stricken with grief the emotion doesn’t need to be very involved. Dorfman would play one of the children in The Texas Chainsaw Massacre (2003) remake. Believe it or not, Daveigh Chase is the voice from Disney’s Lilo & Stitch franchise. There’s even an appearance from Brian Cox to provide some context to the story. The acting in general is effective enough to help the story along in what it needs to do.

The cinematography on the other hand was less than desirable. Shot by Bojan Bazelli, the color palette to this movie is just ugly and it wasn’t by accident. The film crew purposefully chose the hue of the movie to completely be muggy, foggy and murky green. There’s only a few moments where other colors exist but they are far and few in between. It’s funny because Bazelli is quite competent with credits to movies like Pumpkinhead (1988) and Burlesque (2010). The film score was surprisingly handled by Hans Zimmer. Not known for composing scores to horror films, Zimmer’s work is a decent effort. It is certainly not the most memorable but it does have its own motif for the franchise, using mainly piano keys. Not much else has to be said about Zimmer as his influence is about as prominent as John Williams.

Although it lacks any kind graphic visual horror or clear cinematography, it is still a fairly creepy film. The story itself is unique, the acting is fine and the music is also effectively spooky. A good start to the franchise.

Points Earned --> 7:10

Instant Family (2018) Review:

Every generation of humans has their set of families. Maybe not every family member has a line but most tend to. There are couples though who can’t decide what they want to do for starting a family. Having a family isn’t easy nor can things always turn out as expected, good or bad. As long as everyone has good intentions things should turn out okay. Having a family also doesn’t require going the natural way; adopting, surrogate and fostering children are a few options too. Well, this film explores one of those alternatives most people probably wouldn’t consider. Fostering is more like a trial period as opposed adopting right off the bat. It’s all based on one’s comfortability level too. It really depends on what everyone makes of it.

The story follows Pete (Mark Wahlberg) and Ellie (Rose Byrne), a childless couple who are looking for a little more meaning in their life. What they don’t realize is what will fill that void just yet. After speaking with some friends they decide perhaps fostering is the way to go. The kids they decide to foster are Lizzy (Isabela Merced), Juan (Gustavo Escobar) and Lita (Julianna Garniz). Written by John Morris (Hot Tub Time Machine (2010), Mr. Popper’s Penguins (2011), We’re the Millers (2013) and Daddy’s Home (2015)) and Sean Anders as well as directed several of the same pictures, this film is very much a feel good story that not only highlights the struggles of being a parent but also the rewards too. The narrative is actually quite realistic in its approach.

That is except for one part where Pete and Ellie are first learning about fostering children. Upon coming to the orphanage where they would be paired up, the people they meet and the sessions they attend seem unsupportive. Lead by Karen (Octavia Spencer) and Sharon (Tig Notaro), the two give some tips along the way in the couple’s development as well as the children. It’s understandable that many people are not ready for what they are about to agree too, but some of its treated like it was obvious. So was it intentional for the protagonists not to be told of some of their challenges they’ll face? It seems kind of wrong to do that. Overall though the story teaches important lessons about becoming a family and learning to be understanding of one and another as hard as it can be sometimes.

Characters are likable and have charm in this movie. While Mark Wahlberg is known for playing his characters fairly the same throughout his movies, the role he has here feels very much like what he could be as a real father. Also since he has starred in comedies, it’s no surprise he’s here. Rose Byrne as Ellie also has experience in comedic films although she is probably best known from Insidious (2010) and its films. Margo Martindale appears as Grandma Sandy (Pete’s mom) who has some funny lines to say too. Martindale also had roles starting in The Rocketeer (1991) and more recently in Cocaine Bear (2023). As for the foster children, Isabela Merced as Lizzy is convincing in her role considering prior to this her biggest break was Michael Bay’s Transformers: The Last Knight (2017). She would a year later play Dora and the Lost City of Gold (2019).

Gustavo Escobar and Julianna Garniz are both very new to acting so there isn’t much to say on them yet other than their performances here were good too. The cinematography was handled by Brett Pawlak and looks good for what’s shot. Pawlak’s only entry at the time worth noting was Max Steel (2016). Lastly for the film score, Michael Andrews was the composer for the music. Originally starting out with Donnie Darko (2001), then Bridesmaids (2011) and Daddy’s Home (2015), the film score sounds very contemporary and is easy listening on the ears and should be so for most audiences. While the album is only thirty-six minutes long, it is a good listening experience. And although there is no memorable theme for the film, there are designated motifs for some of the characters.

Even though there’s one area in the narrative that doesn’t quite make sense, as an experience the movie is wholesomely entertaining. The music, camerawork and characters all mix well together for a film with more heart than some may expect.

Points Earned --> 8:10

Creed II (2018) Review:

Sylvester Stallone’s Rocky franchise has isn’t a film series with all major successes but it still remains one of the most well regarded in the film industry. Rocky IV (1985) was the most exaggerated of the entries going global with its story with some underlining political tones. However it was the one that people seem to remember best also because it killed off one of its core characters Apollo Creed. In a wise decision, Stallone resurrected the name through what is now the Creed franchise with Michael B. Jordan as the lead play Apollo’s sun. Well, not it’s come full circle with Apollo’s son addressing some unfinished loose ends with his family history. Which in all honesty is something probably many have been wanting to see. Everyone love’s a comeback story – sometimes even for the villain.

Directed by Steve Caple Jr. in his first high profile theatrical release, the story continues with Adonis Creed’s (Michael B. Jordan) success as well as his now fiancé Bianca (Tessa Thompson). However, after learning of that Viktor Drago (Florian Munteanu) the son of Ivan Drago (Dolph Lundgren), is seeking to fight take the title, Adonis feels he has no choice but to defend his family’s honor. Written by Sylvester Stallone once more along with Juel Taylor in his first high profile feature as well did a nice job opening up old wounds and closing them back up again. Having to come to grips with past trauma and family issues is not an issue thing to deal with for anyone. It requires understanding and patience with touchy topics such as this. And being that it’s not only Adonis’ issue but also, Ivan and Rocky’s – it’s just a big love triangle of pain.

