X-Men: Days of Future Past (Bryan Singer)

Wolverine to Mystique: "Let's reboot this shit, bub!"

Before anything else, let me just say, with utter conviction, that “X-Men: Days of Future Past” is not the masterful “X-Men” movie that many people are making it out to be, because Matthew Vaughn’s “X-Men: First Class” is leagues better. And, yes, screw those who think otherwise. I’m not kidding. No, really, I’m just playing with you. Now stop staring at me as if I killed Kennedy!

Seriously though, while I don’t really get the enormous hype surrounding this film, I understand why it’s easy for people to label this one as the greatest “X-Men” movie out there. Of course, one of the obvious reasons is its merging of the actors from the original trilogy and those from the prequel into one tremendous ensemble cast. Another is Bryan Singer’s return to the franchise after Brett Ratner and Gavin Hood have turned it into a watered-down joke (even now, I still can’t believe what they did to Deadpool *shudders*). Superficial reasons, those two.

But with that being said, I think it’s quite fair to say that you still can’t go wrong with “X-Men: Days of Future Past” in terms of entertainment, which is often kept crisp by its ambitious thematic flourishes. Yet sadly, narrative issues prevent it from truly being superior to its predecessors. Though this qualm of mine can be heavily attributed to the film’s complete disregard for continuity issues and character inconsistencies (the last time I checked, Kitty Pryde/Shadowcat enters walls, not people’s minds), what I’m pretty sure about is that this is the densest “X-Men” movie of the bunch. However, it has so much going on with it that instead of its narrative strands adding up for a highly satisfactory experience, there’s a feeling that the film, as a whole, never really pushed the envelope further when there’s more than enough space for it. In some ways, Bryan Singer, with a potential super-epic in his hands, has squandered the chance by instead playing it safe, with his intention not on delivering a staggering superhero masterwork but only on rebooting the very franchise he himself has initially helmed. Like a social worker who has handed out a pack of salty instant noodles to a hungry, malnourished refugee, Bryan Singer has fed the franchise and gave it an additional jolt of life, but nothing really long-term, for its continuity issues will always come back to haunt it.

The film, as what is admittedly posh among superhero movies nowadays to bolster their cinematic self-importance, heavily tinkers with history, and for that, “X-Men: Days of Future Past” instantly elevates itself as a different kind of superhero film. But unlike “Watchmen”, for example, which maximizes its use of historical events by integrating them within a most potent and well-built alternate reality, “Days of Future Past’s” dose of history is but a nostalgic ornament, used only to support the story’s “Terminator-like” time-travel gimmick. Also, the way the story tells us that Magneto is involved in JFK’s assassination, unlike how “X-Men: First Class” fits perfectly into the whole Cold War subplot, is a bit forced and inorganic, especially when, you know, “Watchmen” has already made use of that shocking historical event as an interesting plot nugget some years ago. Though on a positive note, they absolutely nailed Richard Nixon this time around without using much prosthetic on the nose part.

In addition, the plot also seems to be so focused on Raven/Mystique (Jennifer Lawrence) being this fate-altering wildcard that Magneto, somnambulistically played by Michael Fassbender, has no choice but to relegate himself to a side villain role despite the fact that the story, if logic is to be followed, dictates that he should be fighting alongside Charles Xavier for survival’s sake. Instead, what he did was telephatically lift a big-ass football stadium, drop it on the White House to trap Richard Nixon and Henry Kiss-Ass-inger, among others, and discourse about mutant respect while being a bit of an ass about it. With him being listed as the number one greatest comic book villain of all time in a list I’ve read quite a long time ago, Bryan Singer and company should have known that Magneto is much better (and wiser) than that. And don’t tell me that he’s merely being his younger, reckless self in this film to excuse his nonsensical Mojo Jojo-like actions. Man, Joker was already as sharp as a shiv and on the brink of breaking both Batman’s sanity and the entire moral fiber of Gotham in “The Dark Knight” and he was not even 30 yet during that time.

But despite all those (it’s really not possible to write a review about this film filled with nothing but rants), the franchise (not just this film) was still more than successful in rebooting itself without recasting any major lead characters or starting from scratch again. When the whole superhero world is scrambling on fast-tracking a remake of this and a reboot of that, the “X-Men” franchise has remained confident about the universe it has built, privy of the numerous shit it has churned out but also aware of the gems it has intermittently created all throughout these years. Though Rebecca Romjin’s blue-scaled seductress will always be my Mystique and Ray Park’s tongue-lashing badass my Toad, “X-Men: Days of Future Past”, though slightly uncalled for, has made the necessary changes to make the franchise more appealing to a new generation of audience. I mean, come on, who would not want to see Jennifer Lawrence in an uber-fit bodysuit?

But on a more serious note, given the film’s star-studded cast, I was surprised that there really weren't any standout performances in it, except for Evan Peters, maybe, who truly rocked his Quicksilver turn, specifically in THAT one scence, which would give the Wachowski siblings a run for their money. Go watch it for yourself. Tyrion Lannister, err, Peter Dinklage, also shines as the hard-to-hate villain Bolivar Trask, who just wants to murder millions to save billions by way of his giant sentinel dudes. Such a sweetie, this guy is, “Watchmen’s” Ozymandias will be happy. A little trivia: Trask was first played by Bill Duke (!) in “X-Men: The Last Stand”. Google him if you may. Now that’s some epic recast.

The CGI fight sequences, although good, are oftentimes too dark and hard to follow, and the sentinels’ bodies sometimes contort in physiologically unrealistic ways. And, seriously, do they really need to recast William Stryker again? I know, “X-Men Origins: Wolverine” is pure dung, but Danny Huston has done a more than decent job in portraying Stryker in it that they should have just used him again instead.

All in all, though I have lots of complaints toward “X-Men: Days of Future Past”, I still thoroughly enjoyed the film for what it is, which is an ambitious, thinking man’s superhero film. In the end, it all comes down to two things as to why I never liked the film that much: either I just was never a fan of “X-Men”, or I am just a much bigger fan of proper narrative continuity.

FINAL RATING

Captain America: The Winter Soldier (Anthony Russo, Joe Russo)

The cracks in S.H.I.E.L.D.

Every time a Marvel film is released, an altogether new reason arises for DC people to tremble in their complacent seats, and "Captain America: The Winter Soldier" is just the kind of Marvel project to make them all apprehensive (and more) while they try and cram almost everything under the sun in that upcoming "Batman/Superman" film. If DC, as of now, is an image of inconspicuous pressure because they're still quite unsure about what to do with their product, Marvel, in comparison, is kind of like the scout leader who's as organized and assured as all hell. 

