Maleficent 3D Review

Rated PG (Sequences of Fantasy Action and Violence, including Frightening Images)

Running Time: 1 Hour & 37 Minutes

Cast-

Angelina Jolie-Maleficent

Elle Fanning-Princess Aurora

Sharlto Copley-King Stefan

Sam Riley-Diaval

Imelda Staunton-Knotgrass

Lesley Manville-Flittle

Juno Temple-Thistletwit

Brenton Thwaites-Prince Phillip

Kenneth Cranham-King Henry

Hannah New-Queen Leila

Isobelle Molloy-Young Maleficent

Ella Purnell-Teen Maleficent

Michael Higgins-Young Stefan

Jackson Bews-Teen Stefan

Janet McTeer (voice)-Narrator

Directed by Robert Stromberg

Angelina Jolie is magnetic as the titular Disney villainess in "Maleficent" but the rest of the film fails to live up to her performance.

Note: Screened on Wednesday, May 28, 2014 at Regal Union Square Stadium 14.

With its themes of adultery, murder, rape, and human cannibalism, the pre-Brothers Grimm version of the Sleeping Beauty fairy tale would have terrified even Maleficent herself. The first animated film to be shot in Super Technirama 70 widescreen and the last to be inked by hand before the xerography process took over, Walt Disney's big-screen adaptation of the classic fairy tale—released in 1959—took much of its inspiration from Little Briar Rose, the Brothers Grimm variant that was first recorded in their 1812 collection of folk tales titled Kinder - und Hausmärchen or Children's and Household Tales. However, the 'original story' of Sleeping Beauty vastly differs from the one that is universally known today and contains many plot details that would be considered shocking to most adults. Given that fairy tales used to be handed down orally from generation to generation, no single version of Sleeping Beauty can be called 'the original' but the earliest variant to be transcribed was in Giambattista Basile's posthumously published Il Pentamerone from 1634. Titled Sun, Moon, and Talia, it told the story of a beautiful king's daughter named Talia who, as foretold from a horoscope cast by a group of wise men, falls into a deep sleep after a splinter of flax becomes imbedded under her fingernail. Overcome with grief, the king is unable to bring himself to bury his daughter and instead locks her away in a castle that he subsequently abandons forever. A hundred years later, a king who happened to be hunting in the woods nearby comes upon the castle and finds the comatose princess lying inside. Naturally, he is captivated by this 'sleeping beauty' but rather than an enraptured embrace and true love's kiss, he, well…rapes her. Let me repeat that for you: he RAPES Talia while she is still asleep!

The rest of Basile's story finds the still-unconscious Talia giving birth to twins. The newborn babes try to suckle at their mother's breast but one of them is unable to and instead sucks on Talia's finger, the very same finger in which the splinter of flax is imbedded. Revived from her long slumber, Talia names the twins 'Sun' and 'Moon.' Apparently, the person who fathered the children is of no concern to her. Meanwhile, the rapist king reminisces about his time with Talia and goes to see her again. He is delighted to learn he has a new young mistress and two children but his wife doesn't quite share the same enthusiasm. She makes plans to draw Talia and her children out so that the king's cook can kill and serve them to her adulterous husband. However, the cook cannot bring himself to commit such an evil deed, forcing the king's wife to take matters into her own hands. She prepares a boiling cauldron of poisonous snakes and other horrible creatures and readies to throw the children, Talia, and the cook to their demise but the king arrives at the last minute, rescuing everyone and forcing his wife to jump into the cauldron herself. The end and happily ever afters for everyone of course!

Elle Fanning is ethereal as Princess Aurora but the script fails to give her anything substantial to do.

Obviously, Basile's tale would've left audiences young and old traumatized if Disney adapted it verbatim to the big screen so we should be thankful that they went with the more child-friendly version from the Brothers Grimm, which relied heavily on La Belle au Bois Dormant from Charles Perrault's 1697 fairy tale collection Stories or Fairy Tales from Times Past, with Morals. You probably heard of his work by its more popular subtitle Tales of Mother Goose. The thing to understand here is that fairy tales are constantly being retold and retooled for new audiences. Like the ever-evolving source material that inspired it, we now have another cinematic retelling of the Sleeping Beauty fairy tale but this time, it's from the perspective of the infamous villainess Maleficent. Helmed by first-time director Robert Stromberg, the appropriately-titled "Maleficent" offers lush, eye-popping visuals and a deliciously fierce performance from Angelina Jolie but the film ultimately fails to settle on a consistent tone due to the story's obvious (and constant) retooling in the editing room.