The narrative really puts the characters in a hard spot individually. Rocky has to understand he has to accept his mistake from when Apollo was killed back in Rocky IV (1985). Ivan has to come grips with his shame of losing his match in his homeland to Rocky in that same film. Meanwhile Adonis has to figure out for himself, is it worth fighting a match that goes back to some family fued or should he go forward with tackling it with possibly ending up like his old man. Each character arc involves its own issues but all revolve around the theme of redemption. The supporting characters also cope with these topics too like Adonis’ mom Mary Anne (Phylicia Rashad) or Rocky’s son Robert (Milo Ventimigilia) and grandson Logan (Robbie Johns).

For the production, the quality of the film was well put together. The fight scenes are well choreographed and look very intense when watching it play out. The fact that a human being can take such punishment is nuts no matter how many rounds one watches in whatever film. The more softer or tense scenes that were shot are also well done. Seeing Rocky and Ivan meet face to face one more time but as old and tired men still looking to fight is again, cool to see. The only character who isn’t provided much is Florian Munteanu as Ivan’s son. To some extent a viewer can understand because he was literally trained to just go after Adonis. More could have been done though to round out his character as there is a small segment involving family but context would’ve been helpful.

There’s also special appearances from other various people like Max Kellerman as himself and Brigitte Nielsen as Ludmilla, Ivan Drago’s wife from Rocky IV (1985). For cinematography, the camerawork was handled by Kramer Morgenthau who was worked on other productions like Thor: The Dark World (2014) and Terminator Genisys (2015). For what is shown, Morgenthau is more than capable getting the shot needed to entertain the audience. Lastly for music, the film score was once again composed by Ludwig Gorannson. And as like before, Gorannson keeps the same franchise theme for Adonis Creed and even brings back the old theme for Ivan Drago. The score itself is a good listening experience and still brings good feelings when listening to it.

Looking at this entry to the line of stories before it, this is very much an equal to its first. The story is still very character driven except for the minor and obvious callouts. The music, camerawork and action are also as entertaining as before.

Points Earned --> 7:10

Cocaine Bear (2023) Review:

Like everything in the world, there is a yin to a yang. A good for a bad and a plus for a minus. Even some of most tranquil places can be quite dangerous. Sea or land. Of course, things could always get crazier if something man made or a substance of foreign origin enters the picture too. Apparently in 1985 a situation occurred which kind of describes this premise although not as outlandish as this film that the story was lifted from. But forget the whole foreign substance bit; big or small feral animals in general can be deadly if left unchecked. The bigger the animal though, the more damage. It’s not like the 1980s had less drugs than decades prior but it goes to show you just how potent these materials are.

The real story the film takes inspiration from is actually rather quick in resolving itself as opposed to this film. Nevertheless, it makes one wonder if it’s possible. After trying to evade getting caught with several duffle bags of cocaine, the escapee lands in the wooded area of a national park only to end up getting killed. Meanwhile a wild bear finds the bags of drugs and decides to dive in not knowing what side effects may come about. At the same time, two kids Dee (Brooklynn Prince) and Henry (Christian Convery) decide to skip school and wander off into the same park. Also they don’t tell Dee Dee’s mom Sari (Keri Russell) either. In parallel, the boss Syd (Ray Liotta) wants his drugs and sends his son Eddie (Alden Ehrenreich) and Daveed (O’Shea Jackson Jr.) to retrieve it while detective Bob (Isiah Whitlock Jr.) tries to track them down.

The plot itself is a convergence of character threads all happening to cross paths on this uniquely bizarre journey no one would expect. Writing the screenplay was Jimmy Warden, who previously wrote for The Babysitter: Killer Queen (2020) the sequel to The Babysitter (2017). Naturally, since that was a horror thriller themed film that this would follow a similar path. Considering the story, it’s based on, not being able to control live animals can be scary. And although fantasy horror can be nightmarish, the closer to reality the horror is, usually it is even more scary. That’s one thing Warden definitely doesn’t shy away from. Animal attacks can be very nasty if not stopped. The violence can be over the top at times but other times it is can be hard to watch for some viewers because of the realistic nature of the deaths.

The characters used in the film though are a mixed bag which is the films weakest point. All the actors perform believably but only some actually have charm. Liotta, Jackson Jr. and Ehrenreich seem to have the most chemistry together and funniest moments. Whitlock Jr. is a close runner up along with Ranger Liz (Margo Martindale). However, the kids and mom are not interesting. It also doesn’t help that they’re fouled mouthed kids. It just feels wrong watching youngsters dropping curse words so casually. It’s understood that throughout the decades some kids have poor upbringings but it doesn’t make the children likeable or funny. Directing this feature was Elizabeth Banks, known for also directing Pitch Perfect 2 (2015) and Charlie’s Angels (2019). She also acted in Spider-Man (2002), The Hunger Games (2012), and The Lego Movie (2014).

The camerawork to the film was well put together. Due to the setting taking place mostly outside, the scenes involve lots of heavily wooded areas covered in trees and dense shrubbery. Heading this was John Guleserian who also shot for About Time (2013) and more recently Candyman (2021). The only aspect that is obviously CGI is the bear itself. There’s just no good way of hiding it. However, there was that movie Grizzly (1976) where an actual bear was filmed. So it’s not like it wasn’t an option. Lastly the film score was composed by Mark Mothersbaugh, who is a rather appropriate choice. Accounting for the fact that this film took place in the 1980s where Mothersbaugh got his fame, it makes sense. Much of the score consists of synthetic beats and tunes that give it a different sound while incorporating more organic orchestra when needed. Mothersbaugh has proven his skill with other scores to films like The Adventures of Rocky & Bullwinkle (2000), Herbie Fully Loaded (2005), Hotel Transylvania (2012) and The Lego Movie (2014).

