Love The Arrival. I give it 4 stars out of 5

One of the things that struck me about this movie is that whilst the focus is on learning to communicate with the aliens, that's not all that's going on. Look at the scenes where Louise talks to Colonel Weber about what she's doing. She and he look at the world in different ways - they are also alien to one another, and she is using examples and stories - even made up ones like the "Kangaroo" story - to bridge a gap in understanding with him and his superiors, exactly like she's having to do with Humans and the Heptapods. And on a larger scale, the different nations with Heptapod ships in them all have different philosophies and ways of doing things, different ways of understanding the situation. And they also have to overcome those gulfs and communicate with one another to arrive at the solution. So the movie is about communication not just with the heptapods, but on at least three different levels. The message seems to be that we are ALL aliens to one another, and the key to overcoming those divides is learning to communicate so that we can bridge the gaps in understanding between us.

10 Cloverfield Lane is a 4 Stars out of 5!

In 2008, the apocalyptic monster movie Cloverfield arrived in theaters and wowed audiences with its relatively low-budget sci-fi spectacle. A sequel was in development following its success, but eight years later what we've got instead is 10 Cloverfield Lane, another fairly low-budget sci-fi thriller with little connection to the earlier movie besides its title featuring the word "cloverfield."

The idea is that "Cloverfield" is an anthology series brand, like The Twilight Zone or Black Mirror, only for theatrical film releases. 10 Cloverfield Lanewas actually once a totally original property independent of any other (the initial script, by John Campbell and Matt Stuecken, was called The Cellar). Then producer J. J. Abrams stamped the Cloverfield title on it, and now it's sort of like an adopted cousin rather than a descendant of the 2008 movie. 

This one is set far away from the subway tunnels of New York City, mostly inside an underground doomsday bunker in Southwest Louisiana.

That’s where Michelle (Mary Elizabeth Winstead) wakes up after getting into a serious car accident. She’s handcuffed to a wall inside a heavily locked room, but when she meets her host/captor, Howard (John Goodman), he insists that he saved her life and is continuing to protect her from a dangerous threat outside the shelter.

Also in the bunker is Emmett (John Gallagher Jr.), a local who helped build the structure. Michelle reaches out to him for help in understanding whether or not there’s actually anything to be afraid of beyond the hatch doors. But he doesn’t seem to know much, either, beyond what Howard has told him. It could be nuclear fallout. It could be “the Martians.” Because of the uncertainty, Michelle remains skeptical, and so she makes every effort she can to get away.

Whether he’s right or she’s right is a great mystery driving the story in 10 Cloverfield Lane. And the movie keeps playing with expectations by constantly having us switch up our own theories on what’s actually going on. Is Howard merely a kidnapper? Is he indeed a do-gooder but still a “monster” of sorts? Just when we think he’s lying, we’re given a reason to think there may really be a threat outside. Then we’re given a reason to think he’s lying again, then not, and so forth.

Eventually, it doesn’t matter. The curiosity coupled with discomfort with her companions gives Michelle cause to find out for sure (and we thank her because the suspense is killing us and the sound design and the alarming score by Bear McCreary is keeping us on edge, too). There’s a sense that escape will just be a leap from the frying pan into the fire, though, especially since she started out escaping a lesser kind of trap -- marriage -- only to wind up truly locked away in a very confined domestic situation.

Obviously I’m not going to spoil the details of how the twists and turns play out let alone the truth about the scenario and how it ends. I’ve probably shared too much already, and 10 Cloverfield Lane is the kind of movie that’s best entered cold, knowing as little as possible. Especially because that aligns us with Michelle and her position of always being in the dark as far as what’s going on.

Although not a found-footage movie like Cloverfield, this movie similarly involves obscured perspective. Instead of being limited in what we see and know by a character’s shaky handheld camera, we’re hampered by the movie strictly sticking to Michelle’s minimal point of view and awareness. Director Dan Trachtenberg, who makes his feature debut here, is very resourceful in keeping the storytelling clean and conformed to the rules set by its narrative subjectivity.