In all honesty, "Captain America: The Winter Soldier", in terms of its storyline, does not really feel like a superhero movie but more like a stoic political thriller. And though it's being considered by many as the best solo Marvel film to date (some even consider it highly superior to "The Avengers" itself), some may also argue that the reason it became such a quality movie was because it really didn't try to be a superhero film in the classical sense. Its conflict, for instance, doesn't materialize from a formidable villain who wants to proverbially take over the world but from within the ranks of the titular hero himself. So, basically, what makes "Captain America: The Winter Soldier" so great is that it highly contradicts the notion raised by Joss Whedon's "The Avengers" that everything is well and good within the conspiracy-crushing, Chitauri-manhandling organization that is S.H.I.E.L.D. If "The Avengers" is the seminal sing and dance for Cap and company, "Captain America: The Winter Soldier" is the part where the music suddenly stops. And if the said ensemble superhero film is the colorful celebrity magazine, "Captain America: The Winter Soldier" is freakin' WikiLeaks. The S.H.I.E.L.D., as expected, is really not what it seems to be, and Captain America, the symbolic super-soldier representing pride, honor, and all the other positive adjectives you can possibly think of, is predictably dead set in getting to the bottom of it, and the result's explosive in every sense of the word. 

Chris Evans, who we formerly knew as the 'Human Torch' guy who just happened to nab the Steve Rogers role (many were skeptic about him back then), has firmly grown in the role, with him getting better at it with every film. In "Captain America: The First Avenger", he was believable as the likable misfit who suddenly becomes a dependable (not to mention indestructible) super-soldier whose orders American soldiers eagerly anticipate. 

In "The Avengers", he has shown that a pretty boy like him can confidently bark orders at the likes of Robert Downey, Jr. and hold his own ground against Samuel L. Jackson in an on-screen argument. Here in "Captain America: The Winter Soldier", Evans has delivered his most multifaceted performance to date as the patriotic, U.S. flag-clad superhero by emphasizing the fact that Steve Rogers is as wary of the present as he is haunted by his past. And that despite his seemingly all too perfect track record as an unreal specimen of a foot soldier who gets things done, he is all too puny compared to the entire conspiracy that's slowly poisoning the S.H.I.E.L.D. from the inside. 

Evans, who's now relatively edgier in the role, was able to makes us believe in this film, in all his facial expressions and displays of physical struggle, that this may just be the first time an Avenger will be vanquished. Even Nick Fury, who we all consider as this eye-patched badass who does nothing more than eagerly watch the Avengers' every move behind closed doors and on computer screens, was fleshed out in a way that makes one think that this entire Marvel Cinematic Universe, if stripped down to the characters' bare essences, is basically a series of films starring a bunch of head cases with a death wish who all just happen to want to save the world. And just like "X-Men: First Class", "Captain America: The Winter Soldier" effortlessly adopts an additional layer of complexity due to its dose of political intrigue. 

Essentially, the film's dominant priority is to be a potent spy feature, and as a movie fan, it's just valid to label this film as an intense yet patient espionage thriller despite it starring one of the most unsubtle superheroes of all time. And just as we thought that the film's layered plot line is compelling enough, here then cometh the titular villain, played by a genuinely intimidating Sebastian Stan. 

For comic book fans, it's common knowledge that the so-called 'winter soldier' is Bucky Barnes: Steve Rogers' best friend from years past. And for casual film fans, it's given that this is a great opportunity for the film to give proper focus on emotional exposition, which it just did in a fashion similar to "Star Wars", specifically the chemistry between Luke Skywalker and Darth Vader. Added bonus is the magnetic performance by Robert Redford, whose involvement in the Tony Scott-directed "Spy Game" legitimizes this 'superhero' film as an equally game spy picture that's very much at home in wrecking big-ass Helicarriers as it is confident in staging quiet, clandestine conversations within soundproof rooms. 

In short, "Captain America: The Winter Soldier" is infinitely more than just an escapist fare because it has a little bit of everything (even Falcon's here!). With its non-campy seriousness and a serviceable lack of implausible humor (unlike the swords and punchlines epic that is "Thor: The Dark World"), this film officially makes it known that Marvel is indeed capable in producing not just great superhero films, but also great, well-written films, period. And if superhero films typically cram everything they can within the limitations of the climax, this film is seemingly unstoppable, as it unleashes one awesome setpiece after another while still fully preserving the integrity of its sophisticated narrative. Also, this teaches revisionist Hollywood of today that superhero films can appeal to modern audience without so much as darkening a single inch of the narrative or brooding up the main character's back story. Now, I wouldn't end this review with a tired "Your move, DC!" catchphrase because, as of this moment, there really is no rivalry. Marvel is at the top of the heap by a wide margin, and it will take more than the combined appeal of Batman and Superman to dethrone it. Marvel's bigger than U.S. Steel.

FINAL RATING

Thor: The Dark World (Alan Taylor)

Thor's once again ready for some arse-smitin'.

Without any reservations or holding anything back, I can confidently say that "Thor: The Dark World" is the best Thor film to date, which really isn't saying much considering that this is only the second one. The film, as expected from Marvel Studios, is ripe with spontaneous humor, effective one-liners, and smirk-inspiring references that you may think that Marvel's head honchos have seen "Man of Steel", looked at each other in utter disbelief specifically during the climax, and contacted, within minutes, some of their friends in the comedy business. Lesson learned: never trust a Marvel trailer, for it will tease you with the prospect of sheer ominousness, but will almost always bring you an all-smiling kind of escapist popcorn stuff. 

Though the film is with a subtitle that seems to suggest a more brooding sense of adventure for the 'Thunder God' himself, "Thor: The Dark World" is a very fun and innocuous 'might and magic' outing that's as relentless in its action as it is in its comedy. Plus, you will know that you're in for a ridiculous type of enjoyment when one of the first things you will see in the first 10 minutes or so of the film is a stark naked Stellan Skarsgard running aimlessly around the Stonehenge while parading his very Swedish behind. 

Also, for the first time, we're given an otherworldly villain that's not really a kin to our long-haired hero. His name's Malekith (Christopher Eccleston), a dark elf who wants to destroy all the realms and revert the entire universe back to its dark state because, like rats, his kind is most comfortable in the dark. Of course, no matter what it takes, this will not be allowed by the future king of Asgard, or by the incumbent Odin (Anthony Hopkins), or even, surprise surprise, by the god of mischief himself: Loki (Tom Hiddleston in a definite scene-stealer). 

For someone who's really not into the whole fantasy and sci-fi stuff, "Thor: The Dark World", in some regards, may come across as something too jargon-y, especially when Natalie Portman's Jane Foster starts to talk about gravitational theories and whatnot. On the other hand, though, coming in as a fantasy fan will surely be a treat all on itself because, compared to the first film, Asgard (plus the other realms) is in fuller view this time around, and we're also finally able to behold its sheer size and very Rivendell-esque aesthetic. 

In addition, the film is also more well-endowed in its action sequences, though I can definitely see the visual dissonance that seems to suppress the film's search for a kind of identity. I see a group of bearded warriors engaging in a very fantastical skirmish and "The Lord of the Rings" is what immediately enters my mind. I see a metal-hulled ship that's being shot at by giant laser guns and "Star Wars" involuntarily pops up in my head. Though it is but given that "Thor", in its own right, already has a fairly established universe in the comic books, I still just can't buy how it was realized on-screen, and it also doesn't quite help that director Alan Taylor is a "Game of Thrones" luminary. 

