Genocidal Organ (2017)

“I’m prepared to protect my world. A world where I can order a jalapeno pizza, and pay for it with my ID thumbprint! Where I can throw away half my Big Mac just because I’m full, and I want too!” – Williams from Genocidal Organ (I thought this line was hilarious both in, and out context. Best reflects this movie in a nutshell)

Politics, conspiracy theories, theology, psychology, and man’s morality are all tricky subject matter to tackle. Let alone all together into a single movie like Genocidal Organ attempts to do. Presenting itself as this intellectually deep film while providing some over the top blood & gore to attract casual viewers. It’s a animated film that requires all your attention to stay awake while watching. If the long talkative scenes that over explain things don’t bore you than the lack of engaging characters will.

Set in a time when Sarajevo was obliterated by a homemade nuclear device, Genocidal Organ story reflects a world inundated with genocide. An American by the name of John Paul seems to be responsible for all of this, and intelligence agent Clavis Shepherd treks across the wasteland of the world to find him and the eponymous “genocidal organ”. The setting of Genocidal Organ is nicely realize painting broad a picture of a semi-dystopia US. Creating the world by going into detail what led the country down the path it did. You’ll get a good grasp at the type of world this movie takes place in, and how exactly characters feel about living under a heavily surveillance country.

The future is nothing, but fire

Too bad the way it’s set up is through jargon dialogue going out of it way to over explain things for the audience. Some of this is reasonable like explaining why there’s a difference in surveillance security in different countries, and how the US adapted to combat terrorists attacks. When it tries to go into the more philosophical it drones on. Theology, politics, linguistics, and so much more will be the subject of a single conversation clunkily moving across these topics. These type of conversations consist throughout the movie making it unnatural sounding to listen too. Heck, the movie has a difficult time keeping mundane talk mundane when injecting these kind of subjects into them needlessly.

Amidst all these ideas are a cast of boring characters. The story dictates the characters we follow don’t feel emotion due to their military training. Our lead Clavis Shepherd slowly starts questioning that over time in the film. This plot point would work if the film presented itself better. There’s a sequence where Clavis, and his team storm into a building to killing a group of children guerrilla fighters. By removing his emotion what one should take away from this moment is difficult to pinpoint. Clavis is a blank slate just coming across as a mouthpiece for the writer to spout his belief making him uninteresting. Conflicting interests clashes with long diatribes against society with brief moments of hyper violence spread across it. Instead of leaving an impression it just fades into the background with seemingly nothing of value added to the story.

Want to know these pods are made out of? To bad, it tells you either way

Characters spend more time discussing ideals they forget to have personalities. Only Williams in the cast shows any personality cracking jokes every one in a while, and bringing up how much he loves his family. He feels human in a story that otherwise dehumanizes it characters down to just mere ideals. Sadly, Williams is not our main character so instead of seeing a amoral conflict developed in the story. We have instead the already amoral Clavis Shepherd becoming infatuated with a woman he barely met. If not for the blank slate that he was Clavis seeing his world in a different would have had a impact. There isn’t enough know about Clavis to make the transition easy to get behind either in his romantic fling, or his world views.

John Paul is sadly generic as one can get for a villain. Spouting the usual humanity is evil dialogue. What takes the cake with this character is his explanation that genocide has a grammar to it. The science behind it makes sense in the film’s context since there are silly sci-fi elements to accept it’s possible. This still doesn’t make for compelling dialogue though. However, he’s a slightly better written character because his motivation is explained, even if questionable how one thing lead to another.

What is not questionable is the fact the film uses John Paul stance against the government to prove a point that sacrificing freedom is a bad thing. If the film accepted the fact John Paul actions to prove his point is equally just as bad it would have been thought provoking. If there’s someone like John Paul capable of causing genocide through mere words would I want sacrifice my freedom to ensure he doesn’t cause harm to me? Instead of thinking about that I wonder why the movie thought justifying mass genocides was a thing it needed to do. There’s no grey area on this topic because all it does is make John Paul the embodiment of a hypocrite. Either change the tragic backstory, or make John Paul a straight up delusional villain to prevent an imbalance between the message of the story, and the film’s villain.

This brief moment is cool though

The Japanese voices take a lost on this one for their performances. All the dialogue is western based, and it simply feels like the Japanese did a literal translation of everything of Western phrases. So the Japanese cast has to awkwardly pause, or speed their delivery to match the lip flap. Instead of localizing certain phrases to sound natural in Japanese the literal translation creates an even more unnatural flow to the dialogue. Plus, the Japanese cast ain’t able to capture, or in some cases attempt to mimic the accent of their characters.

Josh Grelle plays Clavis Shepherd coming off monotone for the entire film. The point of Grelle character is be emotionless, but over time he’s meant to be cracking through the monotonous shell with emotion. Unless Grelle screams, it’s nearly indistinguishable to tell apart when his character changes. Overtime this lack of enunciating his emotions eventually just comes off as stoic.

Ian Sinclair is the most enjoyable actor in the English dub. He gets to show personality unlike the rest of the actors. Being allowed to be funny, serious, and anything in between. Providing the film levity, and dramatic weight it desperately needed where it’s regularly lacking.

Yep, animated gif. Hardly notice the animation.

The film’s was originally animated by Manglobe, and once Manglobe closed down it changed production to Geno Studio. It’s obvious to tell that the film had a rocky production history since details, animations, and background quality shift around. Hair details for example is inconsistent; sometimes the hair is detailed with different shading changing depending on the lighting, and other times it remains the same despite the lighting in a scene. There’s some usage of CG that sticks out, but are used sparingly. One of the highlight is animated sequence done in first person which looks pretty good. 

Animation is fluid when it moves, but noticeably drop in quality when characters still down, and stand still in a scene. Typically using a panning shots from far away to cut down on details on the characters. Environments are very detailed, and since takes place in countries all over the world the change in locale is appreciated. Character designs are hit and miss. Sometimes they look fine, and other times like during the action scenes their faces, or body structure just seem off. Lastly, the film does have a few over the top action sequence that bump up the blood, and gore, but they rarely happen in the movie. In line with the dialogue the music itself feels like an afterthought. There’s nothing remarkable about it. Just being loud, and noisy to fill the scene.

Genocidal Organ is the last film Manglobe had in production before it went into bankruptcy in 2015 before getting finished by Geno Studio. Instead of leaving the anime world on a good note this movie best summarizes Manglobe existence in a nutshell. You have a series of great ideas in Genocidal Organ, but with a less than stellar execution. Sharing its ideas before providing a good story to go along side with it. Manglobe name might be behind some fondly remembered animes, but Genocidal Organ ain’t going to be one of them.

Rating: 3/10

Broken (2014)

Plenty of Korean movies I’ve seen just so happen to deal with revenge, and after a while they start blending together. In the same way Hong Kong heroic bloodshed action movies typically tackle brotherhood. Korean revenge movies try to delve into the psychology into those who feel wronged, and deserve to take justice into their own hands. Other Korean revenge movies will indulge the viewers in the fantasy of it. Either method works for me. Broken tries to be a more thoughtful take while providing the thrills, but ends up doing neither successfully.

Initially the movie makes a good impression bypassing the predictable to quickly setup the story of single father Lee Sang-hyeon (Jung Jae-young) wanting to take revenge on the teenagers that raped, and killed his daughter. Broken ends up going downhill after that setup is done. Forgetting to show the gradual change in Lee before he snaps into killing. It just happens without proper build up removing another piece of characterization. As the film progresses, Lee remains a husk of a character with only the fact he’s a father to have you sympathize for him. This is fine until the movie attempts to tackle subject matters without giving them the proper time to be explored. Slowing the film down when touching on delinquency, and the flawed justice system preventing building tension. As a commentary on these things it acknowledges these are a thing in society, it’s unfair, and that’s as far as it goes.

Lee got the bad news. He’s no longer human.

As a drama it fails to be captivating in the way it wants to be. Lee I already mentioned is a husk of a character. So when it tries to delve into the morality of his actions it falls flat. There’s hardly any scenes showing Lee spend time with his daughter to make it feel justify. A trait that is brought up, but isn’t use to explore any kind of regret in Lee. It’s simply makes him sad leaving there, and moving on.

When the film isn’t focus on Lee the attention is given to Detective Eok-Gwan (Lee Sung Min) who is tasked to find both Lee daughter killers, and Lee himself. His contribution to the story is very minimal using him, and his partner to talk on the injustice of South Korea justice system. Simply stating that the kids will get a slap on the wrist isn’t good enough to count as meaningful commentary on this subject. Significantly less so when it tries to humanize the murderers, and rapists of the movie. By doing so, the greyish morality presented further shines a negative light on the lack of depth, and detracts from the few thrills it has to offer.

However, it will have actor Jung Jae-young open mouth a plenty.

Padding becomes more common in the second half. Dragging out out the running time by showing the actors walk through snow for minutes. Sometime it serves a point, and other times it’s just plodding along. The second half feels unorganized compare to the first half. There’s no structure in how information is presented, it’s a lot less eventful, and the pacing becomes slower then usual. What’s not preferable to that is the climax where characters do dumb things out of character. Coming off as contrived instead of organic to the story.

The ending wanted to be heartbreaking during its climax. Falling flat for two significant reasons; first one being Lee easily goes from your average, overworked father to a man on a mission for vengeance. So determine to the point Lee survives a hellish snowstorm despite being immensely exhausted from his journey, and with a broken leg. Second reason being the shotgun Lee carries for just over half of its runtime. Typically the rule of writing is if you have something like a shotgun, or anything established in the story it should be used later on. In the climax, the shotgun is used, but not the way you would expect it. If there was more to Lee’s character the outcome of the climax would be justifiable, but instead comes of as tacky. When I don’t care about the shallow main character of the movie why the movie thinks I would care about it’s equally shallow supporting cast is baffling.

The rain can’t heal the hole in Jung Jae-young heart.

Acting in general is fine without much standing out. Jung Jae-young I feel suffered the most from the screenplay. Almost all of his most potent bits of acting is at the beginning of the film. He goes through a wide arrange of emotion in the first half hour from being remorseful, to angry, and to confusion. It gives him great freedom to portray things about Lee that the screenplay doesn’t provide. Afterwards he becomes stiff being stuck to having his mouth open, and shaking in the cold for a performance. Jung Jae-young just can’t do much with this character coming off as wooden in portraying his tortured soul. Everything else from cinematography to music is fine, but doesn’t do much in service of the movie.

Writer/Director Jeong-ho Lee I would put the blame on for virtually all the film’s problems. Half an hour could have been cut from the movie which instead of using it to develop characters, or further explore it themes just has it actors walk around in the snow. Resulting in a movie that feel padded when it shouldn’t be. A few more touch up to the story would have helped Broken stand out among the mountains of Korean revenge movies. Instead, it’ll just blend in with the crowd without anything to distinguish it in the back of my mind.

Rating: 3/10

Anime-Breakdown: Flavors of Youth (2018)

Producer Noritaka Kawaguchi whose name is attached to such projects like Garden of Words, Your Name, and Children Who Chase Lost Voices brings you an anime film about life in China. It might seem odd at first a Japanese producer making this movie until you remember Japan isn’t new to outsourcing their animation to China. In this case specifically it’s a co-production between Chinese animation company Haoliners Animation League, and CoMix Wave Film from Japan. The later of which is best know for animating Your Name, and several of Makoto Shinkai other works. Under the helm of three directors Flavors of Youth takes a gamble on it talents ability that doesn’t payoff. On a technical level it shows China is capable of matching the visuals of Japan best animated movies, but other than that this anothology has nothing else to show for it.

Sunny Breakfast (Hidamari no Choushoku)

Noodles are the only thing that gives him meaning in life.

The first anthology film is also the weakest without question. This short film marks the debut of internet-based filmmaker Yi Xiaoxing, and his inexperience shows. This short movie is about Xiaomin reminiscing about his youth, but mostly monologuing poetically about his love of noodles like its the only reason life is worth living. He expresses his excessive love for noodles to a point it becomes hilarious. Credit to Crispin Freeman who managed to properly portray his character despite the dialogue he was given to work with.

Here’s a few of those lines:

“Your tongue go numb. Little by little it forgets the sensation of its home town. That flavor I lost. Now seems to haunt me.”

“The mushroom were always strong, and fresh. The kukurage with its firm texture. Each added their own unique layer to the thick broth that crater them. Creating a flavor that made my heart soar.”

“The eggs soft, and fluffy that made the noodles richer as they slid down your throat. That light amber soup, that brought out the flavor of every ingredient.”

Why this short movie is the worst in this anthology is that it tries too hard to be dramatic in a short amount of time, and pretty badly while I’m at it. It tries to pull at the heart strings by having Xiaomin’s grandmother die towards the end. Something that could have worked if Xiaomin monologue about spending time with his grandma instead of describing how good his noodle tasted, or how inferior noodles now taste compare to when he was a child.