Once upon a time (You can't have a fairy tale begin without these four words!), in a faraway land, there were two kingdoms. One was ruled by the ruthless King Henry (Kenneth Cranham) while the other—known as the Moors—was a magical woodland realm home to various creatures, such as fairies. The most powerful fairy of all was…Maleficent. One day, Maleficent encounters a young peasant boy named Stefan. The two quickly become friends and admit to each other that they are orphans. As the years go by, their friendship gradually develops into romance, with Stefan sharing a 'true love's kiss' with Maleficent on her sixteenth birthday. The two lovers however soon drift apart as Maleficent (Angelina Jolie) becomes the defender of the Moors while an adult Stefan (Sharlto Copley), now a servant to King Henry, turns his eye on the throne. After Maleficent and her tree warriors defeat his army in battle, a dying King Henry announces that whoever manages to kill the fairy will be crowned king and marry his daughter Leila. Stefan visits Maleficent under the pretense of a reunion but he instead drugs her. Unable to bring himself to kill her, he decides to sever Maleficent's wings and present them as proof that the deed was done to the king. Stripped of her very identity as a fairy, Maleficent becomes bitter and vengeful. Taking a shape-shifting raven named Diaval (Sam Riley) as her companion and confidant, Maleficent returns to the Moors and crowns herself its 'Evil Queen' while Stefan takes his place on the throne. Upon learning that Stefan's wife Leila (Hannah New) has given birth to a baby girl named Aurora, Maleficent shows up at the royal christening and curses the princess to fall into a sleep-like death by pricking her finger on the spindle of a spinning wheel on her sixteenth birthday. To remind Stefan of what he did to her, the former fairy gives the curse an antidote in the form of a true love's kiss. Paranoid of Maleficent's vengeance, Stefan burns all the spinning wheels in the kingdom and sends his daughter away to live with three pixies—Knotgrass (Imelda Staunton), Flittle (Lesley Manville), and Thistletwit (Juno Temple)—for sixteen years in a cottage deep in the woods. Unfortunately, the pixies—disguised as humans—prove to be completely incapable of raising a baby. Maleficent reluctantly takes care of the kind Aurora (Elle Fanning) from afar, leaving her in doubt over her master plan of vengeance.

Dragons, why does it always have to be dragons?

There's a reason why I recounted Giambattista Basile's Sun, Moon, and Talia in great detail and no, it's not to pad out this review. On the surface, Robert Stromberg's "Maleficent" is a mildly feminist revision of the classic Sleeping Beauty fairy tale but if you look deeper, you'll discover that it is really a rape-and-revenge film. Wait just a minute there! Isn't this a Disney movie?! How could you lump it with the same subgenre as "I Spit on Your Grave"?! Although this is a PG-rated film marketed toward families, seeing Maleficent drugged by Stefan and waking up the next morning with no memory of the night before, it becomes abundantly clear what subtext Stromberg and writer Linda Woolverton was going for as we witness the fairy scream in confused anguish as she realizes her wings—and thus her very identity—has been savagely stripped from her. Almost all rape-and-revenge films follow the same structure, in which someone is physically and emotionally violated and spends the rest of the movie seeking revenge. Despite its fairy tale trappings, that's largely what happens in "Maleficent." However, the main difference is that the titular character comes to realize her thirst for vengeance has endangered someone who was innocent in the first place, namely Princess Aurora. I admire Woolverton's bravery for wanting to grapple with such a serious metaphor but Stromberg, whose primary field is in special effects, just isn't experienced enough as a director to handle it. What "Maleficent" needed was someone who could navigate such tricky thematic material. In fact, it would've been much better if that director was a woman. Given what happened recently in Isla Vista, California and the ongoing #YesAllWomen movement on Twitter, now feels like the perfect time for parents to have an open conversation with their daughters about all the ways the world can destroy a woman. Unfortunately, "Maleficent" asks all the hard questions but seems to have no idea how to explore them, making the film a frustrating watch.

It doesn't help that "Maleficent" bears visible scarring from the editing room. Stromberg was reportedly struggling so much behind-the-scenes that John Lee Hancock—who helmed last year's "Saving Mr. Banks"—was approached by producer Joe Roth to assist the novice director with reshoots, which drove the already-expensive budget upward. Whatever existed of Woolverton's script is just a shell of itself in the finished film as scenes feel stitched together with Janet McTeer's intrusive voiceover narration. I understand that Stromberg wanted to give the picture a storybook quality that harkens back to its fairy tale origins but he relies on McTeer's narration far too much and it robs the supporting characters of any nuance. The tone is problematic as well, with the rape subtext sitting uncomfortably with the "Three Stooges"-like comedy from the pixies watching over Aurora.

