It all adds up, at Worlds' End

Ay matey, it all comes together in the third and final segment of the Pirates of the Caribbean ride - At Worlds' End. The show gets better with hindsight than upon your first viewing of it, so buy the DVD set and watch it at your pleasure, and to heighten the experience, watch it following 'Dead Man's Chest'.
That's what I did - I watched the second of the Pirates of the Caribbean before heading to the cinemas to catch the finale. Boy did that help. See, there is so much happening in the second that is all setting up to the third movie and our memories are weak, especially for the fine details that the creators of the Pirates of the Caribbean created.
In 'At Worlds' End', the East India Company continues on its quest for world domination. Championing its cause is the meticulous and scheming businessman Lord Beckett. A gripping, albeit tad contrived, opening scene of the execution of pirates and pirate-associates is all you need to understand the horror of the EIC's regime. To battle their takeover, or so it seems at first, Barbossa, Turner, Swann and Tia Dalma team up with the Black Pearl's crew to travel to Davy Jones' locker where all men who die at sea go, and where Jack Sparrow is. To do this, they first head to the lazy fishing village and port of Singapore to 'borrow' a ship, crew and navigational charts from pirate lord Sao Feng (special appearance by Chow Yun-Fatt!). By hook and crook, they manage that and set sail for Worlds' End.
The straightforward storyline ends here; the plot thickens, and we're talking deep thickening. Being pirates, it's 'each man for himself' so it is no surprise Barbossa, Turner, Swann, Dalma and Sparrow each have their own agendas, some of which conflict. Thus, what ensues is a movie layered with internal moral dilemmas (Sparrow's), conflicting interests between love and piety (Turner's), betrayals - double and triple-crossing ones (everyone's), love-hate relationships between man and goddess (guess)... It's a lot to take in.
It is overwhelming at first sight. So the most you can probably get out of it is enjoy the mind-blowing ship battles, pirate conferences (which resemble Taiwan political meetings), and laugh at the comedic moments (there are many) while trying to make some sense of all the intertwining plots. In the end, it all adds up when you piece it altogether, just like how the pirate lords put all their pieces of eight together. When that happens, you will marvel at how all loose ends are tied.
Strangely enough, I did not enjoy the wit of 'witty Jack Sparrow' as much as I did in the first two installments of the Pirates of the Caribbean. For this, I find fault with the script writer's obsession with writing lines especially for Sparrow's character - a flaw which appeared in the previous installment already, what with the pseudo-absurdist lines given to Sparrow (Depp). Swann and Turner (Knightley and Bloom) win you over with their pirating efforts and bittersweet tale of romance. Barbossa (Rush) is a thoroughly charming mad captain and might I dare say he shared the spotlight with Depp. Bill Nighy milked his character Davy Jones for all he's worth, putting up an emotionally-stirring performance that makes your heart go out to the Captain of the Flying Dutchman, tentacles and all. The animators, by the way, deserve much credit for the amazing realness and naturalness of Jones' tentacle movement, among the other visual feats of the movie.
Epic to the core, 'Pirates of the Caribbean: At Worlds' End' does not come across as Hollywood Blockbuster, though it has all the makings of one, for one key reason: It has uncompromising vision which does not give in or bend to the audience's wishes. The movie knew what it wanted to do, knew how to do it well, and did. Hats off to director Gore Verbinski for crafting this spectacular closing installment to a wonderful trilogy.
The Pirates of the Caribbean brought us on a thrill ride and didn't mind how much it tossed and bruised us as it turned many a corner and swooshed over speed bumps. Some of us may fall out half way through the ride, some who finish it probably won't stomach it, but for those who do, we walk away knowing it was a hell of a ride.
And we'll probably ride it again. And again.

No Baby Blues with Becky Bloomwood

It is amazing how Kinsella can sell the same recipe, by just tweaking the ingredients a little, over and over again without diminishing the wonder, fantasy and delight of the first taste of Shopaholic. Even for this fourth round. No baby blues in this Bloomin' mummy that's for sure!

28 times later

One ought to be sick of seeing bloodshot-eyed human-turned-zombies running around, biting and clawing and chasing non bloodshot-eyed human-turned zombies into bloodsho - Aw, don't make me say it.

Anyway, one ought to get sick and tired of the same old zombie tricks, but not in this movie.

'28 Weeks Later' knows how to frighten and grip you in its unrelenting claws. Its masterful opening scene both gives and takes away that flicker of hope and peace. This serves as a precursor to the fate of the supposed serenity that the U.S army is trying to re-establish. Its beginning note promises suspense, emotional turbulence and gore. Then the movie continues to deliver, until it meets its end, the way most zombies (as well as zombie flicks) do - by passing it on. In other words, 28 Weeks Later could very well turn into 28 Centuries Later.