“The rain can’t fill the hole in my heart, like those noodles”

Going as far as describing the texture, and the warmth it gives him as a child versus the cold, and heartless taste when he’s an adult. It’s difficult to take Xiaomin seriously about what he lost in his youth, and having to move on from it when more time is spend on him passionately describing what he eats than showing what he experienced.

This story also suffers the most the difference in culture. Apparently in China food is a big deal since it’s the basis for family bonding, and socializing. Although, the short film itself failed to establish this clearly to the viewer so its failure is it own undoing assuming everyone knows about the importance of food in Chinese culture.

Sunny Breakfast gets a 2 out of 10. Only positive is that it’s unintentionally funny hearing the dialogue in the English dub, and is the shortest in the anthology. The animation is lovely to look at.

 

A Small Fashion Show (Chiisana Fashion Show)

Oh look, something else pretty to look at besides the background.

This one is a bit better, but suffers from feeling shoehorn in its storytelling, and a forced happy ending. It’s about a woman who is a fashion model who feels she’s getting replace by younger models. Oh, there’s also a storyline about finding yourself, and being a family. The simplistic story is at odds with itself. On one hand it displays the toll the modeling career as taken on her health, and how badly it treats her since the modeling business will quickly forget about her. Then on the other hand there’s family drama she faces with a sister she hardly spend time with, and the most meaningful conversation they is arguing with each other. These conflicts are quickly resolve by the main character simply believing in herself which somehow fixes everything.

Unlike the first film, you’ll see the main character interact with the people around her instead of being told what’s happening. It struggles to develop characters since their conflicts is a lot more layered than it can explore in its run time. The rival model that appears in the story amounts to nothing more a tool to progress the story. Add on top of the fact the rival malicious intent isn’t even explained, nor is that conflict properly resolved. Another thing I find issue in this film is whatever commentary it wanted to have about the fashion industry is clumsily handled. There is a scene where the model has to soak in the world moving on quickly from her when looking at a billboard with a younger model. The idea behind this scene is good, but given the force happy ending it makes this scene, and other feel redundant.

One thing that is consistent among these short movies is they are all pretty to look to look at. The voice acting in this short film is the best since the actors have a lot more to work with, and the progression of events is more natural so the voice actors won’t overact. This film was directed by directed by CoMiX Wave 3DCG chief Yoshitaka Takeuchi whose lack of experience also shows. On the animation front he knows what he’s doing, but storytelling he has no clue what he’s doing.

A Small Fashion Show gets a 3 out 10. In wanting a happy ending it rushes its conflict ending up shallow in its attempt to give its two cent on the fashion industry, and the importance of family.

Shanghai Love (Shanghai Koi)

I the Mighty music is putting them down

The best short film in the anthology, though not by much. It’s biggest strength is feeling like a condense Makoto Shinkai film. You’ll get the lovely animation, the tragic romance story, and you’ll sadly get teenagers acting very stupid. Unlike the previous films, this one is less in your face about it message. Sorta, it combines the failed attempt at tear jerking of Sunny Breakfast with the under written characters of A Small Fashion Show. It also contains the dumbest characters in this anthology when you look at the finer details.

The main character of this story is Li Mo (not a vehicle who wished to be a real boy as far as I know) an angry high school guy who has crush on Xiao Yu, a girl who is implied to be his childhood friend. So the girl’s parent want her to apply to a prestige high school, and the boy wants to go to said prestige high school since he likes her a lot. That’s seems stupid, but pretty harmless until you realize the Li Mo doesn’t want Xiao Yu to know he’s applying to the same school. On top of that, he also says to the one friend he tells about this plan that he’ll denounce their friendship if he tells Xiao Yu about the plan. This contrived conflict makes it impossible to sympathize with any of its characters. All Li Mo has to do is tell Xiao Yu he’s planning on going to the same school as she is, and problem solve, and of course that doesn’t happen. 

None of the characters are fleshed out to care about them. Xiao Yu suffers the most from this since she’s meant to be Li Mo love interest, and the only way the film develops her is by mentioning she got physically abused by her parents. It just feels like a cheap manipulative ploy than it does a characteristic. As Li Mo there’s not much to like either. The writing didn’t know how to depicts friends who haven’t seen each other in a long time so it simply has Li Mo acting like a jerk to her for no reason. He’s a victim of the dumb writing since he, and Xaio Yu communicate through messages recorded on a cassette tape. The movie uses the excuse he’s studying so he won’t listen to a certain tape resulting in his heartache, though again, he did bring this on himself.

I assure you, this ain’t a still from Your Name. The character designs are similar though.

Li Mo character arc is somewhat competently handle. Exploring a character who lives with regrets is decently explored. Giving you a good idea how much regret he feels about this certain event in his past. Same with it touching on parents being hard in pushing their kids towards a good education. It’s only mentioned without delving into it theme, but doesn’t get drown out by all the melodrama on screen. Another one of its positive is being written in a way where it tries to make you forget about the logical, and be caught in the moment of the story. It sometimes succeed in that until logic rolls in its head. 

We now come to the ending that negates the whole experience of the story, and sweeps it under the rug. If it wanted to get across the whole point Li Mo lost out on a experience of his life because of his action it would have hit home a lot more with a sad ending. The happy ending is fine, but with the direction it was heading it undermines what came before it.

Once again, this movie is pretty look at. 

This short film is visually the most outstanding with its detail background of a populated China from simple things like oncoming traffic to the urban streets of Shanghai. Everything move very smoothly without much of the 3D standing out in the movie in general. The music here is okay. It’s melodramatic for sure, but actually noticeable where in the previous short films the music wasn’t a presence. The one downside to this short film is Ross Butler performance as Li Mo. He doesn’t deliver any of his dialogue with any emotion, and simply sounds bore about everything he talks about.

Shanghai Love is directed by Li Haoling who unlike the previous two director actually has some experience under his belt. While he still has room for improvement he shows promise in being able to replicate the spirit of a Makoto Shinkai movie through his own style. Out of all the directors who worked on this, Li Haoling easily shows the most promise.

Shanghai Love gets a 6 out of 10. The characters are pretty stupid, but it manages to capture the feel of a Shinkai movie pretty well. It’s the best simply because it’s direction is clear, and direct in its simple ambitions. 

 

There’s a post credit scene, though it doesn’t help much as the characters basically say they’ll move forward. A good message for certain, but not delivered in the way intended. It assumes anyone will become lost in its visuals to overlook the haphazard writing. If there was an overarching theme it gets lost underneath the one dimensional characters, the forced happy endings, and a general lack of proper storytelling from two of the directors involved. It wants to pull at the heartstrings, but ironically feels artificial, and soulless like the very thing it tried, and failed to criticize.

Rating: 3/10 (10/30 all short films added together)

Cinema-Maniac: Streets of Fury (1996)

During the mid 90s there was a series of Hong Kong movies by the name of Young, and Dangerous that were released. This series of movies focused on a group of young triad members, detailing their adventures, dangers, and growth in Hong Kong triad society. Aside from the fact it has some Hong Kong actors I like (they even got Simon Yam) I can’t really say anything else on the series since I haven’t seen them. However, it’s during this craze of goo wak jai (asian gangsters/triad members) that inspired many imitators to duplicate it success. Streets of Fury (1996) happens to be one those movie starring one of my favorite Hong Kong actor Louis Koo. In the same vein of Simon Yam, Louis Koo is also an actor who regardless of what he’s in I’ll watch it because I like him that much. Even in his first major film role, Koo striking on screen presence shines through in this horribly misguided movie.

Deadlock here, second best actor in the movie.

Streets of Fury starts out by introducing the viewer to down-and-out teens Hu (Michael Tse Tin-wah) and Yu-long (Louis Koo Tin-lok) who are repeatedly victimized by local gang leader Short-Sighted (Simon Lui Yu-yueng) and his buddies. From here the movie gives out simple characteristics to our protagonists. Hu loses his temper easily, and gets into fights frequently whereas Yu-Long is more laid back, and caring. Through these defining features the movie does little to expand on them. One of the movie major issues is Hu, and the film attempt at trying to make him sympathetic. It’s impossible to feel any remorse towards Hu when he mistreats his girlfriend, is shown easily sleeping with women despite being in a relationship, and gives his girlfriend money, and tells her to get an abortion as soon as he hears she is pregnant. Not only that, but it’s implied during a timeskip he never went back, and reconcile with his ex-girlfriend after participating in a violent gang fight.

Hu is the antithesis of Yu-long in every way, yet doesn’t commit to making this character entirely unlikable. There’s a point in the story where Hu feels some semblance of remorse for everything he put his ex-girlfriend before the movie ditches that idea to follow Yu-long who’s a more rounded character. When the movie doesn’t need a conflict to push things forward Hu gets written out of the movie. He doesn’t have much of a personality contributing to his static nature, and after a while you’ll easily forget he was originally the main character.

Another major issue is the film’s pacing. Either escalating events to quickly, or meanders around in its attempts to flesh out Yu-long relationship with Shan (Teresa Mak). When it rush it resorts to easy tricks to make you dislike the film’s villain Short-Sighted. He doesn’t just rape Hu’s girlfriend, along with his entire gang, but does it again to Yu-long girlfriend later on in the movie even after Hu chopped up one of his hands! In general, characters don’t learn anything, and if there is a change in them it occurs off screen.

This guy is a teenager? Not buying it.

On the meandering side you have Shan, an old schoolmate of Yu-long who immediately falls in love with him. Leading to a relationship where Shan gets decently developed while Yu-long receives a minor character arc. Unfortunately, the writing decides to basically rehash the first act, and this time have film villain Short-Sighted rape Yu-long girlfriend resulting in the same events playing out like act one. You have another gang fight between our leads, and Short-Sighted with the only difference being how the confrontation ends the second time. I honestly can’t recall another movie I’ve ever seen rehashing events of the first act of its story for its conclusion.

The writing is on the nose at times being unintentionally funny; like a brief exchange between Hu, and Yu-long where Hu talks about Hu dead parents. These two grew up under the same household so Hu basically saying “Yu-long, we’re brothers, even if not blood related, or from the same parents” comes off unnatural during their exchange. What the movie is trying go for is uncertain since in a coming of age movie growth is necessary, and our lead characters have little time to reflect on their life. Only two minor characters in the movie actually reflect about the hand life dealt with them, but they’re hardly in the movie. Any thematic exploration there could have been is lost in its jumbled mess of a story. Being incapable of crafting a balance between a coming of age story, and triad crime drama.

See the guy in the middle? He realizes he gets overshadow by Louis Koo (left) pretty quickly

By far the most likable actor in Streets of Fury is Louis Koo. His on screen presence is simply natural. He doesn’t try make himself look tough like his co star Michael Tse attempts to do. Making Koo more believable in his portrayal. Another thing Koo does is not dialing up the less favorable aspects of his character. Understanding that his character while misguided should still be sympathetic. Completely the opposite of Michael Tse who goes overboard in making his character unlikable. Whenever Michael Tse has to portray a more gentler side of his character it’s tough pill to swallow because of how unlikable he is in general. Dragging the movie down when he’s the focus.

Tsui Kam-Kong who plays the dreadlock triad leader King. He simply hams up his role being the most laid back triad member in the entire movie. Through his silly mannerism he carefully makes a comedic character who’s also capable of acting tough. Pulling off the difficult task of making a comedy relief convincingly look tough. Ben Lam Kwok Bun who plays brother beast also balances the delicate side with the tough side as Brother Beast. It’s a shame he wasn’t in the movie more since he’s pretty good. Of course there’s also Alan Chui Chung-San as another mobster whose only memorable because he typically carries a miniature fan around with him because it’s always too hot.

Simon Lui pulls in an unlikable performance just like Michael Tse, but this time in the film favors. His character is written to be pathetic, and despicable in every sense of the words. Buying him as a teenager is a bit tough with a receding hairline, and five o’clock shadow, but other than that he’s fine. There’s also the two ladies Gigi Lai, and Teresa Mak whom only act as romantic interest. Teresa Mak gets a bit more to do since she has more screen time. Also, I have to address Jerry Lamb being on the cover of the DVD I own since his only purpose is getting killed. His contribution is minuscule, and considering there’s three other actors who have more screen time than him that’s just baffling he’s on the cover.

This scene ends when one of them pisses their pants. No, I’m not joking either.

Directed by Hin Sing ‘Billy’ Tang he does an incompetent job on filming the fight scenes. Going for a documentary look to it the fight sequences are clearly shot on a hand held camera. This is an issue since the camera shakes a lot making 90% of the fights unwatchable. Considering the movie are simple, large brawls it’s baffling how Billy Tang couldn’t maintain a clear image. The 10% where it is visible the choreography is unimpressive, and needed to be rehearse more to appear more natural than it did. Other than the lackluster music, and okay editing there’s pretty much nothing left to cover. Okay, there’s a magazine Michael Tse reads that had an image of Young, and Dangerous 3 on the cover for all intent, and purposes is a unsubtle hint at what it ripping off poorly.