Sharlto Copley is woefully miscast as King Stefan.

Single-handedly saving "Maleficent" from complete disaster is Angelina Jolie, who hasn't appeared in front of a camera since 2010's critical-misfire "The Tourist." Delivering a deliciously fierce performance, the iconic "Sleeping Beauty" villainess is a part that Jolie was born to play and she uses her commanding screen presence to lend her character depth when the script offers her none. Even when the film is floundering around her, Jolie remains captivating to watch and I would go so far as to say that her larger-than-life performance is worth the price of admission alone. The rest of the supporting cast fail to make much of an impression but it's not really their fault considering the film's behind-the-scenes troubles. While Elle Fanning has an ethereal presence with her bright smile and upbeat demeanor, the script gives her little to do besides frolicking in the Moors. Sharlto Copley is woefully miscast as King Stefan, with his South African accent undermining his character's menace. Imelda Staunton, Lesley Manville, and Juno Temple are reduced to creepy CGI creations. Brenton Thwaites pops in so briefly as Prince Phillip that it's easy to forget he's even in the film. The only supporting cast member who delivers a more or less solid performance is Sam Riley but even he is still one-note. Visually, the film does look exquisite and the 3D conversion is quite good. If nothing else, at least the kids will be entertained by all the CG eye-candy.

Released on May 30, 2014, "Maleficent" has received mixed reviews with 50% on Rotten Tomatoes. Critics noted that 'Angelina Jolie's magnetic performance outshines [the film's] dazzling special effects; unfortunately, the movie around them fails to justify all that impressive effort.' However, audiences appear to be enjoying the film quite a bit and it should handily win the weekend with a mighty debut around $65 to $70 million. "Maleficent" is a tricky film to recommend. The disappointing final result obviously bears the scars of a troubled production but its sumptuous visuals and Angelina Jolie's performance of the iconic Disney villainess save the picture from being a complete disaster. Unfortunately, it's just not enough to earn a passing grade.

Final Rating: 2.5 out of 5

"Listen well, you all! The princess will indeed grow in grace and beauty. But before the sunset on her sixteenth birthday, she will prick her finger on a spindle of a spinning wheel, and she will fall into a sleep-like death!"

Read More

Blended Review

Rated PG-13 (Crude and Sexual Content, and Language)

Running Time: 1 Hour & 57 Minutes

Cast-

Adam Sandler-Jim Friedman

Drew Barrymore-Lauren Reynolds

Bella Thorne-Hilary 'Larry' Friedman

Emma Fuhrmann-Espn Friedman

Alyvia Alyn Lind-Lou Friedman

Braxton Beckham-Brendan Reynolds

Kyle Red Silverstein-Tyler Reynolds

Kevin Nealon-Eddy

Jessica Lowe-Ginger

Zak Henri-Jake

Wendi McLendon-Covey-Jen

Terry Crews-Nickens

Abdoulaye N'Gom-Mfana

Shaquille O'Neal-Doug

Dan Patrick-Dick

Alexis Arquette-Georgina

Dale Steyn-As Himself

Directed by Frank Coraci

Adam Sandler and Drew Barrymore's still-effervescent chemistry manages to save "Blended" but just barely.

Note: Screened on Wednesday, May 21, 2014 at AMC Loews Lincoln Square 13.

In his review for Paul Thomas Anderson's 2002 dramedy "Punch-Drunk Love," Roger Ebert (who tragically passed away last April) praised Adam Sandler's performance in the film and wrote that it finally 'may liberate [the actor] for a new direction in his work. He can't go on making those moronic comedies forever, can he? Who would have guessed he had such uncharted depths?' Yes, who would've guessed that Sandler—a "Saturday Night Live" alum-turned-Hollywood star who built an entire career out of playing idiotic man-children—could actually act? Other than 2004's "Spanglish," 2007's "Reign Over Me" and 2009's "Funny People," Sandler hasn't dabbled in drama in years so the answer to Ebert's question is yes, he can go on making those moronic comedies forever. After suffering through garbage like 2012's "That's My Boy" and last year's even more asinine "Grown Ups 2," I had pretty much given up on Adam Sandler. With the exception of a handful of films, Sandler was never held in high esteem amongst critics as his brand of comedy often leaned toward being juvenile yet he was funny, or at least he used to be, with the early man-child characters he played having an endearing quality to them. Now, he just wants studios to bankroll his vacations. I had the lowest of low expectations when I went into the advance screening for his latest film "Blended," which pairs Sandler with Drew Barrymore for the third time (the two previously starred together in 1998's "The Wedding Singer" and 2004's "50 First Dates"). It's overlong by thirty minutes, the jokes rarely land, and the raunchy tone frequently clashes with its family-friendly sentimentality but "Blended" manages to just barely pass muster thanks to the still-effervescent chemistry of its two leads. For Sandler, that's the equivalent of winning an Academy Award.