The film toys well with your mind - a commendable feat considering it uses perfectly traditional scare tactics. Credit thus goes to the unquestionably apt pacing of the movie, guided along smoothly by the superbly appropriate soundtrack, which is actually mostly reused from ancestor movie 28 Days Later.

There were two outstanding scenes in the movie - you know the opening 10 minutes is one, and the other is the subway scene. (Of course it had to be the underground tunnel scene!) This is an amazing visualization of the director and cinematographer's mental image of exploring the Underground using infra-red googles that make even the regular-eyed people terrifying as hell. In the darkness, you know something lurks - you know it you feel it, but you can't see it, until it's too late. That's all I'm going to describe - go watch the film at least for that scene.

As with its predecessor, 28 Weeks Later weaves in social commentary into the movie - I was told part of the movie was meant to parallel the Iraqi situation. I believe it's indeniable that the portrayal of the military presence and actions make meaningful points about situations in the real world. The morality of military decisions is also another bone of contention in the film.

A true blue thriller / horror (and to rare macabre minds, a comedy), 28 Weeks Later will definitely have you on the edge of your seat, or in my case - buried deep into it, except when you want to throw popcorn at the screen for the ending.

the same Wave over and over again

When searching for an image to go with this light review, two words caught my eye - "too Vague?"

My sentiments as well.

Nouvelle Vague - New Wave or Bossa Nova translated in English and Portuguese respectively, questions how deep is your love in their thirteenth album that is eponymously named. Truly, you have to explore just how much you love them if you want to buy this album.

'A hypnotic opening' - 'a bravura opener' - is its strongest musical appeal. David Sheppard's devoted odes to each song is another winning feature of the album - his words melt into poetic romantizing that flows with the music.

The attraction of Nouvelle Vague, as always, lies in its intricate melodies achieved by 'stripping back arrangements to acoustic instruments'. It gets right down to the quiet souls that whisper to us from underneath the noise of the original songs - Nouvelle Vague specializes in covers. Hypnosis is close to describing the state one achieves when listening to the album.

And perhaps it is hypnosis that clouds your mind and beguiles you into hearing one similar voice, despite the album writing declaring that there are 8 different female vocals. The voices all blend together and sound like they originate from the same sound box, albeit in variations of tone and style. Perhaps it is these delicate differences that one must commit to listening out for, and wherein the allure of Nouvelle Vauge lies.

Individually, the songs do offer a poignant and refreshing take to the old tunes, such that the experience of this album is akin to a spiritual one. But I have never been one for spiritualization.

Too vague, indeed, for me.

be The Man - do the right thing

...and cross dress because it gets you a hot guy like Duke (Channing Tatum)! 'She's the Man' would do poorly to call itself a modern adaptation of Shakespeare's Twelveth Night, because it really would infuriate, as many such modern adaptations of Shakespeare's works have, many Shakespeare appreciators. Instead, it focused on modern slapstick, farce and one actress' ability as its key ingredients to get that magical recipe for a modern comedy.

Amanda Bynes is the woMan supporting this movie and kudos to her for hemming it up all the way. She's not exactly a Hollywood starlet but the best part is that she knows that, and so she relies on the very fact that she is your cute and accessible everyday tom-girl to get her appeal. Smart. She was the pillar holding up this movie, and it helps that she fills a tiny bikini well.

Actually, 5 minutes into the movie and I was contemplating re-writing the script, believing myself capable of a better one. Luckily, the movie starts out low but picks up and really gets going after Bynes dons her mask in Illyria. I would go to school in Illyria just so I can have Vinnie Jones as my Phys Ed teacher. He is amongst the most entertaining British actors and so long as he gets to play himself, the show will have some worth. That said however, he was underplayed severely in this film, to its disadvantage.

The rest of the supporting cast serves mostly for eye candy, and Channing Tatum is high on that list, though James Kirk would come in a close second. For the Female Eye Candy List, Alexandra Brekenridge (break your neck saying her name) really goes all out as the beautiful-but-don't-you-dare-touch-me Monique and Laura Ramsey is sweet and spicy as Olivia. The movie tried to add some quirk with the creation of the Principal-turned-Cafeteria lady-turned gardener. He was clearly meant to smack some whack into the show but he wasn't half endearing or funny or cute enough to pull it off. Good effort though.

Chick flick but not brainrot, 'She's The Man' has got plenty of moments that will get you screeching with shock and laughter.

For when you're bored!

A League of Their Own

Take a fun-filled trip down memory lane to laugh, cry and ride the roller coaster of 'female emancipation' together with a bevy of exquisite beauties - classical + baseball style. 'A League of Their Own' is more than your usual historical reenactment film; being truly in a league of its own. How often do you get a movie made in honour of leggy, high cheek-boned beauties with skirts riding up as they slide into home base?