Streets of Fury is a movie not made for artistic expressions, but to simply latch of the success of a popular movie, and make a quick buck out of it. Movies like Streets of Fury get made in droves not only in Hong Kong, but every film industry you can think of has at least one of these movies. They usually get forgotten about fairly quickly, and even when an actor becomes a superstar in their country film industry like Louis Koo eventually did. Very few of their fans even bother digging up movies like these as they continue to collect dust.

Rating: 3/10

Cinema-Maniac: City Kids (Ren hai gu hong) (1989) Crime Drama Movie Review

One of the many joys, and misfortunes of seeking out lesser discussed anything is the experience of it. From witnessing a very cool action climax in The Dragon Family (1988) to finding a surprisingly great movie in Return Engagement (1990) make going through the slough of bad films worth the endeavor. City Kids (Ren hai gu hong) from director Michael Mak is one film that sadly is another name on the increasing list of forgotten films not worth digging up.

City Kids attempts to tell a story about delinquency in youth Third Lam/Chor-san (played by Max Mok) as a refugee from China fleeing to Hong Kong, and the tragedy of his life. The film’s story is done no favor by the editing, but before getting to that whole fiasco, in terms of writing the film does too much in to little time. It wants to cover a life, and a significant portion of it just comes across as a cliff notes version of events. For example, Third Lam doesn’t have a good relationship with his cousin, but only in one very brief scene do they ever exchange dialogue showcasing their trouble relationship. Another example would be the lack of a father figure in Third Lam’s life. In the story, the closest person to fitting that bill would be Big Skin Chuen (played by Shing Fui-On), but once Big Skin Chuen purpose in the story is served there’s no time spent reflecting on his influence on Third Lam’s life. Instead, the film immediately moves on to the next important event in Third Lam life. By not providing anything substantial there’s no one to relate to as a character. Third Lam is simply representing delinquency with a rough upbringing on a purely surface level, and just using that background to tell its viewer anyone can turn over a new leaf no matter how far you’ve fallen in life. A well intended message that likely won’t impact its viewers because of how shallow it characters feel.

I must have misremember The Karate Kid.

With Third Lam suffering from a cumbersome collection of undercook ideas this also works against the more stable emotional core of the story. Throughout the film, Third Lam best friend Sas (played by Andy Lau) is shown to have significantly impacted his life in the worse ways possible. However, the film never portrays Sas friendship as one of pure negativity, nor one of an over controlling figure. The writing perfectly balances Sas as being his own individual, and not placing blame solely on him for the course that Third Lam’s life took. Sas is simply an individual struggling through the same ordeals as Third Lam, but tackles delinquency in a different manner. Fulfilling his role as a contrast to Third Lam in its exploration of delinquency.

The purpose Sas serves in the story works well, what deteriorate Sas positive contribution is the melodramatic writing in the heavier scenes involving Sas, and Third Lam. In the middle of the film, Sas, and Third Lam are force to fight each other in prison to settle a gang dispute. Portraying the fight as a tragic moment being the only time these two ever harmed each other in their entire life. However, before this scene the film shows two times how Sas action inadvertently forced Third Lam to be in the situation he’s placed in. Making whatever beating Third Lam gives to Sas to be unintentionally justified. It works against the intention of the sceneas neither character harbor bad will towards each other after the fight. Rendering whatever dramatic weight it was meant to have mute.

In City Kids it’s not just the larger picture that fail to deliver any dramatic weight, but also what should make up the smaller human moments. For example, Third Lam romantic subplot is one that could have been delved deeper into, but after a while is unable to flesh it out further pass the halfway point. For as sloppy as the romantic subplot is handle it’s nowhere near as bad when regards to Third Lam family members, and his issues that surround them. At least with the romantic subplot there were efforts to develop it. Thanks to a large part of Sas acting differently towards women in contrast to Third Lam allowing enough material to come full circle making the sequence where both discuss about their love life work dramatically. Third Lam family issues, much like the rest of the film, is in its own inability to develop good material with its lead by himself. The largest offense is the plot twist revealing who’s Third Lam father is, and it happens fifteen minutes before the movie ends. Not only is the reveal pointless, but nothing poignant can be done with the little remaining time it does have.

Um, who are you again?

The only time the film had any good moments were when it slow down in the final ten minutes of the movie. I would like to discuss the final moments of the film, but they’re significant plot points, and that would spoil the only worthwhile moments in the film as a drama. In particular the final two minutes before the credits started rolling I found effective. Despite the rush nature to explore Third Lam life, finally seeing him think about his actions while possibly choosing to continue his downward spiral in his life I found engaging. There was conflict, there was reflection on it, and it wasn’t rushed which is why I was engaged. There wasn’t any sort of time allotted to other important events within the story that captured my attention, and sadly there’s no fixing them. It was simply rushed with too many undercooked story elements to be an effective crime/drama about delinquency.

When it comes to acting, same with the score by Richard Lo, it’s simply modest. There isn’t any performance in the film that stands out in any negative, or positive manner. The best bit of acting comes at the end of the film when Max Mok displays an eruption of several of pent up rage, and sorrow in the final moments. It’s also the only time I felt music, acting, and cinematography complemented each other wonderfully.

Max Mok as Third Lam is serviceable as a leading man. He’s capable when it comes to the lighthearted scenes with natural charisma, but when it comes to the dramatic scenes he’s struggle to be convincing. Unable determine in part of a scene should he deliver an emotional response. For example, when Max Mok character finally meets his ex-lover in prison to learn about what happens to the baby. What Max Mok was attempting to get across in this brief scene is uncertain. His line delivery doesn’t suggest sadness, and his body language can be misread as confusion, or plain juvenile. Mok other dramatic scenes also suffer similar issues in terms of how Mok chooses to deliver the material, but improvements are visible the longer the film goes on.

My typical reaction when this movie attempted drama.

Max Mok co-star, Andy Lau who plays Sas, fairs a bit better overall, but both really shine with their onscreen chemistry. Given that a majority of the film they spent together both are able to make lackluster material believable. Unlike the screenplay, when both Mok, and Lau are on screen regardless of the scene tone both portrayal comes off as genuine. It’s the elements that surround their scenes that hold them back from.

In a crime/drama film about delinquency it would serve the story well if it completely disregarded the three short choreographed action sequences it has in the final act. The choreography in them are fine, but when the rest film attempts to be realistic without any over the top elements it stylistically conflicts with each other.

Finally, the biggest detriment to City Kids is hands down the editing by Hung Choi. Typically when it comes to movies regardless of quality a majority of the time I don’t even pay attention to the editing. The few times that I do it’s either because of its seamless flow enhancing the viewing experience (like Blade Runner 2049), or when masterful editing is absolutely integral to the film success (like Christopher Nolan’s Dunkirk) does editing in film ever register with me. However, the same doesn’t apply to bad movies as it’s rare that I contribute an entire film problems to the way it was edit. As you know, I then suddenly saw this film which now I can use as a future example on how not to edit a movie.

The most obvious issue in the film editing is there are times in the film where a cut won’t simply just transition to a new scene in progress. On a few occasion Hung Choi (the film’s editor) for who knows what baffling reason would pause the current scene, slide in the new scene paused, and after a couple of seconds resume the new scene. It was jarring to see such an issue not get fixed, and yes, this editing mess up is even on the film’s own DVD release which I own a copy of. Another thing Hung Choi does too frequently is cut away from a scene too quickly. I mentioned a scene earlier with Max Mok, and how he is uncertain to act in a scene where he learns unsettling news about his child. A reason why the scene doesn’t work is because Hung Choi fades into another scene very quickly instead of lingering on Max Mok performance for a bit longer to let the scene properly finish. In return, it makes Max Mok clumsy performance of the scene more noticeable.

Not a good sign if there’s this many prisoners in the showers.

Another is that early on in the film Choi splices in too many significant sequences together making it story’s intention muddle to the viewer. Hung Choi lack of knowing when to begin, and when to end a scene is consistent throughout the film. For example, Choi decides that instead of letting a scene of two best friends force to fight each other just play out without any theatrics he feels cheesy music, slow down footage, and splicing in scenes from earlier in the movie would add dramatic weight to the film. Obviously it didn’t work out how he wanted. Finally, the biggest drawback to his editing is the inconsistency of scenes length in the film. Granted, what film is going to have every scene be the same length, but in City Kids it’s very noticeable seeing minutes be kept on characters picking up girls while only allocating seconds to dramatically significant scenes. Choi simply doesn’t understand in this film when his influence is required.

City Kids fails as a drama with a unclear direction on how to properly explore youth delinquency. A rush pacing prevents Third Lam from feeling like a fleshed out character while side characters in the story don’t offer much to the story beyond their introduction to the story. Another facet to its negative quality is the editing by Hung Choi really bringing it down despite the best efforts of Max Mok, and Andy Lau to bring out the best quality of a lackluster screenplay. As hard as Max Mok, and Andy Lau might try they can’t overcome rush pacing, and bad editing. Michael Mak’s City Kids gives the impression that it should have been more than what it ended up being.

3/10

Cinema-Maniac: Boxing Helena (1993) Review

Boxing Helena (1993) is an extremely divisive film with very little discussion surrounding it. In the realm of controversial films such titles like I Spit On Your Graves (1978), Cannibal Holocaust (1980), Natural Born Killers (1994), A Clockwork Orange (1971), and other such films draw plenty of film lovers (and sometime an uninformed outsider) sharing conflicting viewpoints, and sometime ideology gets thrown into the fold. These are the kind of films that make you ask if a film can go too far. Obviously the answer is yes they can go too far. I draw this conclusion with my experience with the 2012 Ron Morales film’s Graceland which briefly had full frontal nudity of minors. However, such cases are extremely rare as I go years without even thinking a film has gone too far with its material. You might be wondering where exactly Boxing Helena stands in terms of controversy? If we’re purely talking about the content in the film than it’s nothing special. It’s simply an experimental indie film that went to the mainstream public with a traditional Hollywood studio treatment resulting in extreme divided reaction towards the film.

Boxing Helena tells the story of an Atlanta surgeon Nick Cavanaugh (played by Julian Sands) dangerous obsession with Helena (played by Sherilyn Fenn), a woman he had a one night stand with. This is the kind of film where knowing specific parts of the story will spoil the experience on first time viewing. That sounds like a no brainer, but you’ll be amazed how many reviews for Boxing Helena from paid professionals, and amateur reviewers online basically give away 42 minutes worth material. This plot point is usually given away in synopsis (if the review has one) when the film is reviewed. That’s not even including the possible hundreds of film sites that also give away a major plot point that should be have been a surprise instead of just given away in a synopsis. Before hand, I of course went on IMDb to check what the film premise was about, and unintentionally spoiled something that should have been shocking, but instead I didn’t expect for the film to take 1/3 to get to that point. I read about the film Boxing Helena before going on IMDb when checking up a list of controversial films (I occasionally like a challenge in discussing a film) so that’s what sold me on it. However, I advise anyone who has an interest in seeing this film to be cautious when reading reviews on this film. If it sounds like a synopsis, just skip it, and read whatever left in the written review. Best advice I could give to go into this as blindly as possible.

Hello darkness, my old friend. I’ve come to talk to you again.

On to the actual meat of discussion in Boxing Helena story. The story is slow moving while introducing interesting concepts in the first act. Nick Cavanaugh is shown being neglected by his mother at a party, and not being affected much by his mother death as an adult by leaving his mother funeral early. Raising a question of what kind of relationship Nick had with his mother? To bad the film almost immediately stopped poking around with the idea. Last time Nick mother has anything to do with the story is a hallucination where Nick sees his naked mother in an attempt to imply they had an unhealthy relationship, but how far it went is uncertain. It’s a “connect the loose dot” form of writing done badly when there’s little foundation to connect concrete information given to the viewer. What’s concrete is Nick had a trouble relationship with his mother, but everything else in association to that is kept vague. There isn’t enough to make the connection between Nick relationship with his mother, and the type of woman he’s attracted to come off as viable. At best, it’s imaginative speculation, but at worse making something significant out of something that ain’t there to be found.

In terms of characters they’re just plot devices. To an extent all characters can be considered plot devices, but there are capable writers who are able to masked this. Jennifer Lynch was not able too. I wouldn’t need to count on my hand the amount of characters that were fleshed in this movie because they don’t exist. All supporting characters are basically one trait exacerbated too inconvenient Nick. In the film, Nick has a girlfriend, Anne Garett (played by Betsy Clark) whom he just has a relationship with. If the film dabble a bit on Nick obsession perhaps being greater than his love for Anne there would have been a point to Anne in the film. Anne, much like the implications of Nick troublesome relationship with his mother, provides little in the way of something concrete to confirm themes, and ideas. In one of the very few scene Anne is in she treats Nick in a motherly way. As mentioned before, there’s speculation to be had that Nick might have a thing for women that remind him of his mother, but there’s not enough established about the characters to make it more than mere speculation.