On a more positive note, though, the film's climactic set piece, which sees Thor and Malekith do battle in a highly spasmodic gravitational condition (in layman's term, they're fighting while being spontaneously teleported from one realm to another), is on par with "Iron Man 3's" firecracker of a payoff. 

Chris Hemsworth, in his third outing as the titular superhero, is more effortless than ever in Thor's otherwise unwieldy boots and heavy garb while holding the even heavier Mjolnir, though him being completely overshadowed by Hiddleston's even more effortless portrayal of the unpredictable Loki just can't simply be avoided. This time around, after being defeated in "The Avengers" by, well, the Avengers, Loki is the obvious victor, performance-wise. 

And the ending? Well, I can't believe what I've just seen, but did Kevin Feige and company just borrow from "G.I. Joe: The Rise of Cobra's" playbook? It's a great sleight of hand (the ending, that is), sure, but I've seen it before, and sadly in an infinitely lesser film. Does this suggest that Marvel's creatives are finally reeling? In terms of the overall quality of "Thor: The Dark World", it's quite evident that, no, it's not anywhere near that, but the ending sure speaks a lot about the fact that even air-lifting Joss Whedon into the set for emergency rewrites just couldn't save a relatively lousy ending. 

Nonetheless, the film is still good enough for what it is, and has some nice enough surprises and in-jokes up its sleeve to make it adhere more tightly to the ginormous hull of the Marvel Cinematic Universe. And, man, just seeing Heimdall the Gatekeeper (Idris Elba) single-handedly kick some dark elf ass secures "Thor: The Dark World" an automatic spot in my list as one of the more truly enjoyable Marvel movies to date. Again, that's not saying much, but the film sure is staggering in scope, which has pumped me up even more for the astronomical degree of awesome that's in store for us when "The Avengers: Age of Ultron" finally rears its head.

FINAL RATING 

The Dark Knight Rises (Christopher Nolan)

Pain.

Being one of the most hyped films of the year, "The Dark Knight Rises" is one of those motion pictures that are very easy to venerate yet just as easy to bash. It's prone to criticism and fevered hate because, well, it's an easy target. There's also that little "The Avengers" vs. "The Dark Knight Rises" thing going on in the internet so the pressure for this film to deliver is quite great especially compared to the former's unexpected critical success. 

But after watching "The Dark Knight Rises" after more than a year of utter anticipation, it's very fair to say that this film has immensely delivered both in scope and emotional magnitude. It has also solidified Nolan as the best blockbuster filmmaker and his vision of Batman as the most definitive ever. Oh, and did I mention that this film completely blows "The Avengers" into the deep waters? Oh, well, enough with the comparison. 

Like the previous installments, "The Dark Knight Rises" is successful not just as a superhero film but as a drama of human flaws and as a deeply penetrating tragedy of lies and loss. But this time, it's even more than just a Batman film. It's not even just a story of Batman's heroics. Instead, it's the story of Bruce Wayne and his ultimate struggle against fear and his ever-consuming savior complex. Judging from his performance, it's quite easy to see that Christian Bale is back in his groove as the narrative center (he took the backseat for Ledger's scene-stealing presence in "The Dark Knight"), and after this film and the trilogy in general, it's really quite hard to see any other Bruce Wayne other than him. 

Now, reckon how many people consider "The Dark Knight" as a Joker film and not as a Batman tale? I think "The Dark Knight Rises" is the answer. Never has Wayne's unconditional martyrdom as a crime-fighting man in a cape and cowl better highlighted and explored than in this film. If "The Dark Knight" is all about the rise and fall of the alliance between Commissioner Gordon (Gary Oldman), Harvey Dent (Aaron Eckhart) and Batman (Christian Bale), "The Dark Knight Rises" is all about the inevitable rise of Batman long after his chosen path of self-incrimination (of Dent's murder). But with the brooding atmosphere that was frenetically sustained all throughout the film, we're not sure anymore if that rise will be all the way or will it entail a most fatal fall. And with Bane (Tom Hardy) in the villainous seat, the man we all know as the one who broke Batman's back in "Knightfall", it strongly suggests an inescapable destiny for the caped crusader. Can he save Gotham City from the terrorist clutches of Bane? Can he match Bane's brains and brawns? Or to be more exact, can he even survive it at all? 

These are the questions that Nolan (with his brother Jonathan and David S. Goyer) is more than happy to tease us with for the past year or so, and his answers embedded within this film are really more than satisfying. This is not just a superhero film anymore. It's something that walks the thin line between action and gut-wrenching drama and the result is just astounding. And although the film's first half or so is something that can be repaired a bit by better pacing and less clunky action, the film's second half has more than supplied the power that has seemingly been amiss in the early half. 

As with the performances, I believe that this is the best-acted film in the series. And although "The Dark Knight" is particularly special because of Ledger's performance (easily the best in the series), "The Dark Knight Rises" is the most emotionally draining of the three. Michael Caine's Alfred, for instance, with his controlled demeanor in the two previous installments, is a complete revelation in this film. He has both been Bruce's butler, friend and father; we saw how he has always been the calm spirit that constantly guides Bruce through confusion and psychological torment, and we saw how well-cultivated his relationship with Wayne really was in the previous films. But we have never seen their relationship as being on the line as in this one and we have never seen Alfred so emotionally fragile and elegiac ("I've buried enough members of the Wayne family"). Michael Caine certainly saved his best performance for last. 

Same goes for Gary Oldman's Gordon (my favorite character in the whole series) who, after hiding everything Dent has done and letting Batman take all the blame for the former's murderous deeds, is seemingly struck with guilt and an impulse to tell the whole truth to the city of Gotham. Even Morgan Freeman's Lucius Fox, the easygoing, technologically savvy CEO of Wayne Enterprises, is having a hard time wearing a smile here. But then again, with arguably the most iconic superhero to ever grace the screen finally reaching a cinematic conclusion of eschatological proportions, it really is hard to wear one. 

But aside from the regulars, there are also some new characters introduced: John Blake (Joseph Gordon-Levitt), an idealistic cop whose utter devotion to his work is quite reminiscent of a younger Jim Gordon, Selina Kyle (Anne Hathaway), the cunning burglar who we also know as the pun-filled Catwoman, and the mysterious Miranda Tate (Marion Cotillard), a woman who's more than interested to invest in Wayne Enterprises. And finally, there's Tom Hardy's Bane. 

We all know the burden of pressure and expectations of being a Batman villain ever since Heath Ledger took the bar sky high. But nonetheless, Hardy has still pulled off a Bane rendition that he can wholly call his own (with that peculiarly menacing accent) and can stand alone not in the shadows of Ledger's Joker but somewhere that is just as potent and convincing. 

"The Dark Knight Rises" is the final, tearful salvo of Christopher Nolan's Batman legend. And evident of the film's massively chaotic scale which, if I may say, has rendered the happenings in "Batman Begins" and "The Dark Knight" quite small in comparison, Nolan's trilogy wouldn't just go quietly into the night. It went with flying colors and with a bang. The whimper part is for us to handle. 