Dick's Sporting Goods manager Jim Friedman (Adam Sandler) is a recently widowed father struggling to raise his three daughters—Hilary (Bella Thorne), Espn (Emma Fuhrmann), and Lou (Alyvia Alyn Lind)—while professional closet organizer Lauren Reynolds (Drew Barrymore) is a divorced mother with two rowdy sons—Brendan (Braxton Beckham) and Tyler (Kyle Red Silverstein). Although the two single parents aren't quite ready to open themselves up to a new committed relationship, they agree to meet for a blind date. Unfortunately, the date ends in disaster, with Jim and Lauren relieved that they'll never see each other again. A surprising chance encounter at a local drug store leads to their credit cards getting mixed up. When Jim goes to Lauren's house to give her credit card back and retrieve his own, he overhears her best friend Jen (Wendi McLendon-Covey) complaining to Lauren that she broke up with her boyfriend Dick because he wanted her to meet his five kids on their planned trip to South Africa. Learning that Dick also happens to be his boss, Jim calls him up and asks if he and his family can go on the trip in his place while Lauren also does the same with Jen. When the two families arrive at the luxurious Sun City resort and casino, they find themselves sharing a week-long holiday getaway designed just for 'blended' families. Jim and Lauren are none too happy about this development but slowly and surely, the two warm up and fall in love with each other.

Terry Crews and his offbeat 'Greek chorus' offers a few consistent laughs.

During a recent interview on "Jimmy Kimmel Live," Kimmel flat-out asked Adam Sandler if his films are really just flimsy excuses for paid vacations. Enthusiastically confirming what we've all known for years, Sandler goes on to explain that he's been doing this since 2004's "50 First Dates." I don't know whether I should be angry or call him a f*cking genius! The fact that he's a producer also allows him to routinely cast Hollywood's prettiest actresses as his leading ladies, from Kate Beckinsale (2006's "Click") and Salma Hayek (the "Grown Ups" films) to Winona Ryder (2002's "Mr. Deeds") and Katie Holmes (2011's "Jack and Jill"). Honestly, who can blame him? No matter how bad Sandler's films get, people will still flock to theaters to see them, like a moth to a flame. Fortunately, "Blended"—which reunites Sandler with director Frank Coraci for the fourth time—is by far the best film the "SNL" alum has made in years but that's not really saying much considering that Sandler's work prior to this one were so atrocious that it made me want to claw my own eyes out. The sole reason that "Blended" is watchable is because of the on-screen pairing of Sandler and Drew Barrymore. The two are clearly close friends and enjoy each other's company. Watching their characters fall in love in the film brings back nostalgic memories of their effervescent chemistry in 1998's "The Wedding Singer." It also helps that Barrymore is pretty much game for anything and acts as a welcome check against Sandler's more idiotic impulses. However, the comedian still manages to sneak in some of his trademark man-child humor, like having a sweet moment between Jim and Lauren ruined by a shot of two rhinoceroses f*cking each other. Other than those few instances, Sandler remains likable despite appearing exhausted in certain scenes.

Although "Blended" can often come across as mawkishly sentimental, its scenes of familial bonding are at least laced with a genuine sincerity. When Lauren puts Lou to bed and sings Somewhere Over the Rainbow to her, it's actually quite touching. The use of an offbeat 'Greek chorus' led by Terry Crews' Nickens provides some nice, consistent laughs but Coraci fails to fully take advantage of his film's unique setting. Despite being shot on-location in South Africa, the exotic location feels more like a walking advertisement for the Sun City resort and casino, and that's not mentioning the egregious product placement from Dick's Sporting Goods and Hooters. Hell, it doesn't even seem like the cast and crew spent a lot of time in the country as there are moments where Coraci simply resorts to using stock footage. The scene where Lauren goes parasailing is especially guilty of this as it's readily apparent that Barrymore is floating in front of a giant green-screen.

The younger cast members manage to provide some decent, if one-note, comic relief.