The loose dots could have been remedied halfway with Dr. Lawrence Augustine who is played by Art Garfunkel…I don’t know why he just is in the movie. It’s mentioned briefly that Lawrence helped with Nick on his obsession with Helena, the woman Nick had a one stand with, but to what extent is kept vague. All the viewer is told about Nick mother is that she’s neglectful, and in one instance of the film Nick see’s an image of his mother when Helena is choking him. Does that mean that Nick had an abusive, or perhaps had sexual relation with his mother? The viewer will never know since there is nothing much to Nick’s mother, nor does Dr. Lawrence provide much insight as a friend of Nick. You think Art Garfunkel, of all people to have been cast, would have imparted on Nick some wisdom about relationship, but that’s the sound of silence.

Julian Sands: “Got breast milk?”

 

Another plot device comes in the form of Ray O’Malley played by Bill Paxton. Ray O’Malley is more of a possessive friend with benefits who loves having sex with Helena. Ray contribute slightly to the film’s story, but then there’s the ending which undoes virtually all his contribution in the film. For Helena who is the other main character on the other hand, throughout the film she does speak about how almost every man she comes across only love her for her looks. Helena is played by Sherilyn Fenn who is stunning in the film which makes such an idea easy to swallow. Her personality on the other hand has little to dig into as for most of the film she’s verbally, and physically fighting against Nick possessive nature over her. This mostly due to the fact that the film’s ending once again undoing what development, and characterization the viewer thought there was in the film. So Helena fears to commit to a relationship through her arc means nothing in the end. In particular, if Helena arc did mean something than it would require an incredible amount of disbelief that two people experience the same exact thing while unconscious.

The ending to Boxing Helena is single handedly the most polarizing aspect about it. It’s so fundamental to how viewers perceive their overall view on the film it’ll change your perspective into an extreme. On one hand it could simply be viewed as a cautionary tale of an obsessed doctor psyche. However, since the ending rewrites the rules it makes it come off as clueless writing when scenes not involving Nick Cavanaugh are shown to the viewers. The twist ending, despite how much it undoes still retains Nick Cavanaugh characterization, and can still be viewed as cautionary tale of being incapable to overcome his obsession. A character in the film, due to this ending, basically stroke Nick Cavanaugh ego as being a superior man holds some weight. However, because of the ending many of the implied themes, and ideas have even less of a foundation to be more than mere speculation. As you can probably tell by this review the film’s ending makes a non-spoiler review challenging to write around.

Not the first time both of these get wet in this film.

Julian Sands stars in the film to good, and bad degree of acting. The good being Julian Sands is able to make his character come off as a truly pathetic person, and the bad being the material doesn’t make his character sympathetic. Another good in Julian Sands performance are some of the heavier dramatic scene that requires a burst of anger, or subdue emotion he pulls off. There’s a scene of Julian Sands with Sherilyn Fenn out on the porch in heavy rain. Sands yells at Fenn character to scream out for help, but also in the same scene he’s still comes across as vulnerable despite having power over Fenn character. A bad side to some of Sands dialogue delivery is he’s unintentionally hilarious. One moment that stands out in goofy delivery is when Sands says Helena as desperately as he can before Helena experience an accident. On the whole, Sands performance could be considered positive with occasional mishaps along the way.

Sherilyn Fenn also stars opposite of Julian Sands for a majority of the film. While the film does rely heavily on her looks, and pulls of creating a sorta seductive aura around her. Fenn comes off convincingly in later scenes too that rely less on her looks. Unlike the rest of the cast, Fenn is slowly given limitation to her performance preventing her from being as expressive as the other cast. Yet, she’s still able to be convincing in her role coming off as vulnerable, and strong. A downside to this is most of the time she’s constantly screaming her lines, and doesn’t have as many vulnerable scenes compared to Sands. It doesn’t help either that there isn’t much to Fenn character either so Fenn gradually changing into a different person sadly go to waste due to context of the film.

The only other noteworthy performance comes from Bill Paxton who dress up like a dated, 90s greaser in the film. Aside from his silly appearances, Bill Paxton only appears in four scenes, and is silly in all of them. He hams it up in his short screen time, and makes an impression. The other supporting actors in the film are fully onenote. Art Garfunkel doesn’t do much in terms of range, Betsy Clark doesn’t do much either with her time, and Kurtwood Smith despite playing his small part well won’t stay with you because once again, very limited screen time. Also, since it’s wholly a serious movie the whole supporting cast performances eventually mesh with each other being indistinguishable from one another.

 

Game over man. Game over.

Jennifer Lynch direction is fine for a first a time director. There are certain shots that are questionable in the way they’re frame. For example, there’s a scene of Julian Sands looking out at the front of his Mansion garden, and is unable to see a clearly visible crouching Bill Paxton behind some branches. It makes you wonder how Sands wasn’t able to see Bill Paxton when he’s as visible as he is. Another bad shot is when Helena is hit by a car, and lingering on it for too long exposes the bad effects used in the moment. Jennifer Lynch was both subtle, and heavy handed with some of her imagery. Heavy handed when cutting to a bird in cage whenever Fenn is failing to escape the grasp of Julian Sands. The subtle imagery comes in how very selective shots are framed to make it appear it’s actor are stuck in boxes. As for anything else I would say the selection of music is fitting, but none of the original music stands out. A lot of the music choices are orchestrated pieces with rare inclusion of insert tracks. The only piece of music that stands out is a cover of Bonnie Raitt “I Can’t Make You Love Me” by Venice. To Lynch credit, it fits perfectly into what she was trying to get across in her film.

This would usually be the end of the review with me posting my closing thoughts, but there’s still one other thing left to talk about, and that’s the ludicrous statement that this film is sexist towards women. The criticism came from the 90s when it was release, but as of the moment of this review being posted it’s as relevant as ever. Labeling this a male power fantasy is silly since Helena is constantly fighting back against her captor for the entire film. Helena wants nothing to do with Nick, even when holds her captive, and Nick is doing anything to prevent her from escaping. If anything, it’s actually against power fantasies since Helena fight every chance she gets. Nick isn’t rewarded for his action which is proven by the film’s ending.  Another thing that disproves the film so call “sexism” is Nick does not enjoy obsessing over a woman he had a night stand with. In his own words regarding his obsession, “I’m still haunted for my love for her”. Even if I take into account the way the film is shot it’s still part of Nick character whose otherworldly attraction to Helena is presented by those images, and having seen the film entirely Nick does not enjoy seeing Helena the way he does. It’s negative for his mindset, and negative in his life. Just imagine if the film were to be release in 2016, and it would have caused a far greater riot. I clearly don’t think highly of Boxing Helena, but there’s one thing that Jennifer Lynch didn’t come across when directing her film, and that was sexist.

Boxing Helena I see as a lost opportunity. Beneath the many faults I do feel if handled by a more experience director could have been great. By a first time director, Jennifer Lynch lacked the experience she needed to pull off such an experimental project, and couldn’t reach the high mark she set for herself. None of this is further evident with the ending, and scenes that go against the notion of the ending. Much like its title character, the film itself is trapped in a metaphorical box, but instead of going outside of the box, and sticking to it guns with an ending that would have garner it some respect, even among some detractors. It’s ending plays it safe which goes along with abstract theme of society putting people in boxes, but at the cost of giving the impression Boxing Helena is not worth taking out of its box, even among the more “artsy” film lovers.

3/10

Side Stuff: Casting Controversy

There’s also the controversy of casting when it comes to this film. I read one review that made a joke out of it for a closing statement. Granted I wanted to do the same, but someone else beat me to the punch. Originally Madonna was meant to play the part of Helena, but dropped out due to unexplained reasons. Afterwards, Kim Basinger was set to star, but once again stepped down from the role. Unlike Madonna, Kim Basinger exit from the film caused her to go to court, and file for bankruptcy. Her exit from the film cost to pay around, allegedly, $9 million dollars to the film’s producer. Given that Kim Basinger would win best supporting actress four years in 1997 L.A. Confidential I doubt Kim Basinger regret passing up on Boxing Helena.

Sources (this side content):

LA Times: http://articles.latimes.com/1993-08-29/entertainment/ca-29280_1_david-lynch

EW.com: http://www.ew.com/article/1993/04/09/boxing-helenas-controversies

Backup Link for source: https://web.archive.org/web/20160906193722/http://www.ew.com/article/1993/04/09/boxing-helenas-controversies

Cinema-Maniac: 1: Nenokkadine (2014) Review

Psychological stories are among my favorite forms of storytelling along with the Western genre, Samurai films, and martial art films. This is mostly contributed to personal preferences as these four type of films, if everything is done correctly, hit all my sweet spots of what I’m looking for in a film. Western films in particular I consider the genre to find the best examples of writing in films for in depth narrative, and character exploration while martial art films can get me emotionally invested in events than a traditional action movie. Psychological stories what they tend to offer, besides the occasional intelligent writing, is endless possibilities in writing, and countless pondering thoughts once the film ends. When psychological films are done correctly you’ll have example likes Inception where debates over an ending among other elements are still written about. Clues that could have been missed the first time further can make you appreciate a film. Whereas other examples can fall into M. Night Shyamalan’s The Sixth Sense category of thinking it’s smarter than actually is. Despite it being well received, I still hold on my beliefs that it’s a film that is poorly written, and badly directed since it build around a single gimmick. That brings me to write about today’s film that falls into the later category of psychological films I dislike that are unable to use their key element in the story in any meaningful way. While not uncommon, it’s never a welcoming sight to see the exact moment where a film fall apart.

1: Nenokkadine is about a rock star who must overcome his psychological inhibitions to seek revenge for his parents’ death. The film waste no time drawing in viewers into the story starting with a kid running away from adults shooting at him. You immediately wonder why, and the opening sequence does it job in setting up the psychological elements without faltering. However, after the flashback is over it’s immediately followed by a musical number. Now the first song does have context since Gautham (Mahesh Babu) is performing at a rock concert. So the transition into a musical number isn’t jarring. Unlike the rest of the film where musical numbers just happen out of nowhere. While it is par for the course for Indian movies to insert musical numbers into a number of their films it is also common for some of the films to insert them accordingly. This film feel no need to fit them in so it’s spontaneous when it occurs. At least the first song while it contribute little narratively was an enjoyable, energetic track about finding yourself. Whereas the other 4 musical numbers are simply about love with corny lyrics. Except the last song in the film which could have been cut out since it contributes nothing.

Now before the film reaches the 41 minute mark it’s story is actually intriguing. It strikes a nice balance playing with Gautham psyche without over complicating matters. The streamlined story is constantly making the viewer wonder if its leading character is imagining events, or if they actually happened. Every major event within the first 41 minutes serve to play a mind game with the viewers. Presenting events in careful manner to not reveal the truth of Gautham memories. It’s also everything pass those first 41 minutes that the film entirely falls apart. Due to a simple scene the psychological angle the film started with is absolutely gone. No longer will you question if Gautham can’t tell the difference between imagination, and reality. This is one moment with Samira (Kriti Sanon) explaining her method to coworkers on how to get an interview with Gautham destroys any doubts you might have had of Gautham psychology being unstable. It’s so plot breaking that further events in the film that attempt to play with the idea of Gautham imagination with their only being one reasonable outcome from that one that scene in the film. Ultimately you end up seeing a film that thinks it’s more intelligent than it actually is. Throwing plot twist as every major turning point. If the film wasn’t trying to be a psychological thriller first than the issue wouldn’t as glaring. However, it would still be an overblown love story.

It’s not you, or me, but the musical numbers I can’t handle.

A major chunk of the film is focus on romance that is overblown. The script doesn’t give the protagonist, and love interest enough time before they fall in love. In context, these two character share a single musical number, and a single action scene which is enough for the protagonist to basically die for his love. This is despite the fact after he learns his love interest has been deceiving him simply forgetting the fact that he been lie by this woman a majority of the time they spend together. After a scene where the damsel in distress get rescue consciously for the first time the romance becomes lovey-dovey. It’s further embarrassing seeing adult characters written like teenagers saying romantic to each other like they were little kids.

Then there’s a subplot revolving around Hydrogen Cyanide getting mixed into seeds causing infertile land causing inedible food in the background that only appears if neede to make progress. That’s a mouthful for sure, but it doesn’t end there as the flimsy attempt to tie in this subplot into its main storyline becomes over the top. Before it eventually evolves to a possible ego stroking film that’s only made to make it star look good. If main character Gautham who is constantly refer to as Rockstar in the film can find the Golden Rice than he can stop world hunger. You might be wondering how a film about a rockstar trying to find his parents killer ended up becoming a green environmentalist action film. The answer is simple as I went to the film IMDb page, and see nine people were given credits. Nine people writing a single film that almost three hours explains allot. It explains why the film never bother explaining how a rockstar just has the skill of a secret agent. This also explains why the film uses of flashbacks several time in the film, withholding certain information, and explains why a film that is wholly serious gives up attempting to balance a serious tone with comedy. Also, explains why despite Gautham popularity he doesn’t have any fanatic fan that would stalk him despite apparently being describe as Indian biggest rockstar.