And with that, this trilogy is really something more. If a costumed superhero like Batman can make you shed a tear, then there's something really, really special going on. That, I think, is the case with "The Dark Knight Rises". The drama is just so multi-layered and so affecting that I couldn't care less about the special effects. This is not just a superhero film at its best. This is blockbuster filmmaking at the height of its promised power. Cheers to that.

FINAL RATING

The Dark Knight (Christopher Nolan)

Chaos.

Hell, if I can only turn back time just to experience this once again in a movie theater. "The Dark Knight", as much as I admire its greatness, is one of those rare films that I have never enjoyed that much inside the Cineplex but grew to love with each rewatch on DVD. This, I believe, is a mark of an 'epic' film in every sense. Wherever you may put it, whether it's on television, DVD, or the theaters, its greatness still and always will shine forth. This is also the great strength of "The Dark Knight" that's completely absent in other superhero films. Take out all its eye-popping visuals and you still have enough narrative, emotional weight, and pure characterizations to carry you through. Plus, unlike other side characters in other films of the same kind, "The Dark Knight" has characters that you would really care for. 

Jim Gordon, Bruce Wayne, Harvey Dent. The triumvirate that stands up for everything that's right. These are the characters that have risen and fallen in the epic graphic novel "The Long Halloween", and here in "The Dark Knight", their dynamics as complex allies have never been displayed more effectively, affectingly, and with appropriate justice. Gary Oldman, in his portrayal of Jim Gordon, blows his earlier "Batman Begins" performance in the water with his reprisal here. Christian Bale is also great by balancing torment and transcendence in his role as Bruce Wayne/Batman. 

With "The Dark Knight", Batman isn't just your 5 cent superhero anymore. Here is a superhero that does not merely thrive on apprehending killers and petty criminals anymore. This is also a man who refuses to lead a better life as a billionaire for the sake of protecting the one thing he believes he is destined to fight for: Gotham City. But he also knows that it is never easy. 

Fresh from thwarting Ra's Al Ghul's destructive plan against Gotham in "Batman Begins", he is now confronted here in "The Dark Knight" by a murderous agent of chaos known only as "The Joker" (played by the late Heath Ledger).

Now, this review is not for the sake of describing, commending and fully admiring Ledger's miracle of a performance as Batman's greatest foe. Words, as what has always been said, are not enough. There is indeed something in Ledger's legendary turn that doesn't just appeal to the mere aesthetics but somewhere deeper that's raw, ferocious, and animal. His 'Joker' provokes some sort of primal fear within us all; of some hidden anarchic inclination hidden deep inside all of us. 

For me, this is the ideal portrayal not just of the Joker but of human vileness pushed to the extremes. Unlike Jack Nicholson's earlier yet also iconic portrayal of the clown prince of crime which has relatively told a clear and very human back story for the Joker (He even had a pre-Joker name: Jack Napier), Ledger's is, as how Nolan has interpreted the character, a complete absolute. 

From his custom-tailored suit to his ever-changing origin stories regarding the scars on his face, this is a nameless entity forged out of the depths of utter abomination and nowhere else. This is one of those men, as what Alfred (Michael Caine) has unforgettably stated, who just want to watch the world topple and burn, and laugh with it. 

Now, with all that being said, we all know how great Ledger's performance really is, and it will truly stand the test of time as one of the best villainous roles ever performed. But aside from him, there's also one actor who stood out among the rest; and yes, he even outperformed Christian Bale, and it's none other than Aaron Eckhart as Harvey Dent/Two-Face. 

Being one of the most tragic antagonists in the history of comic books, Eckhart has captured the so-called 'white knight's' gung-ho ferocity as a brave district attorney yet has also gathered enough dramatic range to also be an empathetic character and a frighteningly vengeful soul. His Harvey Dent is someone you would perceive as someone who's heroic but also someone who's humanly flawed. He is for justice and for lawfulness, yes, but his Dent is also brash and subtly arrogant. Maybe what makes his character's sad transformation from being a clean-cut DA to a monstrous incarnation of confused duality even more gripping is how Dent was portrayed as an ordinarily mild-mannered man who just happens to have a healthy dose of human decency. 

Unlike Batman, he is a man driven towards the path of heroism and justice not because of some tragic undercurrents but because he is born and raised to be one. And what makes his metamorphosis even more tragic is the fact that it could and should have been prevented and also because he was never destined to be the very thing he swore to fight against. 

Destiny, duality and identity; these are the themes that Nolan's "Batman Begins" has focused on but were also re-used here in "The Dark Knight". But this time, its collective emotional effect is heightened even more that "The Dark Knight" came out not just a superhero film or merely as your typical 'Batman' film but as a massive drama about the clashing beliefs and ideological extremes that form Gotham's crumbling soul. And in the middle of it all are some spectacular action sequences that are quite reminiscent of Michael Mann's "Heat". 

In truth, "The Dark Knight" is so emotionally rich that the action seems secondary. Before Nolan, "Batman" films have always been on a crossroad of whether or not to prefer camp over seriousness and vice-versa. "Batman Begins" came and surprised us with its depth; now, "The Dark Knight" enters forth and blows us away with its emotional magnitude. From this point on, I believe that the cinematic "Batman" has already chosen a path: a path that was not chosen and never was an option before by either Tim Burton and Joel Schumacher. This is the film that the caped crusader is unconsciously asking for, and for that, he got what he wishes for, and so do we.

FINAL RATING

Batman Begins (Christopher Nolan)

Fear.

And so it has begun 7 years ago. With Joel Schumacher's "Batman & Robin" leaving a bad, almost insulting taste in our mouths, a reboot is definitely due. And what we got here in "Batman Begins" is something much more than a revisionist superhero film. Instead, it has also become the perfect blueprint for succeeding superhero films dealing with origin stories. 

It stars Christian Bale in what may be the most canonical portrayal of Bruce Wayne on film and also explores the literal beginnings of arguably the most iconic superhero of all time. But of course, what separates this film from all the other "Batman" movies of the past is its distinct visual and thematic tone. Thanks to director Christopher Nolan's patented inclination towards realism, "Batman Begins" is quite effective in keeping its feet on the ground in terms of its borderline science fiction technologies and its action set pieces yet soaring with an almost philosophical take on justice, identity and destiny. 

With Frank Miller's "Batman: Year One" serving as one of the prime bases for this film, it's almost a given that this one will indeed be a quality superhero venture. But no one has really anticipated "Batman Begins'" transcendental quality as an origin tale. 

And then of course, what makes "Batman Begins" even better and more easily involving is the presence of three (4 if you'll count Rutger Hauer) legendary actors in the form of Liam Neeson, Michael Caine and the irresistible Morgan Freeman. Looking at it, although their performances are based on pre-existing characters from Batman's established comic book universe, they are still able enough to give the parts that they're portraying the distinct trademarks of their own established personas. 