"Blended" could've also used a little more time in the editing room. With a running time that clocks in at one hour and fifty-seven minutes, the film is thirty minutes too long and is packed with time-wasting subplots that include Hilary (played by a charming Bella Thorne, although it's hard to believe anyone can mistake her for a boy) desperate to break out of her tomboyish shell and Kyle Red Silverstein's Tyler yearning for a father figure to play baseball with him. It doesn't help that the script—written by Ivan Menchell and Clare Sera—spends too much time trying to make sense of its contrived set-up and then drags on in a third act of will-they or won't-they. Of course Jim and Lauren get together; that much is already clear just from IMDB's one sentence synopsis! Well, at least the younger cast members like Emma Fuhrmann, Alyvia Alyn Lind, Braxton Beckham and the aforementioned Silverstein aren't overly annoying and manage to land some decent, if one-note, laughs.

Released on May 23, 2014, "Blended" has, not surprisingly, received overwhelmingly negative reviews with 14% on Rotten Tomatoes. Critics panned it for 'lurching between slapstick and schmaltz without showing much of a commitment to either [as the film] commits the rare Sandler sin of provoking little more than boredom.' Although the audience responded well to the film at the advance screening, "Blended" ultimately flopped at the domestic box office with a Memorial Day weekend gross of $18.2 million. Looks like Sandler's fan-base are now wise to his schemes and are voting with their wallets. Still, I don't imagine the actor is too concerned as he still has a slew of projects in various stages of production. At its worse, "Blended" is barely tolerable and at best, it's a decent time-waster. These days, that's pretty much a glowing recommendation for Sandler.

Final Rating: 3 out of 5

*Honestly, none of the lines are all that memorable.*

Read More

X-Men: Days of Future Past Review

Rated PG-13 (Sequences of Intense Sci-Fi Violence and Action, Some Suggestive Material, Nudity and Language)

Running Time: 2 Hours & 11 Minutes

Cast-

Hugh Jackman-James Howlett/Logan/Wolverine

James McAvoy-Professor Charles Xavier

Michael Fassbender-Erik Lehnsherr/Magneto

Jennifer Lawrence-Raven Darkhölme/Mystique

Nicholas Hoult-Henry 'Hank' McCoy/Beast

Evan Peters-Pietro Maximoff/Quicksilver

Lucas Till-Alex Summers/Havok

Evan Jonigkeit-Mortimer Toynbee/Toad

Gregg Lowe-Eric Gitter/Ink

Peter Dinklage-Dr. Bolivar Trask

Josh Helman-Major William Stryker

Patrick Stewart-Future Professor Charles Xavier

Ian McKellen-Future Erik Lehnsherr/Magneto

Halle Berry-Ororo Munroe/Storm

Ellen Page-Kitty Pryde

Shawn Ashmore-Robert 'Bobby' Drake/Iceman

Omar Sy-Lucas Bishop/Bishop

Fan Bingbing-Clarice Ferguson/Blink

Daniel Cudmore-Piotr Rasputin/Colossus

Adan Canto-Roberto 'Bobby' da Costa/Sunspot

Booboo Stewart-James Proudstar/Warpath

Anna Paquin-Anna Marie/Rogue

Kelsey Grammer-Future Henry 'Hank' McCoy/Beast

Mark Camacho-President Richard Nixon

Directed by Bryan Singer

Logan travels fifty years into the past to prevent a dark future from coming to pass in "X-Men: Days of Future Past."

Note: At AMC Empire 25. If you want to learn more about the 3D version, go here.

The X-Men ranks as one of the biggest and most popular comic book franchises in publication today but that wasn't always the case. Created by Stan Lee and Jack Kirby, the eponymous X-Men—originally dubbed 'The strangest superheroes of all!'—debuted in September 1963 but the Marvel series was met with a lukewarm reception from readers and was cancelled seven years later in 1970 with issue #66. Hard to believe given how prolific the X-Men are nowadays. Although the title returned to store shelves nine months later, each issue merely reprinted earlier stories. This would last until 1975 with issue #93. The release of Giant-Size X-Men #1 that same year led to a revival of the original series, with the title resuming publication of original material with issue #94, written by Chris Claremont. Stan Lee and Jack Kirby may have created the X-Men but it was Claremont who made them who they are today. His uninterrupted, sixteen-year stint on the series—which was later renamed to Uncanny X-Men with issue #114—transformed the title into a powerhouse in terms of sales and popularity. Many of the most acclaimed X-Men storylines, the ones that comic book readers like me have repeatedly deemed classics, were written by Claremont but the one tale that proved to be a game-changer occurred in 1981 in Uncanny X-Men #141 and #142. It was called…DAYS OF FUTURE PAST.