Michelle is also very resourceful, a truer representation of survival than the hiding survivalist depicted through Howard’s character. Both parts are played with great contrast to one another by Winstead and Goodman, too. She is neither the trembling nor the outright confident woman we usually find leading movies like this. Winstead plays the part more natural than extreme. As a result, Michelle regularly comes off as more confounded and amazed than scared.

And Goodman’s performance as the creepy but well-intentioned doomsday prepper is so brilliant, even if sometimes cartoonishly over the top, that we’re never sure what he’s all about and whether he should be trusted. Goodman is a remarkable actor who has shined mostly in supporting roles over the last three decades, and while this isn’t necessarily his best work in years it’s definitely the greatest showcase of the extent of his talent in a long time. Way too long.

At its best, 10 Cloverfield Lane is a tight, well-acted single-location film play with thrilling drama, a good deal of action considering the limited setting and a number of surprises. But it does go for more in the end with a third act that delivers a major shift in space and tone, and that won’t be a satisfying direction for everyone. Regardless, it’s still all handled in a manner that’s efficient and necessary. If 10 Cloverfield Lane is to be considered a sequel, it’s one that’s even better than the original.

The Allegiant Part 1 scores a 3.5 / 5

The Divergent Series: Allegiant — Part 1 is a huge improvement from the first two films of the series. Unfortunately, it’s the first part of a two-part finale based on the last book of Veronica Roth’s popular, dystopian series.

Do we always have to do book three as a two-part movie?

On the plus side, unlike most of this ilk — like The Hunger Games and The Maze Runner — you really don’t need to see Divergent and Insurgent to like or enjoy it, and if you don’t see part two, this one is plenty satisfying.

Erudite leader Jeanine is dead and so is Four’s mother, and rebel leader Evelyn have begun trials for Jeanine’s followers. They’re executed mob style. Amity factor leader Joanna and her followers cannot suffer this type of justice, and they withdraw. That sets up a civil war.

As the plot progresses, Tris, Four and their friends and colleagues — who also want no part of the executions — leave. They want to see if life exists outside Chicago’s walls. Once in the badlands, they discover another city. Its leader David reveals unknown secrets about Chicago and why disasters like Chicago happened to humanity.

The original cast Shailene Woodley, Theo James, Naomi Watts and Octavia Spencerreturn. Added to the plot is Jeff Daniels (The Martian) as the new city’s leader David.

Insurgent director Robert Schwentke returns, but a new writing crew is brought in. Screenwriter Noah Oppenheim helped pen The Maze Runner, and his co-writers Adam Cooper and Bill Collage are responsible for the excellent The Transporter Refueled.

That probably explains why this one has more energy and focus than the first two.

They don’t exactly follow Roth’s novel, but who cares. The Divergent Series: Allegiant — Part 1 is the best dystopian movie to date.

Read more here: http://www.tri-cityherald.com/entertainment/movies-news-reviews/mr-movie/article66685697.html#storylink=cpy

Zootopia is a 4 / 5 !

Director: Byron Howard & Rich Moore.

Cast: (voices of) Ginnifer Goodwin, Jason Bateman, Idris Elba, J.K. Simmons, Nate Torrence, Octavia Spencer, Jenny Slate, Shakira.

There are moments in Disney’s latest animated classic-in-waiting where you have to remind yourself you’re watching a kids movie.

It’s as if the directors and the seven people credited with the story decided to see how many “grown-up” ideas they could throw at the script before people would notice.

That seems the most reasonable explanation for this wonderfully smart piece of computer animation, which is basically a police procedural about racism and prejudice peppered with references to The Godfather andBreaking Bad.

To put it in a more child-friendly way, it’s also the tale of a rabbit and a fox who team up to find some missing animals while learning lessons about being true to yourself and good to others, filtered through a Looney Tunes lens and references to Frozen (and there’s a decent Let It Go-style uplifting number called Try Everything to boot).

