Clash of the Titans (2010) Review:

Remakes in general have a pretty big hill to overcome. Whether producers, actors and studios alike think they're doing the fans a service, it is still very likely approval will be low. A remake of an original work can't have tributes alone to satisfy viewers. But this is also the problem, a remake has to do something different from the original but also not completely alter everything, or it will alienate its base. The only way a remake can truly have success is if the original was either not that good to begin with or it manages to step up its game. Most of the time, these kinds of opportunities are far and few between. For this remake, competing with the original Clash of the Titans (1981) was already a tough call. With so many aspects of the original enjoyed by many, this film had to meet some high expectations. And while it wasn't as well received, it did manage to still produce some popcorn fluff. Just not in all the right places.

Sam Worthington

With Travis Beacham (who would later work on Pacific Rim (2013)), Phil Hay and Matt Manfredi (Æon Flux (2005)) as writers to this film, it is apparent that they tried to make it similar to the original. When a man named Perseus (Sam Worthington) witnesses his family's death to a god, he sets it his mission to fight back. This motivation is only reinforced when the city of Argos, a rebellious city is threatened by Zeus (Liam Neeson) to be destroyed. With Hades (Ralph Fiennes) being granted permission to let the kraken loose on the city thanks to the queen (Polly Walker), Perseus and Argos' strongest men seek the answer on defeating it. Directed by Louis Leterrier, a guy with many action films tied to his name like Transporter (2002) and Transporter 2 (2005), certainly has what is needed for a film that needs lively energy. The biggest issue though is the script and Sam Worthington as the lead.

While Worthington can grimace, yell and move athletically, his emotional range needs some work. Being that the script relies more on the loss of his family and less about romance, there lacks an emotional balance in the story. There's barely a time where Perseus even cracks a smile or wise remark. As a result, the lead feels less charismatic and more just a pawn in the story. With the writers' screenplay failing to incorporate more of this, it feels as though they forgot the heart of the story. Yet somehow they did remember to include charming and more favorable dialog for the supporting actors like Mads Mikkelsen, Liam Cunningham, Hans Matheson, Ashraf Barhom, Mouloud Achour and Nicholas Hoult who play Argos' top warriors. So, not sure how that works. Even Ian Whyte who plays some mysterious humanoid scorpion creature is more interesting to watch.

Aside from this, the writers do include some other references to the original like Jason Flemyng who plays the cursed Calibos. Even Bubo the mechanical Owl appears for a cameo. Action sequences are by far the strongest this film has to offer. Whether the fighters are fending off other human attackers, human sized creatures or giant monstrosities, the action is lively and engaging. The best set piece is when Perseus and company come across super-sized scorpions. Even the battle between Perseus and Medusa (Natalia Vodianova) is fairly entertaining even though it won't ever top the original. The weakest was probably the one between Perseus and Calibos. All this is most likely due to Louis Leterrier's experience working with action set pieces. Believe it or not though the graphic content is turned down. Although that's probably just to attract a wider audience.

"Does this CGI really make me look bad?"

Visuals to the film are an unfortunate mixed bag. While the imagery, makeup effects and creature designs are creative, their CGI counterparts tend to suffer. Although watching movies can be used as an escapist activity, to watch actors walking around and interacting with various settings that are CGI ruins the whole experience. There's barely a place that feels like it is physically tangible. The cinematography by Peter Menzies Jr. (The 13th Warrior (1999) and Lara Croft: Tomb Raider (2001)) was adequate, it was just the CGI scenes that felt the least credible. Producing the music was composer Ramin Djawadi, who had worked on Blade: Trinity (2004) and Iron Man (2008). Relying heavily on strings and electric guitar, Djawadi makes an interesting interpreter for the film. Sadly, it has very little resemblance to that of the upbeat and adventurous sounding score from the original.

The supporting components to this remake are probably the best thing it has to give. From the supporting cast, to the music, cinematography and action. Yet the fault in the foundation are the CGI effects, a less than charismatic lead and rather unemotional screenplay revolving around the lead. It's fun but not for frequent revisiting.

Points Earned --> 6:10

Funny Girl (1968) Review:

Movie genres can be combined to make any kind of hybrid production. This can lead to different levels in how the story is told and how audiences may react or take the movie. Musicals in general can incorporate any genre and make it into an interesting showing. It may be more unlikely that a horror film could be turned into a musical, but it's not impossible. It takes the right balance of everything to make sure that whatever is trying to be depicted gets across correctly to the audience. However, it can be confusing when the title and genre of film suggest one thing, and later on show nothing of the sort. That seems to be the problem with this movie; or so it seems.