In terms of incidents it’s not so farfetched like something the sci-fi channel would produce and it has better production value. The bear is obviously fake and the main characters are a bit unappealing. However, there is some fun to be had in the carnage, musical score, cinematography and the supporting characters.

Points Earned --> 6:10

Totally Spies! The Film (2009) Review:

Animation has two big market hubs; which are the United States and Japan. The sheer volume of animated projects that have come out are numerous and have been dubbed all around the world. On the other hand, they are not the only regions to produce animation. They just happen to produce the most popular properties to be distributed. For children’s animation there was moment in the early 2000s where French productions had made a splash and that was with the Totally Spies! TV show. Taking a modern spin on what seems like Charlies’ Angels, James Bond and making the main characters high school students became quite successful over in North America. The show would have five seasons until a film was greenlit for the franchise. That’s pretty good considering 

The plot to the feature film is an origin story to how everyday high schoolers Clover (Andrea Baker), Sam (Jennifer Hale) and Alex (Katie Griffin) end up joining WOOHP (World Organization of Human Protection) under the coercion of boss Jerry (Adrian Truss). Apparently he’s had his eyes on the ladies for some time making sure they were made of spy material. Once brought on board they are to figure out what is happening to various well known people being snatched up and disappearing. Before that their last known appearance was getting a trendy hairstyle once worn by Fabu (Joris Jarsky), a famous model. At the same time, the three high schoolers have to manage their normal lives after moving to Beverley Hills High and being bullied by Mandy. It seems like a lot for these heroines to take on, but for those following the show, everyone will know they’ll handle it.

Written by Michelle and Robert Lamoreaux who worked on the TV show, it’s no surprise that the movie more or less feels like an extended episode or three-part pilot episode put together in one. In terms of story, it’s really doesn’t break away from the standard structure that has been used in the show. This is good, but perhaps the one thing the writers missed out on was actually giving the three main characters a little more internal struggle at the beginning. Essentially how these three meet are joining forces by happenstance. And it was by luck that all three females ended up getting along really well and were able to make each other’s quirks fit the strengths of their team efforts. It’s true that sometimes people just click instantly but the film establishes this very quickly almost to the point where it feels rushed. It would have been interesting to see if they initially needed to get used to each other’s personalities before developing the dynamic fans know them for.

Direction was headed by Pascal Jardin in his first theatrical credit although he did direct episodes of Redwall. Co-directing was Seok-hoon Lee which this seems to be their first English film too. Much of their credits are in the Korean market. In terms of acting the voice cast continue to give the same kind of enthusiastic performances they give in the show. Andrea Baker, Katie Griffin and Jennifer Hale all have great chemistry with each other and their line deliveries along with Adrian Truss. Their characters have been well established at this point since the show but even for those just being introduced, should enjoy the characters’ charms too. Truss has voiced characters in Rolie Polie Olie, Griffin has played voices in the Totaldrama series, and Hale has had many roles in video games like Mass Effect.

For visuals the animation looked like it had a better budget than its TV counterpart. There’s more detail to the backgrounds and characters which makes them look sharper. It would seem the production took place either fully or partly in Korea with the co-director and Eddie Mehong as the animation supervisor and Wang Yup Kim serving as the animation co-director. Lastly the musical score was composed by Maxime Barzel and Paul-Étienne Côté as their first theatrical credit. For what is heard, the music sounds okay but very stock. There is actually an album release but this time, it’s an EU exclusive. Like all of Pokemon’s Japan albums. It seems to work for the scenes put on screen but there isn’t anything really unique about it. The TV show theme doesn’t even pop up anywhere in the run time which is rather disappointing. Oh well.

As an origin story to the three spy girls, it is a fun introduction to the well-known TV show. The actors all remain consistent, the animation looks good along with the action and comedy. Just don’t expect any real strong initial development between the main cast or any compelling music.

Points Earnned --> 7:10

Don Juan DeMarco (1994) Review:

Romanticism is a genre of many stories. Some of which are just fairy tales and are by no means close to real. There are others which happen to be based on true events or happen to be exactly the story itself. Of course then there are others where the story is so muddled in its history, it becomes more of a myth; blurring the lines between what is truth and what isn’t. The legend of Don Juan seems to be one of those stories in that undetermined area. Complimenting that is this film which sort of does the same thing in its narrative. And who could best fit that role, none other than rising star at the time Johnny Depp. After coming off several successes in the early 1990s like Edward Scissorhands (1990), Arizona Dream (1993) and Benny & Joon (1993), it’s really no surprise he was awarded the character of focus here.

Written and directed by Jeremy Leven who would later pen the screenplay to Nicholas Sparks’ The Notebook (2004), the story is about a mysterious man who goes by the name of Don Juan DeMarco (Johnny Depp) who legitimately goes around wooing and sleeping with any woman that falls for him. He dresses with clothes that represent the mid 1800s, he speaks with a Spanish accent and yet it is current day. After making love to the last woman he feels he can, he prepares to take his own life, only to be talked out of it by Dr. Jack Mickler (Marlon Brando). Being pressured by his boss Dr. Paul Showalter (Bob Dishy) to put the man in the psycho ward, Mickler asks that he try to see what can do to prove the eccentric man is not indeed crazy.

For most of the time, it involves Depp’s character explaining to Dr. Mickler his story and how he came to be. How he originally only had one love Doña Julia (Talisa Soto) who of which her father forbade him from seeing. To later discovering he had a talent for swooning women very easily but wanted only one woman and her name was Doña Ana (Géraldine Pailhas). Despite much of the narration being between the two, the characters’ charms rub off on others. As Dr. Mickler spends time with Don Juan, he begins treating his wife Marilyn (Faye Dunaway) differently. It’s interesting to see how that plays out among others, which lends to some of the light comedic aspects to the movie. Perhaps the one thing that doesn’t feel completely concrete is the story being told to the audience.