Its script - sharp and meaningful, will give you tremendous enjoyment. Jon Lovitz deserves much credit for this, considering he got most of the best lines in the movie, as he delivered his lines with flat sardonicism. Geena Davis is a living Greek statue and a fine actress. Her sister character sure got the shorter end of the stick, as she complained incessantly about in the movie, and so did the actress, because Lori Petty is like her name - which just comes short of being 'Pretty. Still, she was a thoroughly believable younger sister whom has a love/hate, idolise/abhor relationship with her elder sister. Madonna must have greatly enjoyed her bold nymphomaniac role, or at least she looked like she was, and need I say she was believable?

Now Tom Hanks- he deserves a pat on the back for his versatility - think Forrest Gump then watch this movie. He plays an incredible lout, drunkard and altogether baseball jerk and wash-up, and he still manages to win you over when he softens up towards the end. There is plenty of strong support from the supporting cast so the movie really thrives on chemistry.

Director Penny Marshall handles family drama, social pressure and internal conflict cleverly and sensitively, giving adequate doses of each at accurate points such that the movie becomes an experience akin to watching life unfold before your eyes.

If all else fails, the movie has bright and cheerful colours, a lindy hop-ish dance scene which will inspire you to take up the art, and eye candy.

If you get the DVD, take a bit of time to check out the Documentary this movie was based on - nice bit of Hallmark work.

Enjoy.

B & J

Uh uh, not Ben and Jerry's Ice Cream, I couldn't write a review on that. What we're looking at is 'Benny & Joon', a 1993 romantic comedy, featuring one of Depp's earlier appearances before he made the 'Hot Hollywood' list, though truly this is one of his finest work.

The 'Benny' in Benny & Joon is Aidan Quinn, the brother of 'Joon', who is played to perfection by Mary Stuart Masterson. Strangely, the main attraction of the show (for me at any rate) - namely Depp, is not in the title! Benny & Joon is a movie about the sibling care and individual realities of Benny and Joon. Joon suffers from an unnamed mental illness that requires her brother to deal with capitulating housekeepers, bewildered policemen and to renounce a social life altogether. Depp arrives in the pot of a card game played for keeps when Joon lost (Heart flush outrumped by Full House) and Benny brings him home to discover he is a the perfect housekeeper for Joon. He cleans (oh my!), cooks (albeit with an iron and goodness knows what else), and entertains. Ultimately, he proves to be more than the perfect housekeeper, becoming the perfect match; soulmate; yin to Joon's yang. Their love, secret at first, grows beyond the glass walls of Benny and Joon's world to burst into their own little homely bubble.

I cannot imagine Joon played in any other manner and by any other - Masterson is witty, perplexing and matched in her wholesome portrayal of Joon by Depp's immaculate performance as Sam. His air of innocence is impeccable with his puppy face in a Bustor Keaton outfit, and when he mimes, it is the best 10 minutes of the film. Quinn does a fine job as the silently enduring brother-turned-parent who in the end, lets go of his apron strings for the benefit of all; he is more a plot device than a feature to compel you to watch the movie.

Watch it again, and again, and you'll never be bored. Kudos to The Proclaimers for adding a wonderful finishing touch to the movie with the erratically charming song - "I would walk 500 miles".

Why I hate Saturn

Engaging from the first page and scintillating, funny and intriguing till the very end, 'Why I Hate Saturn' will absorb you into its world of light-hearted cynicism.

Cutting-edge sarcasm has never made for better conversation than in this book, but it maintains a simple charm. The strange plot that weaves itself, taking turns where you least expect it, grounds the story in unquestioned absurdity. A true New Yorkian story filled with the conversation of eloquent skeptics.

The graphics are simple and easy on the eyes, writer-artist Kyle Baker makes the most of black and white art in stylistic images.

'Why I Hate Saturn' is a great way to spend two hours curled up on the couch with Chunky Monkey ice cream, just don't get any on the book cos you'll need to return it to the library clean.

With A. Tautou, it's Priceless

Audrey Tautou's performance in Priceless (French title: Hors De Prix) lives up to the movie's title. She would be what you watch the movie for. Her wonderfully simple character is played with nuances that gave her a vulnerability and complexity, while maintaining a stereotype facade for the comedic elements of the movie. Plus, the haute couture is well-modeled on her skinny and much sought after frame. though I say looking at her ribs throughout the movie brings to mind the horrors of anorexia. Still, haute couture becomes her; demonstrating her acting versatility when one remembers her recent previous roles (Amelie, A Very Long Engagament). Co-star Gad Elmaleh plays the 'toyboy' well. His natural goofiness lends strength to his attractiveness in this movie, and his evolution from doof to couth flows as smoothly as the silk of Tautou's many designer gowns. The chemistry between the two of them is undisputable, as is their romance, but I pondered the 'why's of it without getting a satisfactory answer, leaving me to the conclusion that their romance reeks of the strange unwordable love much like sister movie Jeux d'enfants (Love Me If You Dare).