This multi-layered delivery makes it excellent entertainment for all ages – in fact, the only criticism is the film seems to pander more to the adults than the young’uns at times. 

Goodwin voices Judy Hopps, a country-born rabbit following her dream of being the first of her species to become a police officer in the big city of Zootopia – an animal-built city where predator and prey live together in something close to harmony. 

The Disney team has created a compelling world that begs for sequels – the credits roll leaving you wanting to spend more time in Zootopia and its rural surrounds because it feels like a functioning place and not just an excuse for a barrage of animal gags (although I can’t help but wonder what the carnivores eat if it’s not their herbivorous neighbours).

Within this world, Judy and Nick are fascinating guides – the courageous yet naive rabbit and the cunning but cynical fox make for a great odd couple pairing that deserve more than one movie, mostly because they are well-rounded and nicely developed characters.

But will the kids like it? There are long stretches that feel better suited to the older audience, not because of “adult themes” but because how many kids watch detective dramas? You could hear the younger children squirming in the audience, waiting for the next big action scene or joke involving a sloth. 

There are a couple of good scares in here too, and coupled with the sleuthy plot and its anti-prejudice undertones, it’s enough to keep the very young ones away. But the reality is this is a kids movie that will grow with the kids – they will find more to appreciate and understand with every viewing, which is the sign of a truly great family film.

Zootopia is a surprisingly sharp examination of racial profiling, prejudice, equality and stereotyping, and how often can you say that about a kids movie? It’s also the latest in a strong run of animated movies from Disney, who churned out a lot of average fare in the ‘00s but have delivered a quality streak (Tangled, Wreck-It Ralph, Frozen, Big Hero 6, and now this) since the turn of the decade.

Adults and children alike should walk away impressed by this fun yet thoughtful adventure.

Sisters. Tina and Amy are the GREAT Duos.

There's no shortage of comedic talent on screen, yet Sisters plays a bit like a raunchy stand up routine, loosely stitched together by a narrative that begs for more than crass, out-to-shock verbal torrents. Tina Fey and Amy Poehler are two formidable talents and they work the material (by 30 Rock and Saturday Night Live writer Paula Pell) as well as anyone could. It's certainly entertaining to watch these attractive, smart women at work. For me, the disappointment is that the material simply does not fire. It does has its moments and some of the ideas have balls, but it lacks any relationship with reality, which is crucial for any serious comedy if it is not funny enough to spiral on its own lunacy.

The film starts well with an attention grabbing Skype scene in which James Brolin and Diane Wiest (as the sisters' parents Bucky and Deana) drop the bombshell to their responsible, do-gooder daughter Maura (Poehler), that they are going to sell the family home. This is the setup and it is up to Maura to tell her irresponsible sister Kate (Fey) the news. It only takes one scene with Kate for us to see first hand that she has no idea about keeping a job, a home, or a relationship with her smart teenage daughter Haley (Madison Davenport). But then, it's as though Pell forgets Maura and Kate's personalities, as they head home to Orlando, where both act like airheads for one last hurrah.

The fact that the house has already been vacated and sold is the springboard for the two girls extending an invitation to all their old friends for one last party, where tequila shots, drugs, blue paint and an overload of dishwashing detergent all play a part. Highly memorable is the scene in which a ballerina music box accidentally finds its way into an unmentionable orifice of Maura's new boyfriend James (Ike Barinholtz) during an intimate moment. It is with a mix of disgust and fascination that we watch the pink base of the music box twirl, while Beethoven's Fur Elise plays once too many times. The fact that Maura is a nurse and uses the nurse-equivalent line to 'Trust me; I'm a doctor' as an action point, is quite funny.

The party is an excuse for a bawdy gathering of the subdued and not so subdued, including Maya Rudolph's unpopular, unwelcome Brinda, who endures all kinds of humiliations. I like the originality of the scene in which the po-faced Korean manicurist Hae-Won (Greta Lee introduces herself before the final payoff at the party, but the arrival of the loud lesbians and insufferable Alex (Bobby Moynihan) is less successful.