It’s funny because essentially, the movie is treating the plot as a mystery just like the myth of the original Don Juan. At the same time, provide some closure. It’s not really clear if this movie does that. The film also contains a number of other actors fans would recognize like Rachel Ticotin from Total Recall (1990), Talisa Soto from (Mortal Kombat), Richard C. Sarafian from Dr. Dolittle 2 (2001), Carmen Argenziano from Unlawful Entry (1992), Tom Lister Jr. from Universal Soldier (1992) and even the late popular Latin singer Selena has a cameo appearance. All of which each cast member gives a welcome performance that is just as credible as the next. It’s truly amazing just how many faces appear in this particular feature that viewers can pick out among the crowd.

Cinematography shot by Ralf D. Bode was okay, but not anything worth noting. It was standard for the film but did not come across as different or really inventive. This is probably perhaps due to the film itself not being an energetic production, requiring crazy camera skills. Surprisingly though, Bode isn’t some nobody. He also shot for Saturday Night Fever (1977). As for music, the film score was composed by Michael Kamen. For the rough 40 minutes of the available album, Kamen uses a recurring motif for the story which is now best known in Bryan Adams “Have You Ever Really Loved a Woman”. It’s interesting because some viewers may not know that this is where the song originated from. Not that it was something Adams just made up on his own and the film ended up using it because it matched.

Even though the story itself remains sort of mysterious like the character of focus and the cinematography is just standard, the story is still fun to watch play out. The characters are likable, there’s a slew of other actors and the music is enjoyable to listen to.

Points Earned --> 7:10

Selena (1997) Review:

There are times in this world where life happens fast. Mostly these moments occur with people who are in the entertainment business. They may start off slow and feel unrecognized, but usually their popularity rockets out of the sky with so much acceleration, it not only surprises the fans but also the person of focus as well. This happens especially when it is a hidden gem of talent. For the case of Abraham Quintanilla, he would not realize this until much later when he creates a family of his own. Of his family, the surprise star that would rise from his effort would be his daughter Selena. A woman who would go on to become a wildly popular singer in much of the Latino community and later in the United States.

The film here is about Selena and how the dream of her father ended up being channeled into her. Written and directed by Gregory Nava who also wrote and directed My Family (1995) and would later write in Frida (2002), heads this production. Originally, Selena’s father Abraham (Edward James Olmos) was a musician himself and wanted to become famous. During the time he grew up though where most immigrants were not as marketable as the mainstream, he struggled. Years later he would have a family of his own and try to restart his passion of music through his family. Only to discover his daughter Selena (Jennifer Lopez) had quite the vocal chords. Because of this he pushed her more and more to the front for exposure. And before anyone realized, she was not only getting many people’s attention but it was all for the reasons Abraham had wanted.

What Nava accomplished in his script is important for any viewer while watching this film. Not only does the screenplay highlight why Selena became such a powerhouse in her genre of music, but also the struggles she and her family endured among both American and Latin communities. Despite them sharing each background, they were scrutinized equally. If anything, this helps put into perspective how immigrants feel when faced against adversity from either side they belong to. It can be eye opening and for those needing a reminder, it is just as factual. The narrative also covers how the family dynamic changed over time as Selena became more and more popular. For example, the roles different people took on. Or how Selena found love among one of her band mates Chris Perez (Jon Seda) and the risks that she took in order to be with him.

Of course one cannot also enjoy this film without acknowledging the fact that this movie is what brought Jennifer Lopez to the forefront. Prior to this she had roles in movies like Money Train (1995) and Jack (1996). There’s also appearances from Jackie Guerra, Constance Marie and Jacob Vargas all playing the parts of Selena’s family. There’s also Lupe Ontiveros playing one of background members of the traveling group. Any other actor featured within the running time along with everyone else performs well and it feels believable. As much as people may rag on Jennifer Lopez for not being an actress completely and is more known for her singing career, she can do both. Possibly the most convincing in their performance was Edward James Olmos as the father, since Selena’s success stemmed from him.

For cinematography, Edward Lachman handled the camera for this production. The sets used through the film are to best show the spots at which Selena performed and how they impacted her career. Lachman has credits going all the way back to the 1970s and has remained with a lot of music related films like The Lords of Flatbush (1974), New Order’s Confusion music video and Madonna Into the Groove music video. For the music, the film mixes a lot of the songs Selena had sung to along with having its own score composed by David Grusin. No doubt fans will enjoy Selena’s music whether they’re familiar with either her English or Spanish songs. As for Grusin, the score uses piano in much of its tracks which are quite gentle to the touch. Grusin has also composed for Tootsie (1982), The Goonies (1985) and Tequila Sunrise (1988). The music works well along with Selena’s songs.

This biopic is a respectable representation of Selena as a singer and a person, especially since her family was made sure the story stayed true to their daughter. The acting is good, the story brings to light thoughts that some may not be aware of and the music entertains for any viewer.

Points Earned --> 10:10

Safe Haven (2013) Review:

Relationships between people are always a constant experience of development and attention to detail. It requires two people to make the relationship happen and actively work at maintaining the strong bond. Unfortunately, not all relationships end well. Whether it is due to a lack effort from both or one side, simple ignorance to what’s causing friction or worse, destructive behavior. Most however do find their partner that will do what they can to be the best version of themselves, for themselves and their partner. No couple should take each other for granted but make the most of their time together as time is not exact in life. One never knows what could happen in the coming future. This is one of the main points made in this film adapted from a Nicholas Sparks novel.