Characterization for leading character Gautham is surprisingly dynamic. He has an conflict that is both external, and internal that he is desperate to find the resolution for. Despite the story placing importance on overblown romance Gautham turmoil is a driving force for the film. While the film doesn’t spend much on telling us about Gautham himself his conflict in the film is enough to make him an interesting character. Changing his minded goal of revenge into something more personal like remembering their faces. Touches like this make Gautham far more interesting than hardened person who already has his mind set on killing only to possibly change his mind in the end. That’s another aspect to his character that is great. Gautham deciding whether or not to take revenge isn’t the climax of his character. The storytelling isn’t coherent consistently, but Gautham as a character is easy to understand. It’s just a shame Jeremy Zimmermann, Arjun Y.K., Suneel Madhav, Thota Srinivas, Palnati Surya Pratap, Venkateswararao Potluri, Hari Prasad Jakka, Jakka Hariprasad, and Sukamar (who also the film’s director) nine credited writers couldn’t think among themselves how to create a good story to along with him. The other characters, are not even worth mentioning since they’re treated as plot devices, and nothing more.

The rest of the cast isn’t worth discussing in depth since they play pretty straightforward roles. Kriti Sanon who plays Samira is given a role where she plays an woman infatuated with her love interest. As some point in the film it seemed she would be required to do more than smile, look pretty, and bubbly when around the Mahesh Babu, but it doesn’t last long. So she overshadow in every possible way when she shares scenes with Mahesh Babu. Her biggest praise would be she could sing, and dance well, but so can her co star Mahesh Babu. Nasser who plays the film antagonist doesn’t appear in the film until the climax. While screen time is a contributing factor to his lack of an impression is his bland portrayal of a villain makes an easy part of the film to forget. Kelly Dorji is more of the same playing a villain, though his final scene allows him to mix change his dialogue delivery. Supporting actors in general from Anu Hasan, Pradeep Singh Rawat, Sayaji Shinde, Krishna Murali Posani, Gautham Ghattamaneni, Anand, Ravi Verma, and Srinivasa Reddy give the impression they’ll be given roles before disappearing from the film with pure ease.

Sukumar as an director at least nailed down making good music videos in the film. They look stylish as well having good dance choreography to showcase. Playing up a particular aspect in different musical numbers, including the corny love song where he films like a cheesy romance movie. Devi Sri Prasad did an excellent job creating the music. The action scenes in the film all good stunt work, but an issue in all of them is editing. In virtually all the action speed, and quick cuts are played around with. For example, there’s a fight scene where Mahesh Babu has to defend his love interest from a group thugs. Within the same fight scene there’s good practical effects that make the lack of psychics look convincing. This particular fight scene is unable to hide the fact actors in the background simply standing around waiting for their que to be in the scene. Also, this particular fight scene repeats the same shot of its own fight within the same sequence. What is not fun to see is seeing an entire action scene not being allowed to play out by itself without being tampered in some way. As oppose to the film first action sequence where playing with the motion of speed wasn’t abused while it played out.

Another issue is some of the bigger set pieces lack creativity. There’s a set piece in a parking lot having our hero fight off a gang motorcyclist trying to kill. Despite showing some of the motorcyclist carrying guns they never fun them while riding the motorcycles. That sequence in particular plays to traditional to the run, shoot, and cover style of action choreography without changing much in how it plays. Finally, the final action set piece requires you to disbelief the fact that our hero is couple of feet away from armed guards shooting at him, in a wide open space, and somehow not getting shot. The choreography in the final action sequence is sloppy unable to hide the fact that Mahesh Babu should have gotten in despite not hiding behind cover. If the sequence showed Babu dodging bullets by showing some bullet pierce on the ground, or destroy some light to distort vision it would have been easier to swallow the nonsense. There’s also some bad CGI in a sequence with a ship is burning then exploding, and some set pieces being filmed way too close to tell what’s going on. They’re done in a way where it’s easy to lose coherence while viewing them. It’s a shame too since they have some good stunt work in them, though in a nearly three hour film a couple action sequences won’t do much to salvage a bad even if they edited, and filmed correctly. Especially when a long chase sequence is only showing Babu running after someone without spicing it up in any way.

1: Nenokkadine is an overlong film with a psychological angle that shoots itself in the foot 41 minutes in the film. It’s think it smarter than actually is resulting in a film where it length is noticeable. The overblown romance, the bad psychological aspect, and the lackluster subplot of finding Golden Rice to stop world hunger aren’t an exciting mixed elements like they should have been. Mahesh Babu performance alone cannot out do the damage done by jarring transition into musical numbers, and badly edited action sequences. While star Mahesh Babu demonstrated he has talent. It’s unfortunate that none of the filmmakers, and especially it credited don’t have any of it to produce something worthwhile in a nearly three hour film.

3/10

Cinema-Maniac: Fantastic Four (2015) Review

My views towards superheroes films is similar to that of Disney movies; very complicated, convoluted, and getting tired of their formulas. A main contributor to this is most superheroes films feel the need to tell an origin story, and all feeling the same in outline form. Usually you have a young main character getting into an accident, is a good-doer, and after learning about his new-found abilities becomes a hero for the greater good. Our main character could suffer from blindness, being bullied, or simply being beautiful which limits the type of characters that are created. Superheroes films, at the moment, don’t experiment much to the point that female-led superhero films can be counted on a single hand.

Fantastic Four was different for me as director, and writer of the film Chronicle, Josh Trank, brought in new ideas to a genre that refuses to experiment. It was a good film that while limited to the found footage format actually managed to be one of the rare times a found footage film worked. So for the first time since Man of Steel in 2013 I had expectations to experience a different kind of superhero film. Allot of what I learned about the film seem promising, and the teaser trailer got my interest. Now the point I started getting worried about the project wasn’t the reshoots since one of my favorite movies, Jaws, and one of the best superheroes film ever made, Superman (1978), also endured reshoots. It was with the first official trailer for Fantastic Four that made me lose interest as the trailer was generic.

You think reviews would have kept me away, except for the fact superheroes films are the least trustworthy for me when it comes to critical, and audience reviews. If “The Dark Knight” is held to the highest standards for many of these reviewers so I had little reliable sources to turn to whenever one of these films get release. So out of the hundreds of reviews for this film the two reviewers I actually trusted with this genre both wrote negative reviews for the film. This caused me to be cautious. Then came in the talk of cut content which is where my interest raised again.

Fantastic Four follows four young outsiders teleported to an alternate and dangerous universe which alters their physical form in shocking ways. The four must learn to harness their new abilities and work together to save Earth from a former friend turned enemy. The first ten minute of the films seem promising showing a young Reed Richard, and Ben Grimm attempting to send a toy car into another dimension. Unlike the rest of the film, the character are enthusiastic towards this goal, and dedicated to achieving it. What’s wrong with these first ten minutes are simple. For starter, Ben Grimm “It’s Clobberin Time” catch phrase originates from the times his older brother beat him up. Now I, expected this eventually pointless discovering would lead to some sort of repressed memory for Ben Grimm. This film clearly wanted to go in a dark direction so why not repress murder? It wouldn’t be pleasant, nor worked well, but would have been different, and explain Ben Grimm lack of social skills or friends in the film.

In the first ten minutes, Reed Richard succeeds in building a teleportation device in his parents garage. Before that though, Reed Richards tells the entire class he wants to be the first person to teleport himself. His teacher, naturally tells him to pick a real career seemingly wanting to crush a young kid dream. I would argue against the realism of this scene, but school is where dreams go to die. My college professor told me that once when I, and several others, talked about our desired career on the first day in class (no joke). So after succeeding in teleporting a toy car what happens to Reed Richard? Fast forward seven years later. Neglecting what could have been interesting events to follow-up on. Why this timeskip is so damaging is plain simple; it glosses over the possible introduction of Reed Richard to the Baxter Foundation at an early age, and meeting the other major characters. If the film chose to show Reed Richard working within the Baxter Foundation at a such young age, and communicating with the other major characters developing the cast could have been easier. Also, I’m expected to buy within the first ten minutes a young kid developed a teleportation device in his parents garage, but a research institute aiming for the same thing completely missed this story in every possible way. This is the moment I gave up hope for good, sensical writing in the film.

In a science competition Reed Richards shows his teacher who told him to pick a real career. Demonstrate in front of his teacher eyes, and hands covering his ears a teleportation device. This same teacher who failed to crush Reed Richard dreams disqualified Reed Richard under the basis he believe Reed Richard perform magic. Yes, because Reed Richard who had his hands covering his ears build a machine in order to make an elaborate light show in order to perform magic. I would argue how this teacher got his job, but the US education system is terrible so it’s not far fetch when depicting this teacher.

All of this was meant to develop characters within the first hour. However, that soon evaporate with one major mistake. So in the film Reed Richard, along with other young bright scientists that make up the core cast have to work together to make a teleportation device for the Baxter Corporation within the building. Instead of showing the trial, and error process of making such a machine would be a good excuse to develop characters, and their bond. The film decides to speed up the process by only showing the group talk to each other every now, and then. Not showing any hardship that has to be overcome when building a machine straight out of science fiction. Therefore, the completion of this teleportation device doesn’t feel like a group achievement. Feeling more like the writers went through another plot point keep the story rolling.

It might read like I skipped over a lot of material, but the sad truth is hardly anything in the first hour contributes much to the overall picture. The only thing that needs to be brought up is the group decides to go to Planet Zero because they got drunk, and want to stick it to the man by going to this other dimension first. Something goes awry when the group goes to Planet Zero, and eventually return home with one less member. Now, Sue Storm, not going to Planet Zero would have been fine if she didn’t get her powers by getting blasted by a computer. At most, a computer will catch on fire, and burn you. There are other side effects, but none of which include the powers to be invisible. To be clear, I’m not referring to Kate Mara (the actress who plays Sue Storm) career after this movie either.

Another issue is, like every live action Fantastic 4 film, is it desire to follow trends for of the time for unexplained reasons. For instance, as unsubtle as a villain like Red Skull in Captain America is, that film doesn’t undermined the audience intelligent, and actually plays up on that aspect. Here, there’s a character named Victor Von Doom. Hm, there’s clearly nothing wrong here. I am one-hundred percent positive someone named Doom will not, in any way, be the villain of the film or turn out to be evil. Noticing this I am dealing with yet, another instance of “Obviously Evil Bad Guy”. Unlike in say something like Mad Max: Fury Road where the “Obviously Evil Bad Guy” worked because the aesthetics of the film complemented it. In Fantastic 4 it is attempting to be more realistic (for some reason) where it goes against such a cartoonish name. The film attempts to humanize Dr. Doom by making him difficult to work with, rude to his peers, getting jealous when Reed Richard is talking to his possible crush Sue Storm, and doing stupid things when he is drunk. Wait, some of that is still evil behavior. Well, the writing really sucks for this film.

By the time the second act finally ends you’re given enough reasons to dislike the film. The rush pacing, glossing over obstacles, missed opportunity for character development, and failing in setting up a grand story. One aspect that could have been engaging simply goes away due to a time skip. Ben Grimm returns to Earth as a pile of CGI, walking, talking rocks, and when the film shows Ben Grimm in this form for the first time he is scare. However, this turmoil for Ben doesn’t last long as soon as he talks to Dr. Allen minutes later he accepts his new body. Well, that was pointless. There’s also another scene where Franklin Storm sees his son, Johnny Storm, confuse in pain burning endlessly. Instead of making a somewhat emotional moment of Franklin Storm talking to his son, and calming him long enough for Johnny to be in human form. Viewers are instead greeted with a scene of Reed Richard escaping from a military base that has little security despite the fact they are holding people with abnormal abilities. Though, the film is not entirely to blame for this lengthy review. I got admit I missed an opportunity to make a racist joke as to why Johnny Storm is black in this movie unlike every other incarnation of Fantastic Four.

One line of dialogue in the film pissed me off way more than it will the average movie viewer. It was during a scene where supervisor Dr. Allen is showing footage of The Thing working in military combat fields. At the moment the camera shows The Thing ripping off the upper half of a tank Dr. Allen says “He’s been involved in covert operations”. Really? A walking, pile of rock has been involved in several covert operations? Not only that, but apparently none of this footage, nor the enemies footage of The Thing has been seen by any form of media? I’m expected to believe , The Thing, existence is unknown to the world when he is shown ripping apart the upper half of a tank, and throwing it at enemy soldiers? Now the reason this line pissed me off was because in my time off I played a video game called Binary Domain. The entire game was meant to be a covert mission, yet in one level I fought against a Spider Robot the size of tall building. This occurred in one level so try to imagine an entire video game spanning around ten hours with events like that. The game events unfold in the span of a couple of days, and of course it eventually get public attention. Yet, I’m expected to believe for an entire year The Thing has been a part of military operations, and none of the enemy soldier that saw him told anyone? Dr. Allen says The Thing saves people while The Thing is hurting people on footage. So if this claim is true, HOW COME THERE ISN’T A SINGLE NEWS REPORT OF SEVERAL SOLDIERS REPORTING THEY SAW A GIANT PILE OF ROCK IN COMBAT! I’m willing to accept any leap of logic, but not, when it is very clear, that the film itself is attempting to be realistic, and wants to be taken seriously to the degree of Fantastic Four.