Oh, and then there is Gary Oldman, an actor that has always been on a league of his own. To be honest, I was quite excited to watch the film back then because I was intrigued when I saw Gary Oldman in the trailers. Being my typical ignorant self with little to no knowledge of Mr. Oldman's acting range outside typical villainous roles at the time, I immediately marked him to be the primary antagonist in the film. 

With Pat Hingle's Gordon still quite untouchable in my mind, it never even crossed my mind that Oldman is even remotely okay for the part. Yes, at first, I was skeptic if whether or not he's believable enough to pull off a mild-mannered and quite heroic role when he is in fact more at ease with over-the-top characters. As it turns out, it's his performance and embodiment of James Gordon that I have loved the most in the whole film. There's really something in his portrayal that evokes empathy yet also displays an unbounded sense of derring-do. This is the portrayal that Gordon deserves. This is the Gordon that we need.

As for the film's villains, well, for non-comic book readers, it will be quite difficult to grasp Ra's Al Ghul's (Ken Watanabe and someone else that I would not mention) and Scarecrow's (Cillian Murphy in an evidently insane yet subdued performance) villainous capabilities and backstories because they are not as well-known as the Joker or even The Penguin in terms of overall fictional popularity. But still, both antagonists were fleshed out quite well by director Christopher Nolan and screenwriter David S. Goyer that they came out overwhelmingly menacing even when they're not that familiar to many non-comic book readers that may watch the film.

When put shoulder to shoulder with "The Dark Knight", "Batman Begins", in truth, pales in comparison in some areas. The 2008 follow-up, for once, has a much bigger scope and also contains heavier elements of both tragedy and the strains of duality. But despite of that, "Batman Begins" will always be that one film that has forever changed the landscapes of the superhero genre and has also set the bar quite high for superhero origin stories that may follow after it. It has also paved way for the said genre to loosen its limits in terms of characterization and to embrace a sense of grit and some brooding here and there. This is the superhero origin tale to end all superhero origin tales. Hans Zimmer's masterful musical score is still playing in my head.

FINAL RATING

The Amazing Spider-Man (Marc Webb)

Spidey reboot.

Finally, it has now been released. Ever since the film's very first promotional picture showing Andrew Garfield, ragged as hell, in a new Spidey costume has found its way in the loving hands of the internet, many have been befuddled. Why reboot the "Spider-Man" franchise if there's really no need to? Granted, the third film has swallowed more than it can chew, but the franchise, in its majority, is still a collective of truly entertaining superhero films that has also amassed great box-office returns. 

Now enter "The Amazing Spider-Man", a film that has been an object of divisiveness well at least before the trailers were released. And now that it has unveiled itself to a very critical audience consisting of skeptical fans of the previous "Spider-Man" franchise and purist fans of the comic books alike, I think it's fair to say that, at last, the speculations, arguments and general polarization is now over. Skeptics can now merely fade into the darkness and some may now declare themselves as instant believers. This reboot, for the lack of a better descriptive word, is indeed amazing. 

Director Marc Webb, who became an instant indie darling after making "500 Days of Summer", has molded Peter Parker and the other characters away from the clutches of cinematic stereotypes, and has also finely weighed even both the romance and the action. Now, I have nothing against Sam Raimi's first "Spider-Man" film, but I believe it has executed its characters in a way that's very limited and shallow. 

Raimi's characters, including Parker himself, merely exist within the parameters that their character arcs have restricted them to be. For example, there's Mary Jane the girl next door, J. Jonah Jameson the bullish newspaper boss and Peter himself as the geeky hopeless romantic; all stereotypes. Their function is to work well within those character boundaries and nothing more, and what resulted is a film that's well-executed enough but with characters that aren't really that flexible in terms of development.

This reboot, on the other hand, has handled Peter Parker in a way that's very atypical yet at the same time very relatable. There's Andrew Garfield to thank for that. In playing Peter Parker, he has combined your typical comic book charm with a sort of "Generation Y" appeal that's as convenient to identify with as the next fellow. Here is a crime-fighting superhero that can regularly knock out petty criminals and thugs alike but won't bother to accept grocery errands from his aunt. Here's also a costume-wearing altruist who has the tendency of playing cell phone games while on superhero rounds. Not since "Kick-Ass" can we identify ourselves with a superhero more.

Even the Uncle Ben and Aunt May characters, this time played by Martin Sheen and Sally Fields, are now more emotionally realistic. 

While Emma Stone, playing the crucial part of Gwen Stacy, was successful in channeling her effortless charm in the screen while also being very convincing in conjuring a great chemistry with Garfield. Although this relationship between Peter Parker and Gwen Stacy was proven to be very effective on film, we've yet to see the rest of it so I have to give the chemistry between Tobey Maguire and Kirsten Dunst the softer spot in my heart. And let's just pretend that the interaction between Maguire's Peter Parker and Bryce Dallas Howard's Gwen Stacy in "Spider-Man 3" has never happened. 

And then there's the antagonistic role played by Rhys Ifans. Always the superhero with the most sympathetic of villains, movie-wise, Spider-man is now pitted against genetics expert Dr. Curt Connors/The Lizard (Rhys Ifans). Enslaved by his own inclinations to create genetically-modified human reptiles without weakness and also to simply grow back his amputated arm, Connors is our usual villain preyed upon by his own decisional miscalculations. But aside from sympathy, Ifans, with his melancholic performance, was also able to provoke empathy from us viewers. What if we were the ones who are missing an arm? How far will this disability push us psychologically? And, more importantly, what if there's a remedy, however extreme, that's presented right in front of our very eyes? 

Though some may find Connors' transformation from a mild-mannered scientist to a monstrously cold-blooded (literally) super villain to be too much like Norman Osborn's Green Goblin transformation in Raimi's "Spider-Man", the dimensions of Connors' character is what makes him different. Unlike Osborn, Connors is a sane man driven to the edge by his own physical situation. He is very much aware of his own distortions. He knows deep inside that he is on the wrong side. 

"The Amazing Spider-Man", despite of initial skepticisms, came out to be a great origin story that has been made even more excellent by the performances, the standard yet affecting screenplay and the special effects that has elevated this film from meagerly amazing to something that's genuinely spectacular. We also get to see the strongest incarnation of our beloved web-slinging superhero yet. 

Sure, Sam Raimi's "Spider-Man" trilogy is something that can be cherished for as long as there are fans of both comic books and superhero films, but I believe that "The Amazing Spider-Man" is the true Spider-Man film we all deserve.

FINAL RATING

Under the Hood (Eric Matthies)

Now, on with Hollis Mason's tell-all interview, along with many other recognizable characters, here in "Under the Hood". 

A short film that evokes the magazine-like news features of the '80s, "Under the Hood" is an effective secondary sweetener that gives your viewing experience of "Watchmen" a more intimate feel. Headlined by an aging Hollis Mason aka Nite-Owl in a sobering interview that tackles the story of his life, from his childhood years up to his days with the "Minutemen" and his subsequent retirement from masked vigilantism, "Under the Hood" is truly insightful both as a pseudo-documentary and as a precursor to much grander things in a parallel world teetering on the edge of chaos and oblivion. 