Written by Dana Stevens (City of Angels (1998) and later Fatherhood (2021)), and Gage Lansky in their only credit, took Sparks’ novel and made into a watchable romance film with some typical clichés. The story is about Alex (Josh Duhamel), a widower with two kids Lexi (Mimi Kirkland) and Josh (Noah Lomax) who are living life as best they can. Things are going as normal when a random woman Katie (Julianne Hough) enters the frame. Things start picking up as Katie begins involving herself with Alex’s family. However, Katie isn’t disclosing much about her past. Meanwhile, detective Tierney (David Lyons) is trying to get a hold of Katie. The film was directed by Lasse Hallström, who in his early days directed a lot of ABBA music videos. But he also directed another Nicholas Sparks film called Dear John (2010).

Overall the writing suffices in its narrative. Over time audiences will begin to understand exactly what it is that Katie is trying to keep from resurfacing but like most things, it comes back to bite them. As for Alex, it’s understandable what someone like him would be going through to an extent. Being a one parent family is not easy even though there will always been existing units. However, the story doesn’t go much into what could help Alex grow. Katie arbitrarily does this for plot reasons. Both main characters and the children characters are likeable in their own way but much of what has been seen in other romance films is repeated here too. It’s cliché but not unwatchable thanks to the acting. One thing that doesn’t make sense though is the conflict of interest a certain character is a part of.

When this is revealed it begs the question how the situation even happened the way it did. The other aspect to the film that may come across cliché or perhaps even in the wrong genre is the injection of some spiritualistic themes. Some may even take it as faith based which typically does not resonate with many viewers. If viewers can let these callouts slide, then it may be more entertaining for some than others. Aside from this movie, Julianne Hough is probably best known from Footloose (2011) and Rock of Ages (2012). She still acts but it doesn’t seem as prominently. Josh Duhamel is best known from Michael Bay’s Transformers (2007) series. David Lyons is a more of a TV actor. Mimi Kirkland would later play Rachel in the Walking Dead series and Noah Lomax had a role in The SpongeBob Movie: Sponge Out of Water (2015).

There’s even appearances from Red West playing Alex’s uncle and Cobie Smulders, playing Katie’s new neighbor. Smulders is also known for playing Agent Maria Hill from Marvel’s movie lineup. The cinematography was decently shot. Handled by Terry Stacey, the shots taking in the sandy coast of the Carolina’s is a nice view. Really not much of any one scene has CGI in it so there’s not much to mention there. Stacey also worked on Dear John (2010). Lastly, composing the score was Deborah Lurie. Throughout the film score, Lurie creates a theme for Alex and Katie, incorporating southern instruments with piano mixed in. There is an album available as well which is nice. Lurie also composed for 9 (2009), Dear John (2010) and Footloose (2011). Lots of overlap.

This is by no means a standout film of excellence. There is one big plot hole in the story and in can feel a bit generic. But the actors have good chemistry and the overall message is an important takeaway along with good camerawork and music.

Points Earned -->6:10

Innocent Steps (2005) Review:

Unless one truly is a well-rounded person or likes all kinds of film genres, some may not be aware that movies involving dance is actually a thing. Although if anyone has seen a musical, play or live performance one could easily realize this. There are however stories that revolve around dance but do not involve the actors or characters breaking out into song either. No matter what though, dance is an undeclared love language in some cultures because it truly can bring people together. Now to those even more unfamiliar to the international market, dance can obviously cross over into other countries. South Korea is no different. For every Step Up (2006), there will be other movies that are in the same genre. Of course the film would have its own cultural twist on it though.

The story is about Na Young-sae (Keon-hyeong Park), a renowned dancer and teacher who almost made it to the finals if he wasn’t sabotaged by his opponent Jung Hyun-soo (Chang Yun) at the last moment. This ended up leaving Young-sae with a bum leg and out of commission. Trying to help, his manager Ma Sang-doo (Park Won-Sang) finds Jang Chae-rin (Moon Geun-young) a Korean raised in China. However, it turns out she does not know how to dance and it’s up to Young-sae to teach her for them to both make the rematch against his rival. Written by Gye-ok and Young-hoon Park, the narrative is a wholesome one about redemption and learning from failure with the support from others. Gye-ok Park has had experience working in Korean film before and Young-hoon Park who also directed this feature has also worked in other films with stars like Lee Byung-hun.

Overall the writing is decent. It contains a blend of romance, drama and even small amounts of comedic moments from the main cast and even side characters. Moon Geun-young who rose to fame after My Little Bride (2004) a year before still has her youthful characteristics here. Her character is more mature though and displays those moments accurately. Keon-hyeong Park shows how troubled his character is after his fall from grace and then being paired up with someone with less experience than him. Together both show likeable chemistry and have their tender moments. Park Won-Sang as Young-sae’s manager performs fine. The character itself though is a bit abusive. One would almost think the same for Chang Yun as Jung Hyun-soo although it is never shown. Yun as Hyun-soo plays quite a confident character and will stop at nothing to succeed.

The part of the writing that is less clear are some of the questionable decisions various side characters make. Perhaps this goes back to Korean culture during the 2000s? Not sure but some of it is weird in the sense that it would be seen as uncalled for. That or the fact that after some individuals’ action to another, the two still remain friendly. It’s a little bizarre considering how out of hand some situations become. Since this is a film involving dance, this component can’t be left out. The choreography for the dancing sequences are well executed and performed by the actors. When it comes to nailing down moves and rhythm, one must imagine how much practice that takes to get it right. Pretty much nothing to point out as a flaw there.

For cinematography, the camerawork was handled by Jong-yun Kim. For what the film shows, the scenes are well lit and capture the right actions to be seen. What’s interesting is seeing how Young-sae began in his apartment, only to see how Chae-rin brings his world to life in several ways. One aspect maybe that could’ve been done better was the CGI which is minimally used to begin with. As for the music in the film, Man-sik Choi composed the score which there does seem to be an album available. For whatever’s heard, the score does bring out the right emotions for the scenes filmed. Much of the instruments heard among the tracks are performed on piano The one song though that seems to be popular is “1000 Years” by Kang Eunsu, which was the main song for the two main characters. It is memorable in its own way.