The material is stretched further than it can bear and the film wears rather thin by the end, despite some laughs along the way. As for Fey and Poehler, they come out shining despite everything. On its own terms, the film will find its audience - especially after a few shots and slices of pizza, but it could have been so much more.

Will Definitely Watch 'How To Be Single' AGAIN.

Call me cynical but a studio film called How to Be Single all but guarantees that it will end with the female leads walking into the sunset, arm-in-arm with winsome honeys – singledom having taught them to appreciate the value of a good man. Amy Schumer’s Trainwreck launched itself on a similar premise, appearing to celebrate a promiscuous bachelorette before crumpling in on itself to reveal that Amy’s abundant shagging was not making her happy. What she really needed was for Bill Hader to save the day by being a STUMP (Supportive, Tolerant, Undemanding, Monogamous Partner).

How to Be Single sticks to its titular guns throughout a fast-paced and progressive comedy that plays like a thoroughly modern screwball. In The Golden Age, couples would bicker wittily but kiss and make-up in time for the end credits, while this film savours a lifestyle in which women save their most intimate and dynamic conversations for friends. Sex and love interests circle the periphery, but falling into their “dicksand” is to be avoided. “Dicksand” is an essential concept that, like all great new terms, can immediately find application in daily conversations. Falling into dicksand is when we set our hard-won identity aside for the sake of a sexy man.

The film is bursting with handy phrases for modern living, most of them spoken in a dry deadpan by MVP Rebel Wilson. Her character Robin operates as single-life spirit-guide to Dakota Johnson’s Alice. Fresh out of college, Alice has chosen to go ‘on a break’ with her long-term boyfriend to experience what it’s like to be single for the first time in her adult life.

This is the kind of film world in which Alice and Robin are seen going to their job at a law firm for less than two days – a film world in which Alice’s opening-credits relocation to New York features her in a yellow taxi driving towards the iconic skyline accompanied by Taylor Swift’s ‘Welcome to New York’. This unsubtle and airbrushed lifestyle doesn’t have time to grate as the film delivers good-natured joke after good-natured joke and enjoyable character after enjoyable character.

Leading the supporting cast of eligible men is Josh (Nicholas Braun) whose bar and bedroom are always open to lady friends, provided that they don’t try to stay for breakfast. Jake Lacy and Damon Wayans Jr show up to be charming and progressive visions of single men, while Nicholas Braun is perfectly cast as Alice’s ex, Josh, whose cookie-cutter good looks scream STUMP. “Makes sense,” says one of the characters when they finally encounter him.

The 5th Wave Review. I give it 3.5 / 5

After the 1st wave, only darkness remains. After the 2nd, only the lucky escape. And after the 3rd, only the unlucky survive. After the 4th wave, only one rule applies: trust no one.

Now, it's the dawn of the 5th wave, and on a lonely stretch of highway, Cassie runs from Them. The beings who only look human, who roam the countryside killing anyone they see. Who have scattered Earth's last survivors. To stay alone is to stay alive, Cassie believes, until she meets Evan Walker. Beguiling and mysterious, Evan Walker may be Cassie's only hope for rescuing her brother--or even saving herself. But Cassie must choose: between trust and despair, between defiance and surrender, between life and death. To give up or to get up.

One of the more interesting ideas in The 5th Wave results from one of the titular waves, an offensive strike from the ominous aliens that seek to wipe out humanity. After destruction, pestilence, darkness, floods, and faults, the humans have one more thing ripped from them: the ability to trust each other. If they see another human, another lone survivor, they have to run. Run in the opposite direction. Run away as far and fast as they can.

That’s pretty much what this movie does when a good idea stumbles into sight — that particular idea included.

The Forest

Against the backdrop of Japan's Aokigahara forest, where people go to end their lives, an American woman braves the mysterious, uncharted terrain to search for her missing sister.