The cover image of the first part of the story, illustrated by John Byrne, depicted a graying Wolverine protecting Kitty Pryde while a large searchlight shines on them. Behind the two characters is a tattered poster with the faces of various X-Men, obscured by red banners reading 'SLAIN' or 'APPREHENDED.' The first page finds a middle-aged Kitty Pryde walking through a bombed-out Manhattan in what appears to be a prison uniform. Claremont's text reads: 'This is New York. The "Big Apple." Once upon a time, it was a nice place to live. It is no longer…Welcome to the 21st Century.' Ambitious and grim, the 'Days of Future Past' storyline was born out of the imminent separation of Claremont and Byrne, whom Marvel was assigning to Fantastic Four. Several months prior, the two had stunned readers by killing off Jean Grey, one of the five original X-Men, in the 'Dark Phoenix Saga,' which director Brett Ratner infamously botched in the 2006 film "X-Men: The Last Stand." Claremont and Byrne decided to up the ante by killing off everyone in a storyline that involved assassinations, the mutant-hunting Sentinels, and time travel. Hell, the second part of the story depicted a Sentinel crushing Storm in one hand while incinerating Wolverine with the other. The tagline on the cover simply read 'THIS ISSUE: EVERYBODY DIES!' It's amazing how much story Claremont and Byrne packs in with just forty-four pages and it's doubly amazing that director Bryan Singer—returning to the film franchise he made famous after an eleven-year absence—manages to pull off the impossible with his big-screen adaptation "X-Men: 'Days of Future Past." As Cinema Blend film critic Sean O'Connell writes, this is 'an X-Men story that's nearly fourteen years in the making' as it unites the cast of the original "X-Men" trilogy with 2011's "X-Men: First Class" in a globe-trotting adventure to save mutant-kind's future. "X-Men: Days of Future Past" is by far the greatest "X-Men" film to date and like 2012's "The Avengers," sets a new standard for comic book film franchises.

Sunspot, Kitty Pryde, Iceman, and Colossus are just some of the X-Men that managed to survive the Sentinels' wrath.

It is the year 2023. A war against the mutant population—perpetuated by giant sentient robots dubbed 'Sentinels'—have brought about a devastating global apocalypse that has left mutants on the brink of extinction and humans facing extreme oppression. The surviving X-Men, led by former enemies Professor Charles Xavier (Patrick Stewart) and Erik Lehnsherr/Magneto (Ian McKellen), devise a desperate plan to send one of their own into the past and prevent the Sentinels from ever being created using Kitty Pryde's (Ellen Page) time-phasing powers. Xavier explains to the team that in 1973, Raven Darkhölme/Mystique (Jennifer Lawrence) infiltrated the Paris Peace Conference and killed a military scientist named Bolivar Trask (Peter Dinklage). Trask is the creator of the Sentinels and had been experimenting on mutants. Mystique was captured following Trask's murder and her mutant DNA was used to create the shape-shifting Sentinels they face now. Logan/Wolverine (Hugh Jackman) volunteers to go back in time as his healing ability will allow him to withstand the pain of having his consciousness sent fifty years into the past. Waking up in his younger body in 1973, Logan travels to Xavier's School for Gifted Youngsters but discovers that it has fallen into disrepair. Meeting a young Charles (James McAvoy) and Henry 'Hank' McCoy/Beast (Nicholas Hoult), he tries to convince them of the dark future that awaits them and urges the two to help him prevent it. Charles, however, has become disillusioned due to the strain of losing his friends Erik and Raven, whom he had feelings for. The onset of the Vietnam War also led to many of the mutant students being drafted and forced the school to shut down, which finally broke Xavier's spirit. Charles initially refuses to help but soon reconsiders. Logan reveals that they'll need the younger Erik's (Michael Fassbender) help as well in order to track down Mystique and stop her from murdering Trask.

Welcome back, Bryan Singer! The release of the original "X-Men" during the summer of 2000 ushered in a comic book movie renaissance, one that is still going strong to this day but a lot has changed in the past fourteen years, especially in the wake of 2012's "The Avengers." In addition to pioneering a shared cinematic universe, the films from Marvel Studios fully embrace their comic book origins, allowing fantastical characters like Thor and soon Rocket Raccoon to grace the big screen. "X-Men" and its 2003 sequel "X2: X-Men United" are great comic book films but Singer was never able to delve into the more fantastical and larger-than-life elements of the characters because Tom Rothman, who was CEO of Twentieth Century Fox at the time, wouldn't allow it. He is the reason why we had to wait so long for the Sentinels to make their big screen debut and was partially responsible for the watered-down mess in 2006's "X-Men: The Last Stand." Following the release of the production-troubled "X-Men Origins: Wolverine" in 2009, it looked like the franchise's best days were long gone. Although it was only in a producer capacity, Singer's return in 2011's "X-Men: First Class" put the franchise on the path of a much-needed recovery, a path that has led to his return as director for "X-Men: Days of Future Past," which manages to pull off the impossible by seamlessly adapting Chris Claremont and John Byrne's classic 1981 storyline in the context of the continuity-screwed "X-Men" film franchise while also righting all the wrongs that the series has suffered from in his eleven-year absence.