Of course, for some who have already read the graphic novel, this supplemental short film is nothing new. But as one of those who were slightly disappointed by Zack Snyder's "Watchmen" adaptation, it's still quite refreshing and commendable for Snyder and company to have conceived "Under the Hood" for the sake of enriching and extending their cinematic translation of "Watchmen" while also exemplifying an almost unsurpassed dedication to the source material. 

Now, what I liked most about "Under the Hood", aside from the sincere performances by Stephen McHattie (as Hollis Mason) and company, is the very genuine '80s feel of the whole short film that seemingly suggests media tranquility days or weeks before the world of "Watchmen" ironically heads into an imminent nuclear destruction. The fun little commercials also helped in heightening this sense of calm as products such as the very resonant 'Nostalgia' perfume populate the screen with a laid-back and feel-good advertising atmosphere. 

But this calm exterior slowly subsides, though almost unrecognizably, once the characters' opinionated insights come to play. Like a quiet bomb awaiting its own implosion, words uttered by the likes of Hollis Mason, Sally Jupiter aka Silk Spectre I (Carla Gugino is also great in this one) and even a very Woody Allen-like Wally Weaver have underlined the anxious fate that awaits both the remaining members of the Watchmen and the world itself. 

"We've been replaced". Hollis Mason sadly stated as he pertains to Dr. Manhattan's god-like status that, for him, replaces not just the costumed heroes of a bygone era like him but also humanity as a whole. But on the other hand, when asked about Dr. Manhattan, a street smart news vendor named Bernard (that's also one of the more significant bit characters in the graphic novel) highlighted Dr. Manhattan's great contribution by answering that America would not have won in Vietnam without him (of course, in "Watchmen's parallel universe, U.S. did won). Different people with different opinions that has since shaped the world of "Watchmen"; it surely is a joy both to hear and to watch.

Once started as an autobiographical interview cum advertising ploy for Hollis Mason's book "Under the Hood", the short slowly turns into a full-formed mosaic of opinions (by way of separate interviews) regarding issues prevalent in the "Watchmen" universe as given by different individuals ranging from flawed masked crime fighters of the past to ordinary bar owners and psychoanalysts. 

"Under the Hood", unlike "The Tales of the Black Freighter", is a film that cannot stand alone. Snyder's "Watchmen" must still be watched first (or the other way around). Speaking in terms of "World of Warcraft", "Under the Hood" is the "Frozen Throne" to "Watchmen's" "Reign of Chaos". A potent companion piece, "Under the Hood" is an effective "Watchmen" short that boldly underscores the world of "Watchmen's" proverbial calm before the storm.

FINAL RATING

The Avengers (Joss Whedon)

Assembled.

At last, the unbearable anticipation is finally over. "The Avengers" has finally reached countless theaters and boy how successful it has been in terms of how it has delivered both stylistically and substantially, thanks to director Joss Whedon and company who have never repeated the same mistakes committed over and over again by those mediocre superhero/comic book films in the past.

Now, I wouldn't really delve on the breath-taking, action-packed set pieces because we all know what a stacked film, superhero-wise, such as this one can bring to the table. Instead, I would deservedly commend how a film of such magnitude, under constant pressure (mainly from fanboys and critics), specifically on whether or not it can bring these larger-than-life superheroes together within the premises of a 2 and a half hour film without being overbearing, contrived and deficient in characterization, was able to solve potential cinematic problems by applying patience in its narrative, constant energy to its main characters and fun in its immediate atmosphere.

Surprisingly, Samuel L, Jackson (playing Nick Fury), who has never looked so damn slick and composed in the face of certain peril since he's had it with those slithering titular creatures in the cult hit "Snakes on a Plane", isn't the only producer of energetic abundance here. Although at times he may sound more like a royally pissed off Jules Winnfield than a legitimately enigmatic leader of an equally mysterious group, he was able to carry the film in certain moments without overusing the film's humor nor squeezing dry the film's supply of campy one-liners. At times, he's even the most serious of the bunch, but for good measure, because it has given the other main actors their time for some comic horse plays other than Robert Downey Jr. of course, whose knack for such is already given.

The cast, led by Chris Evans, Chris Hemsworth and Mark Ruffalo (a rookie to the whole 'Avengers' project), with the addition of Scarlett Johansson, Jeremy Renner and Tom Hiddleston, who has been very good in his Loki character, never succumbed to the quasi-legendary presence of Sam Jackson and to a certain extent Downey Jr.'s and was just as impressive on how they have balanced each other on all aspects, be it the action sequences, the conversational moments or even those random in-betweens.

But of course, this can be laudably traced back to the film's very screenplay itself, written by Zak Penn and Joss Whedon, which has properly built up the titular superhero group's chemistry on screen. So, after all, "The Avengers'" success, although how mind-bogglingly large and explosive (and expansive and expensive) the film's scale is, can be summarized in one simple yet very apt word: patience.

For the more jaded viewers, this patience on the whole project can be seen as nothing but a largely profitable scheme that has milked the whole Marvel lore by individualizing the superheroes through the production of their respective films (which are, in all fairness, quality ones) and then finally putting them all in one movie to create the ultimate money machine.

Well, if that's the case, I can live with that because if a film of such overwhelming scale can be pulled off in such a highly satisfying and entertaining fashion the way "The Avengers" had without making its audience feel that their money has gone to undeserved corporate pockets, then people will keep watching, and enthusiastically at that.

For once, it's even us who are truly indebted to a film like "The Avengers" because it has taken within its shoulders the mountainous task of actually realizing a 'wet dream' of an idea and being successful at it. Captain America, Iron Man, Thor, The Incredible Hulk; who would not watch a film of such escapist promise?

The audience knew it, the film and all that were involved are aware of it. The viewers have been let down many times before and we have seen the disappointing results. The rushed action consciousness of "X-Men: The Last Stand" and "X-Men Origins: Wolverine", the lazy mishmash of villains in Joel Schumacher's "Batman" installments and the 'biting more than I can chew' mentality of "Spider-Man 3". "The Avengers" has heeded the unlearned lessons of those aforementioned superhero films and has absorbed them as cautionary measures.

Dwelling more on how Captain America and company would gel as characters and, later on, as a team in a genre-merging (science fiction, fantasy and action) cinematic whole, this has been proved very fruitful because it has given the film enough grounds for character dynamics mainly due to the film's fairly strong screenplay, which has utilized dialogues that may not be particularly believable (it's still a comic book film, after all) in some ways but nevertheless ones that have properly ( and even emotionally) advanced the story without resorting to much cheese.

Though the film is not exempted from those notoriously contrived moments that were inserted just for the sake of collective laughter in theaters, they were surprisingly passable and does not distract from the film's more dominant tone of action seriousness and also does not make the film an unintentional CGI-laden slapstick.

In my "Transformers: Dark of the Moon" review, I've written that despite of the film's countless flaws, it still has set the bar high for climactic CGI action set pieces. Admittedly, "The Avengers" has never surpassed it in terms of its indulgent length, but for good reason.