The simple digital elements to the feature along with some out of touch character decisions are just small flaws within this dance romance film. The actors are likeable, the music is easy listening and the dancing is mesmerizing.

Points Earned --> 7:10

TaeGukgi (2004) Review:

War time dramas are typically not easy topics to cover, especially for those who have family members involved or people who were directly apart of the setting. Looking back on it through the lens of today works, but only to an extent. To many in the United States, the Korean War was something not really spoken of. It was never seen as a victory really nor was it seen as a total loss. For South Korea though it remains one of the most pivotal moments in its history. With that noted, long since then films have been made about this moment in time. Some documentaries, while other dramatizations of characters within that time period. To clarify there’s nothing wrong with making stories that are in this kind of setting, but it does feel off when the story isn’t based on any actual event.

The plot to this film is about two brothers, Jin-tae Lee (Jang Dong-Gun) and Jin-seok Lee (Won Bin) who are as close as brothers can get. They are living their lives until North Korea invades the South. Now things are changing and the military has drafted Jin-seok. Fearing he will lose his brother to the carnage of war Jin-tae follows suit and joins as well to protect his brother at all costs and send him back home to the family with Mother Lee (Yeong-ran Lee) and Young-shin Kim (Eun-ju Lee). However, as time progresses, the war begins to affect the two brothers differently. The script was written by Sang-don Kim, Han Ji-hoon and Je-kyu Kang. Kang directed the picture too. According to many, this film is highly regarded and thought to be one of the best films that take place during the Korean war.

As mentioned before though, dramatization around the setting is fine provided it makes sense to the history. Here though, there doesn’t seem to be any “true story” based on the events that take place in this narrative. Sure, the Korean War happened no questions asked. But there doesn’t seem to be record of a soldier under the name Jin-tae Lee who made his way through the ranks. If the soldier was that brave and memorable, it would have been all the more interesting that the film was based on a “true story” or “true events”. However, the writers seemed to have crafted this story on their own. Credit to them for making such a captivating story surrounding actual events. But it still is weird that the actual characters didn’t exist, at least so it seems.

Aside from the historical inaccuracies the story about the characters is worth the watch anyway. It is because of the brothers’ change in perspective on war that helps give the audience new takeaways from such moments in life without having to experience it like soldiers in the army have thankfully. It should also give many viewers an appreciation for their fellow infantryman who put their lives on the line from then and now. As much as films love to indulge in glorifying war and the people involved, it really is something no one should ever have to experience. And yet, humans are flawed enough where it’ll happen anyway. There are several moments where viewers will get emotional or tear up due to just the sad nature of the inevitable dread that comes with war and its consequences.

The visuals were well on point with the film. Hong Kyung-pyo was credited as the cinematographer. The film throughout has large of enough shots to show the audience the scope of the war and the toll it takes on the characters. Kyung-pyo is able to show the realism of war as well, it is not pretty. Kyung-pyo would also shoot for Parasite (2019). The only part that doesn’t work are the close up fight scenes which involve shaky camera. It’s understood that the idea is to disorient the viewer because that’s essentially how the scene would feel in first person, but it does get annoying at times. Lastly the film score composed by Dong-jun Lee was impressive. Containing full orchestra along with a male choir really helps give the film a heroic feel. The soundtrack also exists and is a great listen.

There are many positives to this film. It’s production, components and cast all make the viewing experience worth the watch. It has all the characteristics of a good war film. The only downside is that the character story doesn’t seem to be based on anything historically other than the war setting.

Points Earned --> 7:10

My Little Bride (2004) Review:

Among the big movie studios known around the world, Hollywood and Bollywood are probably the most out there. Japan is mostly known for their anime films, and anyone else is pretty much beneath that. However, in the recent decade, Korea entertainment has become more of a mainstream offshoot. K-pop was a big aspect but now their films have begun making an impact as well. An example of this was Parasite (2019). Looking back though on some older films from this country, perhaps there might be a reason why it took a while. While arranged marriages are not unheard of, they are very much not the usual western way of conducting things. Unless it is one’s religion, believes in the concept and the other side is also in on it, then that’s fine. But forcing something between two who do not feel a connection is where it gets questionable.

The premise to this story is about two families where the grandfathers agreed their children, which ended up being grandchildren, would wed before they passed away. The catch is, Park Sang-min (Rae-won Kim) is an adult while his bride Seo Bo-eun (Moon Geun-young) is only fifteen. According to the movie, as long as both families agree, it is legal. Forget that part and the whole being forced idea. The idea of a minor being married to an adult is definitely a no-no in most of modern society. It’s just not done or proposed, let alone thought of. Perhaps the writing is accurate either to the time of the film or for Korean culture in general, but the concept is likely why this hasn’t had any kind of resurgence in popularity. Directing this feature is Ho-joon Kim in their first theatrical film credit. The writer is Sun-il Yu in their only writing credit. Wondering if that’s again because of the premise.

Despite the idea for the film, the writing does address the whole idea in itself. This is good because it’s by no means glorifying the situation in any way. Bo-eun and Sang-min are both childhood friends but never saw each other as a couple. Again rightfully so due to the age difference, but in order to fulfill an aging family members request, they do so reluctantly. Of course this is where various scenarios and hijinx ensue where events are made fun of, misinterpreted or hijacked. One example of this is that Sang-min is assigned as the new art teacher in Bo-eun’s school. Meanwhile, one of the faculty develops a crush on him that wasn’t wanted named Ms. Kim (Sun-yeong Ahn). All these moments are cheesy and can produce a chuckle but they don’t cause hysterical laughter. However, this does not mean the story execution doesn’t have its moments.