"Please...we need you to hope again..."

As "X-Men" neared its July release date in 2000, prolific X-Men writer Chris Claremont spoke with New York Magazine and remarked that the X-Men were about 'finding a way to win no matter what. Even in the face of the greatest adversity, the key is to never lose hope, never lose sense of the dream that drives you. That whatever happens, we'll find a way to win.' I don't know if Claremont foresaw the release of Singer's adaptation of "Days of Future Past" fourteen years ago but what he said perfectly encapsulates what the new film is about. The X-Men in the year 2023 are pretty much hanging by a thread and only survive thanks to Kitty Pryde's time-phasing powers (yes, I'm fully aware that the character doesn't have such powers in the comics but just go with it). Whenever the Sentinels attack, the rest of the team serves as a distraction while Kitty sends Bishop (Omar Sy) a few days into the past to warn the X-Men's younger selves of the Sentinels' impending attack. Despite the time travel premise, "Days of Future Past" is really about letting go of one's hatred and having compassion for those who hate and fear you. With Magneto imprisoned underneath the Pentagon, Alex Summers/Havok (Lucas Till) fighting in the Vietnam War and most of her mutant comrades dead due to experimentation by the government, Mystique finds herself on her own as she goes on a one-woman quest to kill Bolivar Trask, believing that this will stop the Sentinels from being created. However, she doesn't realize that this act incites anti-mutant sentiment even more and has grave consequences in the future. Charles Xavier's mission is to deter her from that path and convince her to be better than the humans who let bigotry rule them. This makes "Days of Future Past" an atypical superhero film. There are action scenes and massive CGI set-pieces (like Magneto raising the RFK Stadium as a show of force) but victory doesn't come from pummeling the crap out of a bad guy; it comes from something more existential and is more about upholding an ideal, upholding the dream that equality must come through compassion and forgiveness. It's the reason why Bryan Singer is the perfect person to being X-Men to life because he understands that these themes is what makes the characters so enduring for the past fifty-one years.

Of course, convincing Mystique to give up her quest is easier said than done. When Logan locates Charles in 1973, he finds the professor to be a very different man from the one he previously knew. The younger Charles is a disillusioned drug addict who takes a special serum to suppress his mutant powers (this also grants him the ability to walk again). He spends his days wallowing in his own self-pity and part of Logan's mission is to inspire Charles to once again champion his dream of mutant equality. The way James McAvoy, Michael Fassbender, and Jennifer Lawrence bring their respective characters to life is just one of many reasons "Days of Future Past" works so well. Charles, Erik, and Raven are people who have been hurt by one another. The latter two lash out at the world while Charles withdraws further inward. Their struggle to move past the hurt in their lives functions as the lynchpin of the film, with all three actors delivering excellent performances because they take the material seriously, bringing a raw emotion that allows audiences to sympathize or at the very least, understand their actions.

Mystique's actions serve as the catalyst for the dark future that awaits mutant-kind.

In spite of the grim story, the film isn't completely devoid of humor. Hugh Jackman remains absolutely wonderful in his seventh outing as Logan/Wolverine. The scene where he wakes up in 1973 is rather funny, with Logan finding himself on a waterbed next to a naked woman. However, the real standout is Evan Peters' Quicksilver. I'll be honest; I wasn't enamored with the early promotional material depicting the character but one playful, visually dynamic scene set to Jim Croce's Time in a Bottle completely changed my mind about him. Joss Whedon certainly has his work cut out in next summer's "Avengers: Age of Ultron," where Quicksilver—played by Aaron Taylor-Johnson—is also set to appear. It's a shame to see Peters exit the picture so early but given how many super-powered characters are in the film, it's understandable that not all of them will get a full dramatic arc. The inclusion of Bishop, Blink (Fan Bingbing), Sunspot (Adan Canto), and Warpath (Booboo Stewart) is pretty much pure fan-service but Singer makes sure to show off each of their abilities before they're hustled off-screen. If there's one weak link, it's Peter Dinklage. Although the "Game of Thrones" actor delivers a fine performance, the script unfortunately fails to develop his character's hatred of mutants beyond the fact that they're…mutants. It somewhat feels like a waste given how talented Dinklage is.