 Japan’s serene and notorious Aokigahara forest — one of the most popular places on Earth to commit suicide — has been a trendy setting for movies of late. Gus Van Sant’s The Sea of Trees made a much derided appearance at last year’s Cannes Film Festival, but if you missed that haute unveiling here’s the ready-to-wear knockoff, also shot in a verdant look-alike forest (the Japanese government doesn’t permit filming in the real Aokigahara) and also trying hard to invest its story with dread, revulsion, and tragedy while falling flat on its face.

Sara (Natalie Dormer) travels to Japan in search of her identical twin sister Jess (also Dormer, this time as a brunette wearing wild-child eyeliner), who went missing while chaperoning a field trip to Aokigahara for the bilingual school where she works. Everyone tells Sara to give up hope, but she has a hunch that her sister is still alive. A travel journalist (Taylor Kinney) makes her a deal: If she lets him use her sister’s disappearance as the human-interest hook for the article he’s writing, he’ll allow her to tag along with the official guide (Yukiyoshi Ozawa) who’s escorting him into parts of the forest off the main trail. But watch out: The ghosts of the suicides are restless and vengeful. Don’t believe anything you see or hear, especially at night.

In lieu of creating interesting characters through which the audience can experience the hopelessness and dread of such a desperate place, The Forest instead follows this lather-rinse-repeat formula for 95 minutes: Something spooky appears (a flickering florescent light, an abandoned tent in the woods, a long-lost childhood toy); Sara takes tentative steps towards it, as if walking barefoot on a carpet strewn with tacks; and then — boo! — something jumps out. Sometimes it’s benign, sometimes it isn’t — but after the tenth occurrence, who cares? Watching this film is like paying a visit to a schoolmate who never got tired of joy buzzers and whoopee cushions. (More importantly, it’s arguably tasteless to set a rote, unremarkable horror movie in a locale where many real people have died. There are serious, sincere dramas that take place in Auschwitz, but are there any popcorn slasher flicks?)

It’s a sign of lazy screenwriting when characters do an Internet search in order to provide exposition; it happens here early in the film, as Sara combs through websites and photos to explain Aokigahara’s reputation for the uninitiated. But anyone can do that. 

I rate this movie 3 / 5

The Triangle will LEAVE YOU TINGLING

It’s déjà vu all over again for the heroine of Chris Smith’s mind-bending psychological thriller, which marks a quantum leap forward from ‘Creep’ and ‘Severance’. During a weekend sailing trip, a freak wave capsizes Greg’s yacht, forcing him, single mother Jess (Melissa George) and a group of his friends to board a passing ocean liner. Onboard the mysteriously empty ship, all the clocks have stopped, the ‘Shining’-like corridors are spookily silent, and Jess has an uncanny feeling that she’s been here before. 

Then a hooded figure starts hunting them down and killing them one by one. Shotguns are fired, fire axes are wielded and bodies pile up on the decks. Fiendishly constructed, this plays like a dark, disturbing ‘Twilight Zone’ episode. Events repeat themselves but are subtly different each time, so we share, as well as observe, Jess’s spiralling sense of dislocation. Melissa George’s fearless, credible performance grounds the madness in a moving emotional reality, even as her sanity is lost at sea.

It's Been a While Since I rate a movie 4.5 / 5. Great job, Inside Out!

Pixar has done it again! Proving that even with the slightest misstep in any of their films, they will always have another great idea coming along the way at some point. This time, the story focusses on Riley, a young girl whose family moves into a new house. Away from all of here fondest memories, we get a clear vision of what it is like to be in the mind of a human and how much can go on inside ones head. Brilliantly scripted, "Inside Out" is one of Pixar's most thought-provoking films to date. 

After the core memories in her head are lost amongst the forgotten, a journey of happiness and sadness ensues. Taking place mostly in the mind of Riley, this picture has an endless number of brilliant touches as to how a young girl would conceive the world around her. From the opening scene all the way to the closing, the progression of her mind is so spot on, it almost was able to write itself. 