"Ummm hi, I don't have stage fright,....promise"

Featuring the debut of Barbra Streisand, a vocal powerhouse at the time, plays real life comedienne Fanny Brice. The plot follows her start of showbiz, her rise to fame and her relationship with Nick Arnstein (Omar Sharif). The script, written by Isobel Lennart, as her last credit, has no issue with showing Brice's career progression whatsoever. With credits to other films like It Happened in Brooklyn (1947), Lennart must have had some kind of experience to produce a good screenplay. The problem however is in the title and execution. Was this William Wyler's issue as director? Hard to say, with having films like Carrie (1952) and Ben-Hur (1959) attached to his resume, who knows.

Somehow though, the tone of the script and the performances from the cast do not match on a regular basis. This film falls into the category of a comedy, drama and musical. Yet there's mostly drama and music. For a title with the word "funny" in it, there aren't many laughs to be had except for some sporadic ones. Adding to that is the 2.5 hour run time. While the production design is well constructed and elaborate, there are a bunch of overly padded scenes that seem to take longer than usual. This does not however discredit the actors involved in the film. Although the cast in this film is small, the amount of extras used in the background is horrendously large (but all for good reason).

Streisand and Omar Sharif have plenty of chemistry to share with each other. The emotions displayed on screen feel properly acted and emoted well. Sharif who played in Lawrence of Arabia (1962) definitely has the chops to be a suave husband for the love interest. There's also Walter Pidgeon who plays Florenz Ziegfeld, who ends up moving Brice into the spotlight. And while these actors work, the script fails to show a struggle for almost none of the showing. While at first it seemed as though no one wanted to have Fanny Brice in their shows, once she met Nick, her success never stopped. That, and when things didn't seem to work out Brice made decisions that contradicted her motives. The actions do not really make sense when someone enjoys that much success and it doesn't make them truly likable either.

Omar Sharif as Nick Arnstein

For visuals and music though, this feature had it in the bag. Harry Stradling Sr. was the man behind the camerawork. With experience in other films like Over the Moon (1939) and Gypsy (1962), it's no wonder the shots filmed look so large in scale. With musical writers like Jule Styne ("Don't Rain on My Parade") and Walter Scharf, composer to Rock-a-Bye Baby (1958), the musical pieces are enjoyable to listen to. That and having Barbara Streisand's solid vocals makes the performances all the more authentic. Unfortunately, because the execution to the story is so tonally confused, the music does not have the same emotional impact as it should.

Everything about the production is well done. From the camerawork, to the musical compositions, to the production design and the actors’ performances. Yet, the script gets so lost in telling a story with very little conflict that it doesn't feel like there's much to get behind. Not to mention the padded timing and very few scenes being funny either.

Points Earned --> 5:10

Police Academy 4: Citizens on Patrol (1987) Review:

It's really something when a franchise begins its second trilogy. While many critics had found only the first Police Academy (1984) a mixed bag, the later sequels earned even less stellar opinions. Yet somehow, the series continued to push onward. While Police Academy 2: Their First Assignment (1985) was more or less retreading the same ground, Police Academy 3: Back in Training (1986) stepped back up to the plate for some fun. The cause of this was more of having the original cast learning new skills, which reminisced more of the first film. Here, the story is now putting them in the trainer shoes. All because of an idea their ever so absent minded commander had one day out of the blue.

"Excuse me miss, you remind me of Kim Cattrall"

Written by Gene Quintano, who also penned the prior entry, was the sole writer for this film. The story begins with Commandant Lassard (George Gaynes) having the brilliant thought of making relations better between the police and public by having a new program involving both. The program is called Citizens on Patrol (COP - how clever), and it would allow citizens to actively partake in making sure crime isn't committed. Seeing it as a lousy decision, Captain Harris (G.W. Bailey) returns with Proctor (Lance Kinsey) to fill in for Lassard as he makes his way to London to promote the concept. Meanwhile, it's up to Mahoney (Steve Guttenberg), Hightower (Bubba Smith), Jones (Michael Winslow), Tackleberry (David Graf), Hooks (Marion Ramsey), Sweetchuck (Tim Kazurinsky) and assorted others to make sure COP succeeds.

So the plot itself is really not very different. If anything the premise feels all too familiar because it's more or less a soft version of the first movie, which encouraged regular citizens to participate in the police academy. Here though, citizens do not become police officers but instead act more as like a subdivision of the department. The only new feeling is that now the original cast members are the ones doing the training, but that's where it ends. Jim Drake as the new director was okay, but there were scenes that felt too padded. What does work in the script's favor are the homecoming of familiar faces and jokes. Having G.W. Bailey come back for another entry was great because he was after all the first antagonist in the series. Plus, seeing him get acquainted with Steve Guttenberg's character brings back fun antics.