The final act is entirely ripped from another movie. A generic superhero movie without giving its main villain a motive for destruction, or has heroes that care that a military facility is filled with dead people. Seriously, there’s no emotional reaction from the Fantastic Four when ordinary people die. When the Fantastic Four have no chemistry with each other, than showing them be concerned with the fate of planet Earth in the climax there’s no sense of weariness from them. At this point in the film, the team isn’t even referred to as the Fantastic Four, nor is the name ever uttered in the film. It’s ashame of it for some inexplicable reason. What this final act also contains is a force “Save the World” climax, and a weak final fight for some action. When the film actually ends, it becomes evidently clear the film amounted to nothing. From the first hour that set everything to the last act that goes in an entirely different direction. Losing faith along the way before becoming a film that satisfies no one.

The cast of Fantastic Four includes the talented cast of Miles Teller, Kate Mara, Michael B. Jordan, and Jamie Bell. Performances they aren’t bad when showing the inner struggle of their characters alone, but together the cast don’t have any chemistry together. Jamie Bell, and Kate Mara for instance, never make eye contact with each other in the entire movie. When the Fantastic Four are all together on-screen they don’t come across as good friends or a family. One issue being Jamie Bell is absent for a good portion of the film while the other cast member play characters who built a teleportation device. Toby Kebbell who plays Doctor Doom provides a stale performance. As soon as he appears on-screen there’s no question he’s a villain. He’s gets the worst part to play since his costume for Doctor Doom is expressionless, and his mask seems like a crash test dummy head painted black with neon green lights implanted on it. It’s look terrible on-screen.

Miles Teller gets a few scenes where his acting chops adds to a scene. For example, there’s a scene that requires Miles Teller to crawl to a pile of rubber after an incidents. His display of concern is convincing, but when he turns around to see his body stretched out his mortification sells this moment. It’s a good moment in the movie, but this is only of one of about three scene where the characters come across as people. The other two scenes being Jamie Bell voicing his distraught in being The Thing for the first time, and the other being Michael B. Jordan screaming as he is engulfed by flames. These snippets make the character seem real since they are afraid of they new-found abilities they don’t understand to use. However, there’s where their most human moments end. Unlike other films in the genre, we don’t see the Fantastic Four gradually accepting their abilities.

The supporting casts are entirely one note for the film. Reg E. Cathey who plays Franklin Storm maintains a similar facial expression of disapproval for every scene he’s in. He’s can’t do anything in the role. Tim Blake Nelson who plays Dr. Allen has to look smug, and pretend to be chewing gum for every scene he’s in. He makes little no lasting impression. That’s about it for the supporting cast. Most of the actors in the film appear briefly in a scene or two then never appear again. One of them being Ben Grimm mother, and his brother who disappear after a single scene.

This film contains a few practical effects, and they are convincing looking. Like the mentioned moment when Reed Richard is crawling, and legs stretches out for a couple of meters. CGI on the other hand never blends into with the live action portion. It’s rubbery whenever Reed Richards stretches his body in the few moments near the end when powers are used. However, the CGI isn’t used for action scenes, nor in moments of showing off the heroes good sides. At most, you’ll see briefly clips of The Thing military operations, one brief fight with Reed Richards attempting to fight off military gunman, and towards the end when the Fantastic Four team up to fight Doctor Doom. So very powers usage throughout the world. The Thing looks convincing depending on the lighting, but when he’s fully visible isn’t convincing. Kate Mara wig changes throughout the film, and so does her style. It’s distracting, but the least of the film problems. Planet Zero itself is simply an empty planet with nothing living on it. The music is just forgettable.

Fantastic 4 is a bad film that had potential, but was squandered. It’s a shame to be what it originally wanted to be opting to be a film that pleases everyone, and in the end becoming a film no one wants. Some ideas it had could have led to a good movie, and certain moments in the film are inspired, but the whole thing is a big mess. Good talent is wasted, special effects quality are uneven, and the script is weak on all front. In the end, the biggest let down of seeing this film is the only thing that makes it stand out in the genre is how bad it turned out.

3/10

A Silly Afterthought:

I had no idea where to include this piece of thought in my review so I just place it here in the end. One thing I noticed about all the Fantastic Four films, and some of the comic books is The Thing always wears pants, but in this film he’s always walking naked. So, I find it funny the MPAA considers this PG-13 material, yet something like Steve Jobs has probably like small uses of the F word is rated R. If I understand this correctly, I could display nudity in a movie so long the character is entirely CG, yet simple foul language will get me an R rating. Every movie watcher probably knows this by now, but the MPAA really needs to update their regulations for movie ratings. Oh yeah, there’s also the costumes which I didn’t comment on. To be honest, I prefer the costumes in this film over the comic books which basically are blue tight suits with a number four on it.

Cinema-Maniac: St. Elmo’s Fire Review

Burning up, don’t know just how far that I can go
Soon be home, only just a few miles down the road
I can make it, I know, I can
You broke the boy in me but you won’t break the man
John Parr – St. Elmo’s Fire (Man In Motion)

If you think the film would aspire to be as inspirational as these lyrics (from the film own main theme) you are out of luck. The film own theme by John Parr tells a far more compelling story about a man in a wheelchair going the distance in four minutes than the film ever does in one hour and fifty minute. Not only that, but the theme song by John Parr has virtually no connection to the actual film content. In the film itself St. Elmo is the name of a bar so does it catch on fire? Nope it doesn’t nor does it have any metaphorical meaning. Towards the end of the film a character by the name of Billy (played by Rob Lowe), telling Jules (played by Demi Moore) a story about the origin of St. Elmo’s Fire and it’s a story about sailors. In plain terms, it’s a weather phenomenon usually triggered by a corona discharge (an electrical discharge) from a sharp or pointed object creating an electrical atmosphere around said object. A fact that is more fascinating than the film actual content.

St. Elmo’s Fire is about a group of friends, just out of college, struggling with adulthood. I can’t say all young adults face this same issue, but I am one of them who’s able to connect to with the film on this level. Minus the financial cost since nowhere in the film do any of the characters ever struggle financially until a contrivance in the last act of the film. In general, the problem is no matter how much or lack of connection you can make to any of the characters is the entire film is uneven. The opening scene for instance starts by showing our characters walking happily together on campus after their graduation to then suddenly fast forward a unknown length of time into a hospital. This is a complete one-eighty in the first minutes of the film. There’s nothing before this besides a opening credit which doesn’t show the gang during their classes or having a fun time. Something simple as pictures of the gang bonding together would have quickly gotten across the idea these now young adults have to face the real world together. So what happens after the transition to the hospital? Well the non-stop expository dialogue that occupied the first fifth-teen minutes of the film paints a poor impression of the characters. We’re introduced to Billy by learning he was drinking and driving Wendy’s car, totaling the car and injuring Wendy (played by Mare Winningham) in the process. This incident has no repercussion on the plot, and Billy is allowed to go out to St. Elmo Bar for a drink with his friends after immediately driving drunk in a accident.

After that absent of reality the rest of the film never is able to follow up on interesting traits for it cast of characters. For example, Kevin Dolenz (played by Andrew McCarthy) is inspiring writer who is presented with an issue on his sexuality. In particular whether or not Kevin has feeling for his friend Alec (played by Jed Nelson) because all of Kevin friends assume he’s gay. Early on in the film it presented as if the film might tackle the subject of sexuality with Kevin which would have made up for his awful dialogue. Whenever characters speak there are some cringe-worthy lines of dialogue, but in particular whenever Kevin Dolenz speaks it’s a more frequent occurrence. He speaks like an artist who thinks just too highly of himself. Hm, oddly enough this was also the most relatable character for me. Yet, when he talks you just want to punch him. How exactly does he speak? Here’s a couple of his lines.

Kirby: It’s true love, my friend.
Kevin: Love, love, you know what love is? Love is an illusion created by lawyer types like yourself to perpetuate another illusion called marriage to create the reality of divorce and then the illusionary need for divorce lawyers.

Kevin: You know there are more people in law school right now than there are lawyers on the entire planet? Think about that.

Jules: Don’t you enjoy anything anymore… like girls?
Kevmin: I enjoy being afraid of Russia. It’s a harmless fear, but it makes America feel better, Russia gets an inflated sense of national worth from our paranoia. How’s that?

Kevin: Marriage is a concept invented by people who were lucky to make it to 20 without being eaten by dinosaurs. Marriage is obsolete.
Alec: Dinosaurs are obsolete. Marriage is still around.

This sort of dialogue is common throughout the film, but back to discussing Kevin Dolenz. His struggle for writing, and getting recognition in that field is something I can easily relate too. However, the film fails to use his hobby to get across anything about writing. It only amounts to Kevin gaining inspiration from the girl he loves, Leslie (Ally Sheedy), when she returns mutual feelings towards him. Nowhere throughout the film when Leslie isn’t in Kevin life as a lover does Kevin do much writing nor does he use it as an outlet for the audience to see Kevin express himself.

Alongside having a pointless hobby that the audience rarely see Kevin perform he’s also part of a love triangle that does not resolve in any form. This love triangle is brought up in the second act of the film since in the first act it misleads audience that Kevin is possibly gay. Introducing first in this love triangle is young Republican hotshot scumbag lawyer Alec. Next up is Leslie who’s been in a longterm relationship with Alec whose reluctance to get married is never given any convincing reason as to why she’s so opposed to getting married. Finally, their mutual friend is Kevin, who everyone thinks is gay. What no one knows is that he’s not actually gay; he’s in love with Leslie! So the subplot of Kevin being gay goes nowhere as his hobby on writing, but here’s a subplot that could have worked. Unfortunately, Alec, who is an adulterer perilously close to being a pure sociopath. Not only that, but after Kevin confesses his feelings towards Leslie they have sex and within that same sex scene are committing love on top of a coffin. Why does a college graduate have a coffin and why does Kevin think it’ll work as a babe magnet is about as questionable as the film claims that these people graduated from college.

Towards the end of the film when the three confront each other Leslie simply says she’ll get off dating for a while and for all of them to remain friends. The issue with this resolution is that these three are never shown acting like friends. So the strength of their friendship doesn’t come across as clearly intended. This isn’t the only shortcoming in the film. The entire writing is clueless as to exactly where to take the story. It’s main cast consist of seven characters all of whom don’t get equal attention. It’s very noticeable when characters who don’t appear for half an hour suddenly making an appearance in the background. The writers took up more than they could handle with this large cast. Each of which have traits that could be fully explored like Billy who’s a deadbeat dad, Kirby (played by Emilio Estevez) who has an unhealthy obsession to a woman he barely talks too, or Jules turning taking the easy route in life. These traits if fully developed could have created compelling characters. However, due to the story jumping from character to character every single one of them end up leaving a negative impression.

Billy, the mention deadbeat father has a confusing story arc with no resolution. He’s given no redeemable traits in the long scheme of things as not only does he virtually learns nothing about being an adult, but retains his floundering attitude on life. His only acceptance to reality is accepting the fact he won’t see his child, and his estrange wife again because it’s not what they deserved according to him. If Billy is going to support his child in some form or attempt to apologize to his estrange wife due to his behaviors are unclear. Despite the film attempt to paint Billy in a positive light there’s one scene that solidified what a scumbag he is. In one scene after a party, Billy tries to get his other friend Jules to go down on him by putting her car keys down his pants (“Come and get ‘em.” Billy says). She kicks him out of her car and tells him she really needed a friend. His response? “Get back in the jeep, and assume the missionary position.”

With that bad taste in your mouth the other characters won’t wash them out. Kirby’s arc has a disturbing optimism on stalking. Kirby is infatuated with a woman who he dated once years ago and barely seen talking to her. Whatever form of intended charm he was meant to have turns into creepiness as he has a great detailed memory if it involved the woman he’s obsessed, smells her pillow, and in one scene follows her. At no point does the film challenge Kirby disillusion between what he believes is love versus being a stalker. Yet, the person Kirby stalks has no issue with this claiming it’s might be her loss at some point in her life.

Now you’re notice another issue with this review, where are the discussion on women characters? Well I can’t go much detail into them since the women characters have little to do in the film besides being the affections of males. Including the best female character Wendy Beamish who’s the most responsible out of the cast is relegated to an arc of losing her virginity to her lover. Yes, in a cast filled with seven characters the best female character among them is simply one who’s responsible, but her arc revolve around losing her virginity. Equality, ain’t I right?