Pixar has always been known to tell fantastical stories and tug at the heart strings, and this one does not hold back. They have gone all out once again, proving that they are, and always will be at the top of the animation genre. If I had one gripe about "Inside Out," it would be the fact that the film does focus a little too much on the journey inside her head, and there were a few moments where I wished it would have shown a little more of Riley from the outside, just to contrast between the two. 

That is just a minor complaint in the midst of an otherwise brilliant film. It is definitely among Pixar's best. In the end, this is a film that is watchable for both children and adults, the story is fantastic, the characters are easily established and relatable, and the animation is glowing as always. Disney/Pixar has once again outdone themselves. A must see! So Pixar... What do you have for us next?

Worst Movie EVER. LEFT BEHIND.

The trailer I watched was fantastic! There was that OMPH! So I bought a pair of tickets and watched it with my boo.

One word to sum up the movie; TERRIBLE.

It believes people might buy a ticket to Left Behind and not know the twist, like someone sitting down to watch Godzilla and being shocked by the entrance of a giant lizard.

Christian readers and audiences are the base here, but it’s hard to imagine that this incarnation of the story will persuade anyone else to find the Lord unless they’re sitting in the theater praying for the dialogue or special effects to improve. This is essentially an “Airport” movie with an Evangelical spin, but it lacks the self-awareness to turn such a wild concept into a guilty pleasure.

Director Vic Armstrong, a longtime stuntman making only his second feature (and his first in a couple of decades), had a larger budget than the original's, and a more established star in the lead. None of that shows up on screen. The "big" set pieces look small and chintzy, the lighting is hard and flat, and the pacing is a monotonous back-and-forth between an airplane in the skies across the Atlantic and the chaos on the ground below.

But the more serious disappointment comes from Cage’s performance. As the awesomely named Rayford Steele, a philandering airline pilot who sees the light as the end is nigh, Cage needed to bring the wild-eyed, full-bore crazy. This has been his bread and butter of late, and it’s been a thoroughly enjoyable career shift. Instead, he’s oddly inert as the movie's voice of reason. Looking distractingly rubbery with a helmet of fake, dark hair, he seems to have been Photoshopped into the film. His presence is so strangely awkward and unconvincing.

Then again, the script from Paul Lalonde (who also produced the original “Left Behind” movies) and John Patus doesn’t exactly give him or the rest of the cast much to work with. It’s full of flat character types and blandly expository dialogue. 

At the film’s start, Rayford’s daughter, Chloe (the perky Cassi Thomson), has come home from college for the weekend for her dad’s birthday. But Rayford got a last-minute assignment to fly from New York to London overnight, which will keep him away all that time. At least that’s what he told his wife Irene (Lea Thompson), who’s no fun anymore now that she’s found Jesus and is urging everyone around her to do the same. 

(The camera lingers as Irene tosses her gardening gloves on top of her ever-present Bible.) His real plan is to seduce a hot, blonde flight attendant (Nicky Whelan) over the weekend, beginning with prime tickets to see U2.

This is actually a vaguely intriguing premise: What happens to a marriage when one spouse undergoes a religious conversion and the other does not? It seems similar to what happens when one spouse gets sober and the other keeps drinking. What sort of wedge does this create? How does the family survive? But these aren’t the questions “Left Behind” cares to ponder. Armageddon is on the horizon.

Boo to Left Behind. I do not recommend you guys to watch.

I will score the movie 0 / 5.

Love The Witches From Wizard of Oz

Glinda, the Good Witch is played almost too perfectly by Michelle Williams. Mila Kunis looked extremely hot in the first half of the movie, before she turned into the Wicked Witch of the West. Her sister, the never seen before Wicked Witch of the East is played by Rachel Weisz, again, until she gets turned into a hideously hideous witch. This is probably the first time the Wicked Witch of the East is seen, because if you remember, she dies almost immediately in The Wizard of Oz, thanks to Dorothy's house squashing her flatter than a pancake.