Though "The Avengers'" climactic battle in the concrete jungle of Manhattan, New York is a bit generic in its overall look and execution, it still satisfies because instead of bombarding us with non-stop, pedal to the metal action that may result to nausea and overly tired eyes, the film's final action sequence has been, although it is still destructively exhausting like most CGI films, compact and to the point, with enough breathing spaces and even an awe-inspiring continuous shot of the whole climactic carnage (arguably the film's definitive moment) to put it in a relatively sober perspective.

So now, we have finally reached a final, most crucial query: How does "The Avengers" rank in the list of greatest superhero films ever made? Well, in terms of an almost orgasmic abundance of superhero presence and the film's balanced approach to characterization, action and fun, the film may very well rank among the best. But is it really the eager representative of the whole comic book genre? I really can't say, but the whole "Avengers" project, from the very first "Iron Man" installment up to this very film, has been rather successful and is, collectively, one of (if not) the best the genre has to offer, both commercially and critically. But then again, there's always Christopher Nolan who may beg to differ.

FINAL RATING

X-Men: First Class (Matthew Vaughn)

Magneto.

Because of the dismal "X-Men Origins: Wolverine", I never really looked forward to watch "X-Men: First Class" mainly because of a premature thought that if even the iconic Wolverine can't seem to bring the film franchise into places other than 'Mediocrity Avenue', what more a bunch of barely adolescent mutants? I saw the film's stills showing them young lads wearing yellow-colored battle gears of some sort and wasn't particularly impressed. I found out about how Wolverine isn't even included in the mix and was immediately sensing doom. But then I saw that Matthew Vaughn, the director of the underrated gem "Layer Cake" and "Stardust" (not to mention "Kick-Ass", which I consider a bit overrated and oh so over-the-top but still quite decent) will direct it, that wonderful actors James McAvoy and Michael Fassbender will headline it, and I was intrigued. I read about how "X-Men: First Class" would tackle the 'secret ' history of the Cold War and I was slightly elated.

But still, I haven't seen it in theaters for no particular reason other than the fact that my anticipation towards it wasn't really that high like that of a devoted fanboy or a pumped-up viewer. After watching the film, considering that I'm not even a fan of the previous films or a compulsive reader of the comic books, which of course suggests my slight indifference towards the "X-Men" universe in general, I still immediately thought that it is indeed one of the best superhero films that I have ever seen. Color me surprised.

Was it the actors, the story or the execution? I think that these three have indeed contributed to the overall experience, especially McAvoy and Fassbender's great and seemingly effortless portrayals of Charles Xavier a.k.a. Professor X and Erik Lensherr a.k.a. Magneto respectively, who both equaled and, at times, even fully surpassed the standards set by Patrick Stewart and Ian McKellen's performances in the earlier "X-Men" film incarnations. Although on a slightly negative note, I thought that Kevin Bacon's character Sebastian Shaw is too exaggeratedly maniacal considering that the film's core premise is more or less still particularly grounded in reality, or to be even more specific, in history. And really, I just can't imagine anyone else other than Magneto wearing that telepath-blocking, Greek warrior-like helmet.

Aside from the semi-tragic regression of Professor X and Magneto's relationship from best friends into eternal foes which is the film's real highlight, "X-Men: First Class"' other real star is the very scope of the narrative. Never have I seen a popcorn superhero movie, aside from "Watchmen" maybe (though I can't consider that to be a popcorn film), that has bravely tackled a quiet yet extremely turbulent part of our history which is the Cold War, or even more specifically, the Cuban Missile Crisis, which is the closest the world has gotten to a full-blown nuclear war, and was also able to create excellent, special effects-laden action set pieces out of it.

And what's more impressive with "X-Men: First Class" is that it even squeezed an engaging and entertaining story out of such a politically-charged military affair without feeling forced or distracting, execution-wise. Hell, Michael Bay's "Pearl Harbor's" love triangle story arc feels even much more contrived when compared to this, which really proves the strength of this film's screenplay.

And considering that it's about mutants and nuclear war, and especially the fact that "X-Men: First Class" basically belongs in the superhero genre, a category which we all know to have been following a flawed storytelling dogma ever since Superman messed with the idea of dual identity and Lex Luthor with megalomaniacal villainy, sure, the film has all the energy and visual force prevalent in a typical superhero feature, but more importantly, it also has enough threads of reality to counter an otherwise chaotic CGI fest with filmic sobriety.

With a story and presentation neatly balancing its tone to appeal to everyone, from the typical blockbuster suckers to the more nitpicking purists who want source material faithfulness more than anything else up to the history buffs who appreciate a parallel reality once in a while, "X-Men: First Class" is both substance and style, power and grace, a film that teeters between 'rage' and 'serenity'; a rare feat for a film categorized in a genre where it's perfectly fine, or sometimes even compulsory, to neglect the first and wallow in the latter.

This film may not be like "Watchmen" in terms of thematic depth and quasi-philosophical take regarding the superhero mythos and the end of days, but "X-Men: First Class" delivered what it needed to in ways that are extremely satisfying, truly exciting and even thought-provoking: As a commercial and critical sleeper hit that gives a fast-waning superhero movie franchise a much-needed jolt of life, as a picture-perfect origin story that sets the bar high for other cinematic prequels, and as an allegorical exploration of discriminatory hate. This is the most definitive "X-Men" film yet.

FINAL RATING

Captain America: The First Avenger (Joe Johnston)

Cap.

The most outstanding testament of how Marvel handles its core superheroes with utmost care in films, this is truly, without a doubt, the best Marvel movie that I have seen, or to be more exact, the finest 'Pre-Avengers' Avenger movie out there. It has certainly balanced the typical side humor present in almost all popcorn flicks with its action sequences that make it all the more explosive and entertaining. It's a war-torn celebration of patriotism and outlandish strength, and who would be better to represent such a film but the most obviously propagandistic superhero out there that is Captain America?

But a reminder to those who might be put off by the film's geographically-specialized protagonist, the film, directed by Joe Johnston like a true blockbuster filmmaker, is also quite conscious with its hero's stupendous status. Like a war-time satire, it highlights Cap's post-frailty but pre-hard hero masquerade as a symbolic mascot that parades around camp after camp and city after city to promote bravery and desire for clean-cut Allied victory. It partly worked because of Chris Evans' nuanced portrayal as a pretty boy figure that seemingly came out of the corners of the American Dream but whose outer motives is all but superficial. As told by the film's very fascinating look at Steve Rogers' literally 'small' beginning as a Brooklyn Boy U.S. draftee wannabe, his moral fiber is perfectly sound save for his physical built. But along came the scientific experiment and bam! Just like that, he's now muscular than ever and a genuine super soldier.

Now, based on the standards of common superhero origins, Steve Rogers' rise as a star-spangled super patriot is all too easy considering that Bruce Wayne got his parents killed before having enough inner strength to balance his conflict between being a hero and vigilante to become the legendary bat entity that he is. It can easily be said that Captain America's path towards being a superhero is relatively convenient compared to others, but with how the film has introduced his humble origins with a slightly sympathetic and sentimental view and then combining it with over-the-top occult and far-fetched science, do all superheroes really need to have some dark past to really carry out a great back story?