The technical aspects aren’t worth bringing up. Cinematography is simply well shot with the exception of the first person stalker in one scene. I inserted in John Carpenter Halloween (Michael Myers) theme during the first person shot, and it strangely fit. Actually, whenever Emilio Estevez is in a scene that revolving around his crush it fits him perfectly. Another aspect I do want bring up is the climax. So, in the “climax” that’s convoluted the character Jules is in a empty room with windows open. Her friends want to help her, but won’t open the door. When an interior shot is shown of this room; it’s an image of an empty room with open windows, and it’s cold so the characters naturally come to conclusion Jules is trying freeze herself to death simply because some windows are open. There’s no question mark to that last sentence that’s literally what director Joel Schumacher chose to do in order create tension in the climax. He is also listed as a writer of the script along with another screenwriter in the credits so he holds half of the responsibility for this extremely goofy “climax”.

In the acting department you got a main cast consisting of Emilio Estevez, Rob Lowe, Andrew McCarthy, Demi Moore, Judd Nelson, Ally Sheedy, and Mare Winningham. Our main cast performances is average bringing more attention to the awful dialogue. None of the cast member deliver a good performance due to their narrow characters. Emilio Estevez plays Kirby Keger and is the least interactive with the other cast members putting in a performance appropriate for a horror movie. Instead of making his crush seem innocent Estevez instead pushes his role into creeper territory with his menacing stares usually delivery dialogue in a loud voice. Estevez takes his portrayal seriously so speaking in a serious manner, except when involving his crush where he has to display some joy. Like, the instance he smiles when talking to costar Andrew McCarthy about stealing his crush work schedule. If Estevez was playing a stalker in horror movie his portrayal would have fit just fine, but in this film where it clearly wants his character to be seen as a hopeless romantic it gives off an unpleasantness thinking stalking is equal to true love.

Rob Lowe plays Billy Hicks who is easily the worst character in the film. Lowe performance is bad in the sense he never disappears into the character. He is convincing in some scenes where he has to display the acceptance of his struggling life, but is unable to overcome bad writing. For instance, he’s meant to play a dead father, and unfortunately for Rob Lowe he didn’t have the range to bring to life a complicated character or the fullest of conviction to sell his personality. From the very beginning to the very end his performance does not show any change. Then there’s Andrew McCarthy who does okay. He’s not convincing in his dramatic scenes due to his lack of emoting in these scenes operating on autopilot. McCarthy is good when showing his character more playful side. It’s unfortunate McCarthy has plenty of terrible lines. However, his delivering of his awful lines makes them that much better to poke fun off. Judd Nelson plays Alec Newbary who’s only meant to be dislikable. Nelson doesn’t get much range to display besides anger, or desiring sex. It’s a role that doesn’t offer enough meat for an actor.

The women of the cast suffer similar problems, though not to the same degree. Ally Sheedy benefits most from her large amount of screen time comfortable settling into her character. She shows a natural change in her personality from the beginning of the film to the end. Sheedy has no one scene to make full use of her talent, but comes out unscathed from the writing unlike her costars. Demi Moore plays a character named Jules who ironically also suffers from a drug habit. Moore is simply in St. Elmo Fire to look beautiful which she succeeds in. Like Judd Nelson, Demi Moore role doesn’t much meat to the character resulting in a narrow performance. Finally comes Mare Winningham who has to display giggling and being upset when being questioned about her virginity. Winningham comes across as a pouting adult who refuses to accept her reality. That’s about it on her performance. Mare Winningham easily got the worst role out of any of the cast member being offer little traits and little screen time. She could have been written out of the movie which further strengthen her pointless inclusion.

The soundtrack to St. Elmo’s Fire is very cheesy. Dated, and rotten kind of cheese not the kind you could laugh at. Easily the best song in the soundtrack is John Parr St. Elmo’s Fire (Man In Motion) which I already mentioned tells a far more compelling story. Parr’s song is completely unrelated to anything that occurs in the film. However, the film cheesy instrumental is use for a good purpose to inspire, and considering his song is about a man in a wheelchair basically going the distance it’s a good song to listen too on its own. Whenever you hear St. Elmo’s Fire in the background it’s a highlight, but those moments only occurs twice and misued twice in the film. Also, it must be addressed that during the closing credits I spotted a listing for stunt double. There are no dangerous stunts in the film, and the most life threatening scene is one character simply shoving another character to the floor. That’s about as life threatening as it gets. There’s also a scene where one character is consider letting his friends go off ledge, but due to the close ups it’s makes it a fact the actors are doing this scene themselves. So, since I like to make up stuff spontaneously I award St. Elmo’s Fire the “Most Pointless Use of A Stunt Double” award from me.

St. Elmo’s Fire wanders around aimlessly for its entire duration not providing engaging characters or satisfactory story arcs for those characters. Simply giving characters some relatable traits that a viewer(s) can connect too doesn’t hide the weak writing. A character and their story should be able to engage the viewer(s) regardless if they can make a personal connection to what’s unfolding on screen. The cast isn’t talented enough to rise the material above its actual quality making its cringe-worthy dialogue that much more noticeable. This film’s ideas could have weave together a challenging film on the subject of becoming an adult with its different types of characters pursuing different interests, but the only thing St. Elmo’s Fire will be burning in me as well as those who dare to witness St. Elmo’s Fire will be hatred that won’t be extinguished.

3/10

Anime-Breakdown: Aldnoah.Zero (2014) Series Review

Spoiler Warning: This review will spoil specific plot points in certain episodes in order to provide examples of why Aldnoah.Zero writing fails for a number of reasons. While I attempted to keep spoilers to a minimum, it’s best recommended to avoid reading this for those who have an interest in checking out Aldnoah.Zero and don’t want anything to be spoiled. In a nutshell, Aldnoah.Zero has the aesthetic for a great series, but no substance to support it not offering anything in between all the eye candy. If you plan to continue reading past this point you have been warned.

“Fiat justitia ruat caelum” is a Latin phrase that means justice must be achieved no matter the consequences. Its usage varies depending on who uses the phrase, especially those among writers in any media, but it has significant value in history prevalent in important court cases where a judge reflects on the duty of the Court. Why do I bring this quote up? This is Aldnoah.Zero tagline that is shown alongside the anime logo in the opening animation. Except it’s translated to “Let justice be done, though the heavens fall” in English. Not only is it a misuse of the quote because of A.) Politics don’t exist in Aldnoah.Zero, B.) Heroes aren’t in any danger because of it’s lead character, C.) villains don’t face the consequences despite going against direct orders from their superiors, and finally it’s a one sided conflict that’s black and white with no significant meaning tied to it. Aldnaoh.Zero is a plain and simple a mecha anime about good versus evil. Yet even with that much simplicity no amount of eye candy is able to disguise the poor writing of the anime.

Unredeemable: Nonsensical Story

Aldnoah.Zero takes place in the futuristic year of 2014. Basically last year at the time of posting this review. I double checked around the internet and some local newspapers just to make sure this anime wasn’t based around any true events. If they were based on true events than this anime would have played out differently with some level of logic. The anime follows main character Inaho who is thrust into a world of conflict when a peace mission goes disastrously wrong. Everything about it first episode is a mess in writing. It’s bad in establishing the setting, introducing characters, and creating a central conflict that have a sense of weight to it. What exactly it was trying to achieve in its first episode is unfathomable.

Within this first episode characters provide a quick summarization of a war that occurred in the past in some unnatural exposition. Apparently Vers and Terrans aren’t really all that different since both race when boil down are basically humans. It is also explained that Princess Asseylum is attempting to ease the tension between Vers and the Terrans who I’ll refer to as Earthicans. As soon as something bad happened to Princess Asseylum the Vers Empire immediately launches a military invasion on Earth. A race of species that is more technologically advance than Earthicans apparently doesn’t know how politics function. This one moment becomes further questionable when shown a sick emperor in bed and told he has authority over the Orbital Knights (basically Vers military). The Vers Emperor didn’t issue an attack on Earth to start a war, yet he does nothing to punish those who killed possibly millions. He even goes as far as calling a ceasefire with Earthicans to negotiate peace which goes nowhere near a brain cell in the story. Orbital Knights can do whatever they want without repercussions. In episode 8, Saazbaum, a high ranking Orbital Knight kills another high ranking Orbital Knight and this is never brought up again, nor is the fact he kidnapped a prisoner who was being tortured for information mentioned to him.

For the central characters, they are never in any danger because of leading character Inaho is the solution for any battle. The other characters don’t get the opportunity to contribute in a battle lessening the group dynamic and eliminating the purpose of teamwork. Inaho plans always work out due to luck or plot conveniences. Usually his plans have smart setup to them. Like in episode 3, Inaho uses a toy plane in order to determine what kind of camera a specific Vers mech is using and how it functions in recording its surrounding. Then the actual plan itself throws away logic in order to write a scenario that best suited to make an action scene around. Opting for escapism over intensity which fails due to how it was set up only to be ruined by good luck in execution.

Still on episode 3, it’s established that a mech uses drones in order for its pilot to see the area around him. In a later episode it shows the Vers empire have developed some sort of teleportation device for communication. So by this anime logic; something difficult like teleportation is achievable for this race, but apparently not allowing it’s own pilot to control its own camera drones from within their own robot is not. No matter how often the anime claims the Vers Empire has the superior technology oversights like these show up regularly which can’t be forgiven. Escapism itself is broken when down the line another plot point will either break that immersion by what it reveals or create more nonsense. The thought of how these Martians who have superior technology, yet act so stupid never leaves the mind.

One major problem as a whole in the anime is the lack of weight that comes from a worldwide invasion. It never gets across that this war between the Earthicans and Vers Empire is a global issue. Only focusing on a single group never bringing up how other parts of the world are holding up. With a self-contained mindset this central conflict feels less like a major catastrophe by the way it chose to depict it. A small scale approached backfires when the central characters are static when introduced all the way to the end. Supporting characters do change somewhat, but they aren’t the focus feeling free to just leave their storylines dangling in the finale.

Episode 1 shows a Vers mech using lasers, but other robots Inaho and his group fights against use practical weapon like swords or projectile arms. Despite in several battles Inaho proves with limited training he’s able to overcome any opponent that uses a practical weapons. Vers never change up their tactics, even when it has a success rate of zero percent. Vers strategy comes down to only sending down a single one of their mech pilot to fight against large numbers of Earthicans mech pilots. Not once in this season do the Vers Orbital Knights ever mention perhaps sending two experienced pilots to fight against Inaho since he poses a major obstacle for them. Another issue regarding the weaponry are the soldiers of Vers do have guns, but for unexplained reasons gun type weapons aren’t made for their mechs and if they are not implemented in battles.

The anime also explains what kind of power source the Vers Empire uses for their technology. Once this plot point gets explained it further questions the villain’s motive. Basically, if the only two people who are able to provide power die Vers is as good as dead. Now from the villain’s perspective it makes no sense to eliminate the only source of power for your own species. The villain claims he wants to help the masses, but still goes with his plan to kill the royal family, even though they are the key to supplying their planet with energy.

The final episode of Aldnoah.Zero first season is awful and unfulfilling in every sense. At this point, none of the central cast are developed to care about and the one supporting character who has potential is pushed to the sideline in the finale. Like in previous episodes, there is no sense of suspense on the character’s livelihood as they already have victory in their hands by plot convenience and enemy pilot stupidity. Inaho doesn’t struggle much to fight against a pilot whose mech is a combination of mechs that he already fought. With that alone, it guarantees his victory because at this point it proves Vers aren’t intelligent despite the writing claims that they are. How it ends is weak and purely for shock value. Narratively it’s a horrible ending because it forgets to inform the viewer status of Earth, which is at war with Vers. Only offering a narration of what happened to the characters it focused on. Leaving the fate of its central characters ambiguous isn’t bad, but in this case when the characters are one dimensional who really cares what happens to them.

Unredeemable: Shallow, inconsistent characters, and miss opportunities

Inaho Kaizuka is a young teenager of average height, short tousled black hair, and our lead character. He’s stoic and despite what his sister claims about him being human in episode 10, Inaho never actually shows human emotion. When he does show emotion it’s out of character; in episode 1 Inaho expresses his interest in buying eggs that are on sale. Within the same episode, a couple minutes later Inaho sees Princess Asseylum of Mars killed in front him, remaining stoic at the sight of it. Showing no concern despite the clear consequences of the assassination he has just witnessed. Later on in the series the anime attempts to ship Inaho with Princess Asseylum which simply does not work because of this one moment. So any affection Inaho shows to his “love interest” is as artificial as the robot he uses. Expecting you to believe he developed emotion for his “love interest” when he showed no reaction when he saw her presumably die in the first episode.

As a leading character events magically have a way working out for Inaho even though it’s establish in episode one he’s a trainee of the military. Somehow, with minimal training, he surpasses Martian pilots who have had more experience under their belt in actual combat. It’s not because he smart that he wins. It’s either due to plot convenience, his enemy being stupid, or a mixture of both. Another skill Inaho has over his far more experience comrades is the ability to move out of the way of attacks. This godly power can’t be obtain by the other pilots. All of which are usually standing around in front of an enemy attack until they get killed. Granted evasion should be obligatory in basic combat training, but if allowed so Inaho wouldn’t be the overpowered self insert lead that he is.