Although not all the jokes induce laughter, there are some better than average moments. One being actress Billie Bird who plays Mrs. Feldman, a charismatic old woman who enjoys the thrill of being a police officer. She produces some good laughs but she's literally one of very few new recruits in the COP program that stand out. The only other character that is a new addition and develops another character is Laura (Corinne Bohrer). While uneasy at first she develops a soft spot for the reformed gang member Zed (Bobcat Goldthwait). Aside from this though, no one else is really has development. There is however an appearance from a young Sharon Stone and a debut performance from David Spade.

Zed & Laura

For cinematography, Robert Saad shot for the film. While he provided additional photography for the first film, he really took over in the last sequel, which was shot differently. The same could be said here. There are scenes that are filmed in the city, but Saad also captured shots from the sky and it's impressive. Figuratively and literally, Saad has visually taken the series to a new height. Music has enjoyably remained the same, with another score composed by Robert Folk. The main title theme is always jolly and the rest of scenes work where they should. Now, all that is needed since the first film are the scores released for all the sequels that came out.

If you've been enjoying the films so far even after all the character swaps, this sequel should still provide some good laughs. The cinematography is still shot well, the music remains entertaining and the reunion of Mahoney and Capt. Harris bring back so good jokes. However, the plot feels very similar to the first, very few new characters receive development and the jokes don't always work.

Points Earned --> 6:10

Jeepers Creepers 2 (2003) Review:

While success did not come right away for Victor Salva early in his career, he was able to land in the spotlight eventually. Jeepers Creepers (2001) may have not been the most ingenious horror film, but it did have certain aspects to it that made it stand out from the usual traps horror films fell in to. The story was unique, the characters weren't the usual bunch and the music had its moments to shine too. And after that movie proved itself profitable, it's obvious as to why a sequel was made. Surprisingly, while it isn't much better, it still remains to watchable. The faults are now just in different places. With Victor Salva directing again, it's understandable as to why the film feels the same in quality.

"Hey man, do you think we are safe in a bus?"

The script for this feature was also written by Salva who smartly keeps the continuity close by having the events of this story happening shortly after the first film. Not bad, considering most follow ups to horror films either reset the story completely or retro actively undo everything that happened in the prior film. Here a group of high school students are headed home after a game, only to soon find out their lives are in the cross hairs of the creeper (Jonathan Breck). Meanwhile, a vengeful father (Ray Wise) is on the hunt for the creeper after he was too late in saving his youngest son who was snatched away. These two plot threads end up converging on one another, which create an interesting brawl as things develop.

The whole setting of having students trapped in a school bus is not commonly used. That and the efforts Ray Wise's character goes through to hunt the creeper shows dedication. He's also probably the most likable character too even though he doesn't emote much. Unfortunately, the rest of the cast aren't that likable, which was an issue the first movie suffered from too. While the actors who play the high school students act the parts, they just don't seem to have the charm in order for the audience to get behind. There's only one character, Minxie (Nicki Aycox), who manages to learn the history of the first film through dream sequences. Of course that goes unexplained. She even gets to see Justin Long for a cameo and exposition dump; how convenient.

That particular aspect of the film doesn't completely ruin the experience though. Jonathan Breck as the creeper still makes a fine antagonist for the franchise. While this time, he was given a little more free range to play his part with personality. While the creeper is special in his own way, this time he'll make gestures which are very Freddy Krueger-esque. It's not a vast change, but it does give the character a more comedic personality which may not really fit. Aside from this though the horror is still there with a number of gruesome moments. Salva also cranks up the action into the picture too with Ray Wise's trigger happy role that he plays. It actually mixes quite well.

Ray Wise as tough dood

For the rest of the visuals, the cinematography is handled well. Shot again by Don E. FauntLeRoy, the camerawork is steady and mixes well with its surroundings. Even the CGI and live-action practical effects look good to this day. What would have been more interesting to see was the creeper's new lair from the last film. Being that it was only briefly shown and what he does there, that's something that should be explored. The musical score also saw the return of Bennett Salvay. Being that the feature mixes more action with its horror, Salvay also beefs up his score as well as making it sound even more robust to match the action sequences. Not bad at all.

This is a sequel that maintains its level of quality compared to its predecessor. That's a good and bad thing. While the script still shoehorns in certain plot elements and still has very few likable main leads, the viewing experience is still fun. The gore has more action in it, with an appropriate score, credible cinematography and a script that still keeps fairly good continuity.

Points Earned --> 6:10