The actors and their chemistry works to the advantage of the viewing experience. Both Moon Geun-young and Rae-won Kim give their own personalities and flaws to the characters that make them unique. Sang-man may be older but he still acts juvenile at times but does his best to be supportive as possible. Meanwhile Bo-eun very much is a young school girl trying to fit in and find her place. She also has the attitude when its needed at times, along with a very expressive face of disgust. As time progresses though, viewers will see these characters change and discover things about themselves they didn’t realize. Rae-won Kim has continued to act in movies since as well as Moon Geun-young. Although for those unfamiliar with Korean films, this may not mean as much.

The technical aspects to the film are fine. Since this is not some big budget action film that’s highly reliant on digital and practical effects, there’s not as much to find unrealistic. The camerawork was handled by Jeong-min Seo who worked on films going all the way back to 1959. Quite a history there; in fact, this movie was their second to last to be credited. From what is shown the shots are fine and have a standard display to them that is competent looking. The film score was interesting to hear, composed by Sun-shik and Man-Sik Choi. Together they produce music that does hit its mark when needed and other places stands out for incorporating not only the usual orchestra but also singular instruments. Even whistles which are normally not done or recommended. Yet for this film, it adds to the charm and lightheartedness that is the story. There’s even a soundtrack available.

The idea may make viewers initially cringe at the thought but after watching, it is a respectable effort. The comedy bits are not as strong as they could be, but the more sentimental moments are poignant enough thanks to the actors and their chemistry. Cinematography is handled well and the music supports the experience with its different sound.

Points Earned --> 6:10

The Lucky One (2012) Review:

Nicholas Sparks is an author who most romantics would see as the person behind the inspiration of several films that were released between the early 2000s and mid 2010s. If there was a popular love story that was remembered the most during a certain year, it was likely based on a Nicholas Sparks novel. The one movie that people would likely remember the most is The Notebook (2004). A recurring theme that Sparks tends to throw into his stories are about fate and how what seems like coincidence turns into something deeper. This is sort of a neutral way of approaching love stories where the film crew doesn’t want to involve anything with religious undertones. In reality though, there’s a belief somewhere among the characters even if it is not explicitly mentioned.

Directed by Scott Hicks, the same person who helmed No Reservations (2007) and with a screenplay adaptation from Will Fetters. The story is about marine Logan Thibolt (Zac Efron) who finished his last tour in middle east. His new goal is to find the woman in the picture he found on the battlefield who kept him safe all those moments while in combat. The woman in the picture is Beth Green (Taylor Schilling), a wife who lost her brother in the same war Logan was in. Her separated ex-husband Keith (Jay R. Ferguson) wants custody over their child Ben (Riley Thomas Stewart) and makes family life difficult. Meanwhile, Beth is supported by her mother Ellie (Blythe Danner) who helps with the family business. Once Logan arrives though is when things get complicated and this is kind of expected. Since it is a love story, there’s always going to be someone who thinks the pairing of two people shouldn’t happen.

There are a number of positives though. The performances from all actors are done with nothing sounding questionable. The main characters are likeable and can be relatable for their circumstances. Even some of the supporting characters get development which isn’t something that gets focused on very often. There were plenty of areas where the story had a near miss and fell into predictable territory but it actually had some moments that were unexpected. The premise though really doesn’t make it sound completely original though. It just comes across too cliché for the main plot until it finally digs its heels into the group some. The other issue is part of the lead belonging to Logan. He’s mostly displayed as a guy with no flaws. Yes, because he’s from the marines he has his moments war flashbacks which can be problematic.

However, from all other perspectives he’s given a squeaky clean image. A lead can be likeable and still have major flaws. This was also several films into Efron’s career after Disney’s High School Musical franchise ended. So of course, he’s shedding the young boy image. Taylor Schilling had some movies before this but would get just a much attention the same year as this movie as Argo (2012) came out too. Blythe Danner who was a seasoned actress at this point had many roles prior as well as, like being in Futureworld (1976). Riley Thomas Stewart as Ben had experience too prior to the film, showing up in various TV shows. Jay R. Ferguson as Beth’s husband fits the character he was cast for almost too perfectly. Having a square jawline and the southern drawl makes it almost too easy to see where his role is in the film.

For camerawork, the director of photography was Alar Kivilo. Since much of the setting takes place in the south, plenty of wide open farmland is captured along with occasional swamps and internal house shots. Everything seems set up competently and that even includes the brief scenes in middle east. Kivilo also worked on Hart’s War (2002) and The Blind Side (2009). As for the film score, Mark Isham was the composer to this production. Unfortunately, it seems there wasn’t an official album release for this work but there should be. Even though this is not a franchise, Isham created a main theme for the story which appears throughout the film using piano. These kinds of traits are important as it gives the experience more of an identity the audience can remember it for. There only seems to be a soundtrack which features the songs used within the film.

The setup to the story feels generic as it sounds all too coincidental. To audiences’ surprise though the execution is not as predictable as one might think. The acting is well done, as it the music, camerawork and even the development of supporting characters.

Points Earned -->7:10

Pokémon the Movie: The Power of Us (2018) Review:

It’s probably safe to say with the long history of the Pokémon franchise, none of the returning or diehard fans should be expecting newcomers. The TV series has many seasons and to boot, many movies in between. Any convert would have to start from the very beginning and work their way through all of that just to reach this point. On the other hand, if that is the drive, then fans should be happy that another film in the list of entries remains to have standout qualities for its viewing experience. Know that there are still some aspects that still make it the typical entry for this franchise, but it’s not as average as some of the other previous films. At this point it seems like the films are no longer sticking to the TV show timeline which is okay since the movies never seemed to play into the TV show anyway.

This entry drops the audience into Ash Ketchum’s world with no indication of time or place, other than around the same time as the shows latest season. Along with him are several other characters that end up weaving their way into the story line which in time cross paths with Ash. Unbelievably, the writer director duo attached to this project is not Kunihiko Yuyama or Hideki Sonoda. This time, it’s Tetsuo Yajima directing and Eiji Umehara writing the screenplay. Umehara has other credits to their name but nothing Pokémon related. However, Yajima does go all the way back to season one, so it’s nice to know the director has experience with the franchise. The key part of the story and direction that make this film another strong entry is the focus of the plot.