In episode ten, Inaho claims that anyone that fights against the same enemy on his side he considers an ally. A statement that is completely proven false in episode seven when he shoots the plane of a Vers pilot that helped him fight for an entire episode. These inconsistencies further weaken the anime when Inaho has no consistent traits let alone a consistent philosophy to believe in. Inaho becomes as much of a plot device as everyone else he interacts with. Finally, Inaho is the character that delivers a speech about how war is used to gain something and ends until the objective is met or the cost outweighs the gain. Not a bad position to take when voicing your thoughts on war, except this character has never shown sympathy when killing his enemy nor ever mentally coped with taking someone’s life. He says within the same speech here cares for no such emotion to gain anything in war. So this whole war speech in the final episodes coming from a lead who said he himself “I care for no emotions” is forced to sound deep and makes Inaho full of himself.

Another major character is Princess Asseylum (who I refer to as Princess Ass since she doesn’t give a shit) is the embodiment of Aldnoah.Zero problems. Easy on the eyes and pleasing, but shallow with no identity of her own. The anime only gives her positive traits like acting like a child when she’s learning about Earth with Inaho and desiring doing the right thing. She looks nice on the surface, but that’s all. In actuality she’s a terrible character. Asseylum has been friends with another major character, Slaine Troyard, for five years showing no concern for him throughout her near death experiences. When reversed, Inaho proved in about a week’s time showing no emotion he’s able to capture Princess Asseylum’s heart. In context, the anime wanting to ship Inaho and Asseylum makes no sense given how little time they’ve known each other. It’s also brought up in a episode she knew someone was trying to kill her, and doesn’t bother to take extra security just to be cautious in case anything happens. Then again, the Earthicans don’t bother giving her protection when they attempt to keep her safe so I shouldn’t be surprised.

Slaine Troyard (not the only pointless reference to Greek mythology) is another poorly written character. His conflict of wanting to be accepted by the Vers Empire is worth investing on paper. Having to overcome the racist mindset of his superior officers and being treated like scum. In execution it’s the opposite, creating scenarios forced to make the viewer care for him. There’s an entire episode dedicated to Slaine being tortured, which doesn’t since in the same episode, it shows Princess Asseylum without care enjoying the day. This episode’s impact is lessened when the entire Vers race is one dimensional and not given any redeeming values to perceive them as actual people.

Supporting characters, just like the main three, that receive tons of screen time are merely plot devices. There was potential with the character Marito to create a satisfying subplot. His back story is compelling, has likable traits by being himself, and has a strong personal turmoil that he can’t immediately overcome. Seeing Marito struggle and trying his best to improve himself provides the best moments in the anime. Unfortunately, by the finale his subplot is left unresolved.

Another wasted opportunity is with character Yuki Kaizuka (Inaho’s sister). Like Marito, Yuki carries a permanent scar from war with her. Unlike Marito conflict, Yuki war scar is resolved quickly and has no important use afterwards. The thought of her brother being an expressionless killing machine never bothers her either. When one of Inaho friends asks Yuki why Inaho is expressionless. She answers by saying yes, he does. A wasted opportunity to develop Inaho beyond a stoic lead, and a miss opportunity to explore what kind of life, Yuki had with Inaho since the status of their parents’ livelihood is never brought up. Other minor supporting characters serve a single purpose. There’s one created to simply die, there’s one that created to be simply racist against Earthicans, there’s one simply created to be sick so the Vers can have power, and so on.

Rayet Areash the worst of the supporting cast being given a position in the anime similar to that of Gavrilo Princip. The anime attempts to paint her in a sympathetic light, except for the fact that it was her fault as well that millions of people got killed. Forgetting this fact, it dedicates an entire scene in episode 10 where she blames Princess Asseylum for something out of her control. Somehow she’s able to make Princess Asseylum feel guilty. This is the equivalent of making Archduke Franz Ferdinand the villain and making him apologize for being assassinated. It doesn’t work that way, even in fictional context when the entire starting point for the story’s existence is because she helped in the assassination. For unexplained reasons, she’s also allowed to do whatever she wants on a military base.

Then there’s the villain Saazbaum who is about as well thought out as the writing in the anime. This character personifies how nonsensical the writing is in physical form. For starter, his motive contradicts his goal. He hates the royal family for manipulating the masses, but the first episode the emperor sends his daughter to Earth for a peace mission. He also initiates an attack on Earth without consulting the emperor. Despite his intentions to help the masses, he fully should grasp the consequences of his own action by attempting to eliminate the only source of power for the Vers Empire. These two points don’t add up; just like the Vers technology and their actual intelligence. The writing never treats the characters it creates as actual characters. They’re a means as story devices and nothing more.

Good: Production side of the anime is generally good

The animation is a joint effort between A-1 Pictures and Troyca. Together they create an anime that all around looks great. It clearly has a high budget incorporating both 2D animation with nice looking 3D robot models that aren’t distracting. Environments in general tend to come across as being large and empty. Since our heroes are on the move battles, mostly take place in environments where nothing much is happening in the background. In some cases, it is put into good use to keep an action scene moving in an large environment as well as showing some environmental destruction. In one action scene, the size of an environment is use to its advantage when Inaho has to stop an attack from a Vers mech on an ship he’s on.

However, the biggest drawback is there’s no visual scale growth in the battles. One of the few memorable scenes in Aldnoah.Zero is in the first episode where an explosion has a similar impact to that of an atomic bomb hitting Earth. Buildings crumbles, cars are blown away by a gust of wind, onlooker to the site are in shock, and it’s large scale destruction implants what a serious threat the Vers Empire is. Everything else, past this moment feels smaller in comparison. There isn’t another scene that visually comes close to matching the mass destruction in episode one. All the characters have appealing looking design no matter the situation. Especially Slaine, who even when being tortured looks good! Particle effects are in no short supply to adding more visual flair to the battles.

One questionable decision in the animation would be the mechs even when stationary are still in 3D. It makes sense in a action scene to use 3D since the thirdimension offer more maneuverability than a 2D plane, but it comes across lazy when mechs are stationed and simply there to show off its high budget. The downside to the animation is the awful staging of the action scenes. Going more for visuals splendor than actual staging. So in most battles there will be multiple mech stationed in one position accepting their death or shooting to hold off an enemy attack. Without a single creative battle that avoid doing these things action scenes are a one time deal for entertainment.

Voice acting is serviceable. The writing didn’t offer much in anything so the voice cast are stuck with what they are given. Natsuki Hanae plays protagonist Inaho and he’s stoic throughout the series. His vocals, mostly stay in emotionless delivery range sounding uninterested in anything. It’s not a compelling performance because there’s no range, but he does portray how the character was written properly. Then there’s Kensho Ono, who plays Slaine, who has a slightly more open role. He gets to scream in pain when his character is tortured, sound serious, concerned, and in the finale near hysterical when he goes insane. Ono role is similar to Hanae where in both performance they have to repeat themselves. Sora Amamiya plays princess Asseylum. It’s passable in general. When Amamiya portrays the more innocent and childlike side of Asseylum she’s convincing as Asseylum, but when in a dramatically heavy scene she falls short. She’s sounds like she’s on autopilot delivering most of her dramatic material with little variation no matter the context of a scene.

The supporting cast in general suffer from the same handicap that Natsuki Hanae is given in which they mostly portrayed a single character trait. This is especially true for voice actors that get casted as Vers Martians. Show Hayami who plays Cruhte only yells for his time on screen. Only having one tone voice in the series. Inori Minase plays Edderlrittuo and sounds like a little girl. It’s an appropriate performance getting across Eddelrittuo sisterly love towards Princess Asseylum.

Tooru Ookawa plays Saazbaum and unlike Hayami who’s allowed a single scene to change up his act Ookawa isn’t as fortunate. His performance isn’t bad, but it’s a single note role where one line delivery is no different from line another delivery. Takahiro Sakurai plays Trillram and thanks to his more expressive character taking delight in killing people. He’s the most enjoyable screen presence out of all the pilots that Inaho fight against. Yuki Kaida plays Femieanne, Hiroki Yasumoto plays Vlad, and Mamiko Noto, who plays Orlane aren’t as lucky in playing interesting villains. They lack the proper screen time to make something out of their role being forgettable once off screen. Sachika Misawa plays Rayet Areash. While the character is full of herself Misawa performance is fine since she does her best to make her character sympathetic despite what she did. There is a scene in episode 10 where she’s allowed to express her dislike for the Vers empire and it’s a highlight for her performance.

Any Japanese voice actor playing an Earthican gets sideline eventually into the background. Unlike the voice actors that play a Vers. Earthicans voice actors don’t have a single episode where they’re given a highlight moment to show off their acting chops. They get stuck in a single note sometime delivering the same lines of dialogue word for word in different episodes. Ai Kayano who plays Darzana Magbaredge and Yuu Shimamura who plays Kaoru Mizusaki have this problem. Whenever they share a scene together, it plays out the same getting repetitive over time.

The best voice actor in the cast regardless of what race he portrays is Kazuya Nakai and that’s because he plays Kouichirou Marito. His character suffers mental turmoil while on the outside, he shows a free caring personality. Nakai is allowed the freedom to vocalize different sides of a single character more so than anyone in the cast. When he mentally breaks down it’s believable through his delivery. His performance is the most interesting because he’s funny, likable, and a compelling actor in the role. It’s a shame that his character isn’t fully use to his full potential in order to create a good character.

The soundtrack is composed by Hiroyuki Sawano mixing ambient and techno music with aggressive synthesizers, beats, even some 8-bit and a few thunderous orchestral compositions thrown in with Japanese singers singing German lyrics. The music is all around a great fit for the anime and when used correctly in its placement creates some stellar scenes. In episode 1, the musical piece “aLIEz” sung by mizuki is played during a scene of mass destruction is instantly memorable. It’s not as demoralizing seeing an atomic bomb like explosion at the sight of a more technically advance race, wiping out humans with ease, but it’s a cool scene none the less. As great as the music might be there tracks that get reused frequently. In particular the track “BRE@THLESS” sung by mizuki is used in a number of action scenes. Preferably when there’s a chase scene this track will likely play. Losing what made them exciting musical pieces in the first place.

The anime has a single theme song that’s also used as the ending theme in episode 1 is titled “Heavenly Blue” by Kalafina. Despite the less than stellar opening animation “Heavenly Blue” manages to create a strong atmosphere with orchestral composition along with a catchy chorus. It does feel slightly phoned in since there’s not an extra push or power to the track that really demands your attention. The following tracks are sung by mizuki are “aLIEz” used as an ending theme in episode 4, 7-8, 10-11 and “A/Z” in 2-3, 5-6, 9. “aLIEz” loses some of its impact since it’s used frequently in the series failing to rekindle the same feeling when hearing it for the first time. While the usage in the anime distracts from its impact over time the track is a great listen. “A/Z” is more of a techno side with 8-bit beats that’s more optimistic in general. In both tracks mizuki vocals add to the songs; in “aLIEz” her vocals are on a level of opera singing those high notes beautifully sounding as epic as the instrumentals. In “A/Z” she sounds almost robotic like which is fitting for the track. Sawano score is fantastic, but how it’s used in the anime tends to undermine it.

Personal Enjoyment: It killed some brain cells

Usually the first time I ever see an anime I don’t go in them with a critical mindset. Although, fleshed out characters and a story that have working elements is part of the requirement for an anime to be enjoyable for me. However, the first episode did so many things poorly that I couldn’t simply see it without critical thinking. What flipped the switch in my brain was the scene where Inaho showed more emotion for a sale for eggs more so than he does the princess of another planet trying to bring peace to both race when killed in front of him. From then on it’s been nothing, but an infuriating experience how little of the anime was fully thought out. I was so infuriated by Aldnoah.Zero I didn’t bother waiting for any news regarding an English dub. I went into writing out a review for it. Not even the action scenes for as pretty as they look were awfully staged and required very little to no strategy on the characters part. Aside from hearing Hiroyuki Sawano score there wasn’t any other good reason the anime provided to keep me watching. If it ain’t evident with a review consisting of over 4000 words that I think very poorly of Aldnoah.Zero first season I don’t know what will convince you.

Story: 0/3

Character: 0/3

Technical: 3/3

Personal Enjoyment: 0/1

Final Thoughts:

Aldnoah.Zero is nothing more than eye candy and takes pride in that. It’ll excuse logic and good characters if it means it’ll get to show off nice looking action scenes. Understanding what type audience, it wants to appeal to, but mere action spectacles aren’t enough to make an anime worth viewing. It takes itself too seriously unable to be dumb fun, it’s too idiotic to touch on the topic of war maturely, and paints each side in black and white dumbing down the premise to be approachable sacrificing depths along with it. Its central lead wins through a series of plot convenience and luck that remove the suspense of battles. It’s all aesthetics and without substance, it guarantee its own expiration date in a short amount of time. Once you’ve seen the explosions and action there’s nothing left to Aldnoah.Zero.

3/10