What I really loved about this movie is the brilliant visuals. There has been much focus on the VFX artists after the Oscars, and this is one of the reasons why their protests are well grounded. As a kid, I imagined Oz through the occasional picture of the Yellow Brick Road and rolling hills of green. This Oz movie has taken my childhood visuals and made them a hundred times more real

Les Miserable

When Les Misérables is good, it is very, very good, and when it is bad, it’s usually because Russell Crowe has opened his mouth. Among the held-breath gambits Hooper (The King’s Speech) endeavors is his mix-and-match cast of stage veterans, movie stars, and intriguing in-betweens, like anchor Jackman and lesser-known breakouts Samantha Barks (as the lovelorn Éponine) and Eddie Redmayne (as the revolutionary Marius – and if we’re ranking, Redmayne’s spare, gutting take of “Empty Chairs at Empty Tables” could easily claim best-of-show). 

I love Anne Hathaway so much!  Anne Hathaway fares far better in a justly hyped supporting role as the factory worker turned prostitute Fantine. Her solo “I Dreamed a Dream” is the first significant test case of Hooper’s other big gamble, which was to record his actors performing live, with flat notes and rough edges preserved and not redone in the safe haven of a studio.

All in all, I watched the movie because Anne Hathaway and Amanda Seyfried's in the movie!

Is this a great movie? - YES!

Will I watch it again? - NO.

Selective

I am very selective of what kind of movies I watch nowadays.

1. Movie tickets aren't getting any cheaper.

2. Only interested in movies which have interesting plots or probably something twisted.

3. I am not going to watch any Singaporean produced movie unless they are really very good.

I love watching Love and Other Drugs. I love Anna Hathaway! I love the plot!

Anna Hathaway is such a sweetheart. She is definiitely a great actress. Love her to bits.

Maggie (Hathaway) is an alluring free spirit who won't let anyone - or anything - tie her down. But she meets her match in Jamie (Gyllenhaal), whose relentless and nearly infallible charm serve him well with the ladies and in the cutthroat world of pharmaceutical sales. Maggie and Jamie's evolving relationship takes them both by surprise, as they find themselves under the influence of the ultimate drug: love.

This movie is a MUST WATCH!

And the other movie I watched recently was Burlesque!

The reasons why I watched this fantastic show were;

1. Cher.

2. Christina Aguilera

3. Kristen Bell

4. Fucking awesome songs!

5. And an awesome plot!

Black Swan

I want to watch the Black Swan because;

1. Natalie Portman is the lead actress.

2. The trailer is intruging.

3. It shows how a girl who has a passion for dancing became obsessed with it and turned evil under pressure.

Nina (Portman) is a ballerina in a New York City ballet company whose life, like all those in her profession, is completely consumed with dance. She lives with her obsessive former ballerina mother Erica (Hershey) who exerts a suffocating control over her.

When artistic director Thomas Leroy (Cassel) decides to replace prima ballerina Beth MacIntyre (Ryder) for the opening production of their new season, Swan Lake, Nina is his first choice. But Nina has competition: a new dancer, Lily (Kunis), who impresses Leroy as well.

Swan Lake requires a dancer who can play both the White Swan with innocence and grace, and the Black Swan, who represents guile and sensuality. Nina fits the White Swan role perfectly but Lily is the personification of the Black Swan.

As the two young dancers expand their rivalry into a twisted friendship, Nina begins to get more in touch with her dark side - a recklessness that threatens to destroy her.

Ju-on; Black and White Ghost

I went to watch Ju-on yesterday with my friends but they didn't like it. I thought it was good. Not great but still good.

It was better than the previous Ju-on movie. Or maybe I was still young when I watched the previous Ju-on movies and I didn't understand them.

This time round, I understood and thought it was really clever for the directors to break the storylines into many parts.

Introducing the characters and how they were realted to one another.

The lead actress for Juon; white ghost is very pretty, HAHA!

And the storyline for both white ghost and black ghost did make sense.