Unlike other films which revolved around a legendary Pokémon and how capturing, controlling or destroying them would disturb the balance of nature or something like that. This time it focuses more on the human characters and the development of their arcs. Since this story has nothing to do with the show now, Team Rocket, Ash and Pikachu are the only main cast to return. Risa (Haven Paschall) is a new trainer who has yet to discover how important the connection is between Pokémon and trainer. Toren (Eddy Lee) is a timid researcher who hopes to be able to speak for himself one day for his love of Pokémon. Harriet (Kathryn Cahill) is an elderly citizen who hasn’t learned how to love Pokémon again. Callahan (Billy Bob Thompson) is a lying uncle to his niece Kellie (Laurie Hymes) who doesn’t know he lies. Then there’s Mayor Oliver (Marc Thompson) and his daughter Margo (Erica Schroeder) who’s hiding a secret from him.

The secret is a legendary Pokémon that no one else knows about. This is one of the couple pitfalls to the movie. No matter what, it seems like no movie can stay clear of directly being about a legendary Pokémon. The good thing is again, the main focus is on the human characters and their development. Of course even with some of these characters are tropes that viewers could anticipate what’ll happen part way through the story because how obvious it is. The voice acting is also obvious but in a good way. None of the performances heard within the viewing experience sounded wrong, off or read poorly. Much of the cast are voice actors who have taken part in the franchise many times before. Additionally, it would be noticeable if they didn’t sound invested in the project.

Visually speaking, the animation is another great part of the viewing experience. The colors and character expressions are as vibrant as ever. There’s also fairly good CGI work thrown in as well. What this has to do with cinematography again though goes unknown. This time handled by Kenji Takahashi and Ryou Kujirai. As for film scores, Shinji Miyazaki returns once more as the composer to the project. Also again there is no domestic release for the album but it does contain an hour of tracks to listen to. At this point it would be more of a surprise if it was released domestically only. However, that won’t happen considering the country of origin of the franchise. The music sounds good as usual and has its moments memorable tunes.

Showing that films related to the franchise can be entertaining, the viewing experience this time focuses on the human characters. As usual it includes the annoying character familiarities and legendary Pokémon, but also completely new characters, great animation, and consistently pleasant music.

Points Earned --> 7:10

The Vow (2012) Review:

If there’s something that usually inexperienced partners in a relationship cannot retain, it’s keeping promises. Admittedly promises are not always the easiest to commit to if a partner overextends themselves or doesn’t realize how critical it is to the health of the relationship. If both understand what they’re signing up for then there’s a chance of success. However, what if only one remembers that commitment? This is what this movie is loosely based on coming from Kim and Krickitt Carpenter. Despite the couples’ religion being left out of the final film, the financial performance was still quite well received. To some, the premise to this story feels like it’s coming from novelist Nicholas Sparks, but surprisingly, he had no involvement with this production. Even with that fact, people who liked those films should also have an easy time enjoying this movie too.

The origin coming from Stuart Sender, with the screenplay written by Abby Kohn, Marc Silverstein, (He's Just Not That Into You (2009)), Jason Katims (The Pallbearer (1996)) and directed by Michael Sucsy in his first theatrical film headed this production. The story is about a couple Leo (Channing Tatum) and Paige (Rachel McAdams) who end up in a near fatal car accident that leaves Paige with almost complete memory loss after recovering. This leads her to not remembering that she was married to Leo and where their life was at the time the accident occurred. Meanwhile, Paige’s parents Rita (Jessica Lange) and Bill (Sam Neil) want her to return home so she can start over. Similarly, Leo wants Paige to return home with him so he can get literally get his wife life back.

For a premise, it doesn’t sound like something recently done before, although it has likely been in a film prior. The concept is unique and can attract many couples’ interests since it is a love story of sorts. Of course though, the film execution is where it falters in various places. One issue being unrealistic scenes; like when Paige and Leo meet up for the first time. There could likely be crazier or coincidental stories by nature but the way it happens feels like no one would ever consider such an incident occurring. Either because it would be too creepy or just that very few people are ever that infatuated upon initially meeting each other. The other part of the script that isn’t really well put together are the supporting characters. Much of them just come off as the cliché character most viewers know where they stand and their role in the story is.

Even though these weak points in the film are bit obvious in nature, there are other parts of the script that are elaborated on to support the audience. For example, it is explained why Paige can remember parts of her life before the accident but not after. That’s important because if missed by the audience, it won’t make sense later on the film. The acting can’t be discredited. Channing Tatum and Rachel McAdams are both great leads and have the chemistry to carry the story. Both of their characters are also quite likable considering they are the protagonists viewers want to see win in the end. Other performances also work coming from veteran actors like Jessica Lange and Sam Neil, both of who have participated in films for several decades. There are also appearances from Jessica McNamee, Wendy Crewson, Lucas Bryant and Scott Speedman playing an ex of Paige.

The cinematography by Rogier Stoffers was a commendable attribute to the viewing experience. Stoffers was also credit in his work for John Q. (2002), School of Rock (2003) and Disturbia (2007). For what’s depicted, Stoffers shots are well lit and share with the audience the important parts of the scenes that need to be shown. For the film score, the music was created by Rachel Portman and Michael Brook, both who are not as well-known as other composers but do have several credits to their names like Home Fries (1998), Beauty and the Beast: The Enchanted Christmas (1997), Dolphin Tale 2 (2014) and The Fighter (2010). The tracks heard throughout the film invoke the right emotions in the right scenes. Much of the cues revolve around small guitar strokes or piano keys to invoke that warm intimate romance feeling.

Hallmark channel tropes may feel a bit forced in this story but it is still a decent effort coming from the whole crew. Acting, music and cinematography are all done well. It’s a nice little romantic film reminding viewers how important promises are during rough times.

Points Earned --> 7:10