Strictly speaking, Captain America really is one of the few superheroes out there that really does not belong to an edgy reality. Although he existed in an era of widespread violence that is World War II, he's on a territory of his own. Some may say that his appeal is more inclined towards children more than it is for adults, but with his no-questions-asked fighting skills that the film has captured with its uniquely overblown (in a good way) Serial-style action sequences and a hardcore haze of Nazi foes, Cap balanced both demographic well enough. He's both a kid's dream idol and an adult's colorful nostalgia, and with "Captain America: The First Avenger", his myth as a Marvel character and as a most recognized figure of pop literature was finally materialized into the silver screen in a most overwhelming, and quite surreal, fashion.

With non-stop and knock-out (wow, two hyphenated rave adjectives in a sentence?) excitement and great performances by its array of actors, particularly Tommy Lee Jones in his Lee Marvin-like character, Dominic Cooper as Howard Stark and Stanley Tucci's bit performance as Dr. Erskine, it is a wonderful all-around cinematic experience.

But surprisingly, Hugo Weaving, considered the absolute go-to-guy for villainous roles (come on, he even voiced Megatron) and is also one hell of a versatile actor, is flatly one-dimensional in his role as Red Skull in a very 'James Bond villain' kind of way. But then of course, that might be intentional.

In countless alternate worlds where heroes and villains repeatedly play death-defying chess games of immense magnitudes with each other, Red Skull uses his mouth more than his hands. Words are not particularly useful when you got a boomerang shield heading into your face, you know.

"Captain America: The First Avenger" is like a grocer's errand boy who came late for your orders yet you find out that there's an extra something that he has put inside your grocery bags. We all know that a good Captain America film is long overdue, but as it finally came into our very midst, it exceeds the simplicity of the qualitative requirements of a decent movie. Instead, maintaining with the errand boy analogy, it 'delivered' with the silvery spark of a great action-adventure film. Sure, it's a given that Cap's 'Avengers' mates are extremely ecstatic about the film, but I instinctively know that elsewhere, Indiana Jones is also out there wearing a smile.

FINAL RATING

Thor (Kenneth Branagh)

Thor and a lesson in humility.

Now, I'm aware of how everyone was so shocked and so surprised when Kenneth Branagh was chosen to direct this film. Branagh, known to be not that fully acquainted with blockbuster films (although he has starred in a "Harry Potter" installment), has inspired countless speculators as to the reason why he has accepted such a directorial venture. Why would Branagh direct a Marvel film? Why is a Marvel film directed by a Shakespere-inclined actor with little to no experience with action-oriented movies? They asked.

Well, for me, the question should be the other way around: Does this film deserve its director? With that in mind, I watched the film, and in the final run, as I weigh on both the film's pros and cons, I have concluded that the film ultimately did. As for Branagh, well, he capably pulled it off. No sweat.

Chris Hemsworth, which on first impression may seem stiff, played the titular character with surprising effectiveness, comic arrogance, and romantic tenderness. Just his first innocently brusque sequences in the realms of Earth (in New Mexico to be precise) filled with uneasy flamboyance and Viking-like behaviors make his performance very special. Anthony Hopkins, playing King Odin, is your typical noble but strict patriarch. While Tom Hiddleston, the film's most surprising revelation, is quite effective as the chief antagonist and Thor's adoptive brother Loki.

For the human characters, Kat Denning's portrayal of Darcy tried some comic reliefs with all her references to current 'Generation Y' fads just so, you know, she can connect with the younger demographics' funny bones, but she failed. Gladly, she has shut up in the film's second-half. Stellan Skarsgard, always the capable character actor, is here acting within mere stereotypes.

Natalie Portman, on the other hand, is the typical brainy damsel who found some romantic connection with the powerful Norse God and has also been one of the reasons why Thor decided to protect the mortal world.

Now, we've already seen director Branagh play with the wonders of exquisite production design in his rendition of "Hamlet". But this time, he plays with the complicated and chaotic beauty of CGI. Scene after scene, it seems as if he is merely testing his ability to execute every digitally-altered shots that at times, except the establishing shots of Asgard and Jotunheim (where the Frost Giants live), the fast-paced action sequences all seem sketchy, sudden and a bit too shaky and dark. Even the climactic struggle in the Bifrost Bridge, although colorful, majestic, spectacularly surreal and emotionally critical all at the same time, is filled with physically lackluster series of weapon jousting.

In one scene, we see Thor racing against time, flying with his hammer in hand, to confront his mischievous  brother Loki (Tom Hiddleston). It's from moments like this that superheroes of his kind have, time and time again, made names out of. Add up some intense music, battle-face expressions and fragile surroundings and we've got ourselves one perfect superhero situation.

But then the next scene shows Thor landing at the scene with obvious detachment. It could have been a 'great' moment right there, but the whole emotional atmosphere where Branagh could have invested much ultimately lacked the immediacy. In this scene, Thor seems lethargic and confused. What the hell happened?

But on a meritorious side, Kenneth Branagh, with the help of the hammer-clenching Avenger's expansive universe, created a wonderfully-prepared psychological conflict to put the idea of Thor's 'unconditional heroism' into a blurring test between his own kingdom's well-being, which he was born to love and to lead, and the mere mortal reality of Earth, where he learned to embrace the role of being a protector.

Is it his universe or the other? Is it Asgard or Earth? This film, for once, bravely responded without any certain cinematic answers. This is where Thor has succeeded. Throughout the endless showcase of might, magic, monsters and kings, "Thor" attained believability, at least in how a hero weighs in on what matters to him the most. In this case, Thor knows his priorities.

FINAL RATING

Unbreakable (M. Night Shyamalan)

Bruce Willis and Samuel L. Jackson: Third time around.

Film Review Archive (date seen: December 18, 2010)

Before M. Night "The Happening" Shyamalan became the laughing stock of cinephiles everywhere that he is today (enhanced courtesy of his live-action adaptation of the Avatar animation series), he was quite a capable filmmaker that has the uncommon touch of conveying emotional power.

Though his earlier film "The Sixth Sense" was the most renowned of all his works, for me, "Unbreakable" is the better film. Not only because it's a well-weaved tale of self-discovery, but also because it has brought the superhero mythos and all its undertones into a different territory. No, not into familiar grounds that consist of flying musclemen and villainous megalomaniacs, but into a complex observation of its ideas, its translation into an environment more grounded in reality, and its application to the two main characters' (played by Bruce Willis and Samuel Jackson in their third film together) individualism and their search for existential meaning.

Yes, that may sound a tad too deep considering the conventionally immediate visualization (protagonists wearing colorful tights and leotards) of the film's main theme. But director Shyamalan completely deconstructed those basic ideas, left important concepts into the film (such as the idea of a hero, a villain and the complexity of choice), and able to conceive a film that may look really familiar based on its initial elements, but a whole new exploration in its entirety.

"Unbreakable" is not about heroism nor villainy; it's a film about motives and decisions within that ultimately define who we really are.

FINAL RATING