You should watch this show if you are a fan of horror movie and a fan of Ju-on.

Jennifer's Body; A Complete Flop!

Jennifer’s Body has pretty much all that was expected from the movie; blood, strong language and raunchiness – all involving good-looking 20-somethings masquerading as teens.

But what it lacks; good story plot, great acting skills, and great lines.

Though Megan Fox is the lead actress, the movie to me was boredom followed by dullness with a dash of eh!






Megan Fox's first movie FAILED badly!

The Orphan

In his review, Roger Ebert said, "You want a good horror film about a child from hell, you got one. Do not, under any circumstances, take children to see it." I completely agree with everything he said in his review.

The trailer to begin with was fantastic. I was really anticipating this movie and I never thought the ending would be that way.

Possessed was the first thing that came into my mind. Evil mother was the next. But all my guesses for the ending was wrong.

It was completely twisted!

In Orphan, the little girl (Esther) is so bad. 'Naughty' doesn't even able to describe how bad she really is. She's a devil: a type of child that you, as a mother, want to crush immediately into pieces.

Isabelle Fuhrman does excellent job as a devil-possessed like girl with extremely worrying mental problem that begins to kill everyone one by one. Vera Farmiga, Peter Sarsgaard and the rest of the family also did very good job acting as a family that was broken down by this demonic little girl.

Orphan is a total pleasant to watch... or disturbing? The amount of blood resulted by the child's act is truly unbelievable.

I swear the ending will leave your jaw opened awhile!

You've got to watch it yourselves. Orphan will leave you with goosebumps after you leave the cinema.

I give this movie 5 stars but I don't understand why those patrons did not really like watching this movie.

When I got out of the cinema with Eric, I heard their comments and they didn't really give good comments.

I beg to differ!

I love the movie!

The Hangover Vs Sabrina, The Teenage Witch

"The Hangover" isn't as funny as it seems to think it is. It's bascially "Road Trip" in a different venue with the same kind of quirky surprises, only this time around, the surprises aren't all that surprising. They're too familiar.

All the jokes are lame dirty vulgar jokes!

The jokes get tiresome after a while.



Bradley Cooper needs to decide if he's a comic actor or a dramatic actor. The movie goes from point A to point B and beyond too mechanically.

Its like mystery solving.

"The Hangover" doesn't feel fresh. It feels manufactured. The ending is a sop and doesn't match what goes on before.

Too many of the jokes are cliched guy stuff and in desperation, the director and the screenwriters go for homophobic and sexist material. Too many anti-gay lines work against the characters.

Though "The Hangover" has been on the movie top charts for weeks, its still a blah to me! I don't really appreciate the jokes!

Heather Graham's stripper/escort is only there to be the butt of jokes. There's no humanity in how she's treated. Overall, this is going to be one of the key overrated movies of all time.

I am glad Lindsay Lohan rejected the role of the stripper which was then taken by Heather.

I prefer funny BUT not vulgar jokes like the ones in Sabrina the teenage witch.

Sabrina brings laughter with even the less funnier jokes.

Kudos to Sabrina, boo to "The Hangover"!

Transformers; It Is A Must Watch

Transformers kick ass!

Transformers evoked all my emotions.

I cringed when Megan Fox kissed Shia. I was like NO! She's hot and he's not. Okay la, Shia's not bad but they are not quite the compatible couple.

I cried when Shia's mum and dad were held captive and when they were reunited, Shia had to leave them to complete his mission. I cried when Shia died.

I laughed when the dogs made out with each other. I laughed when the small robot made out with Megan's leg.

I was holding my breath when Prime fought with the Decepticons. I was holding my breath when the robots fight with the humans.

I was frustrated with the President's lackey for not heading Prime's advice.

I was pleasantly surprised Shi'a mum was more comical than the first movie.

I need more popcorn because the movie lasted for more than 2 hours.

I think Bumble Bee had more screen time than Prime, right?? I love Bumble Bee.

I give 5 / 5.