Released on May 23, 2014, "X-Men: Days of Future Past" has received overwhelmingly positive reviews with 91% on Rotten Tomatoes. Critics hailed it for combining 'the best elements of the series to produce a satisfyingly fast-paced outing that ranks among the franchise's finest installments.' The film is all but guaranteed to dominate Memorial Day weekend. While it may fall slightly short of the $122.9 million earned by 2006's "X-Men: The Last Stand," "Days of Future Past" should have longer legs at the box office given the critical acclaim it has received. I could spend pages talking about "X-Men: Days of Future Past" but the best way is to experience it in the theater yourself. Carefully retconning the franchise's most problematic installments, "X-Men: Days of Future Past" is a film that grabs hold of you from the very first minute and doesn't let go until the post-credits scene. Cinema Blend film critic Sean O'Connell says it best in his own review: This is 'the best, most complete and most entertaining "X-Men" movie we've ever seen.'

Final Rating: 5 out of 5

Professor Charles Xavier: I don't want your suffering! I don't want your future!

Future Professor Charles Xavier: Please...we need you to hope again...

Make sure to stay through the entire end credits for a very special teaser to 2016's "X-Men: Apocalypse"!

Read More

Chef Review

Rated R (Language, including Some Suggestive References)

Running Time: 1 Hour & 55 Minutes

Cast-

Jon Favreau-Carl Casper

Emjay Anthony-Percy Casper

John Leguizamo-Martin

Sofía Vergara-Inez

Bobby Cannavale-Tony

Scarlett Johansson-Molly

Oliver Platt-Ramsey Michel

Dustin Hoffman-Riva

Robert Downey Jr.-Marvin

Amy Sedaris-Jen

Jose C. Hernandez 'Perico'-Abuelito Casper

Gloria Sandoval-Flora

Will Schutze-Mr. Bonetangles

Roy Choi-As Himself

Directed by Jon Favreau

Jon Favreau writes, stars, and directs in the indie comedy "Chef," one of the best films of 2014.

Note: Screened on Wednesday, May 7, 2014 at AMC Loews Lincoln Square 13.

Opinions: everyone has them, and thanks to the advent of social media websites like Facebook and Twitter, everyone is voicing them! Most of it is just white noise but one should never underestimate the power of opinions—especially in the digital world that we now live in—as they can make or break careers at the drop of a hat. Hell, just ask Paula Deen about the latter. As a nonprofessional film critic, my job is to evaluate a film and give an opinion on it. Praising a film is easy enough but negative reviews are much trickier to handle as there's a fine line you have to walk. In other words, a negative review cannot devolve into a personal attack because the person whose work you are criticizing is a human being as well. I don't hold Michael Bay's films in the highest regard but if he directs something that is actually good—like last year's "Pain and Gain"—than I will give it the proper praise.

This relationship between creator and critic is just one of the many themes that Jon Favreau explores in "Chef," a film that he also wrote and stars in. Following a series of bit roles, Favreau made his breakthrough as an actor/screenwriter in 1996's "Swingers" alongside Vince Vaughn. He reunited with Vaughn in his 2001 directorial debut "Made" and scored his first box office hit two years later with the Christmas comedy "Elf" starring Will Ferrell. 2005's "Zathura" flopped despite solid reviews but it didn't matter because a year later, Favreau was hired to direct the highly anticipated comic book film "Iron Man," based on the Marvel character of the same name. We all know that "Iron Man" was a critical and commercial success as it was instrumental in jumpstarting the so-called Marvel Cinematic Universe but the world of big-budget filmmaking proved to be a detriment to Favreau's sense of creativity. After 2011's "Cowboys & Aliens" received mixed reviews (44% on Rotten Tomatoes) and proved to be a financial disappointment, Favreau decided to go back to his roots as an indie filmmaker. The result is "Chef," one of the best films of 2014. Charming, humorous, and full of heart, "Chef" marks a welcome return to the Favreau that exploded onto the filmmaking scene thirteen years ago.

Anointed a decade earlier as Food and Wine magazine's 'Best New Chef,' Miami-born Carl Casper (Jon Favreau) fashions himself as a culinary artist as he whips up tasty dishes with the help of his loyal sous chef Tony (Bobby Cannavale) and line cook Martin (John Leguizamo) at an upscale restaurant in Los Angeles but the years have unfortunately not been kind. The routine of cooking the same food day in and day out has slowly been sapping Carl's passion, with his workaholic lifestyle costing him his wife Inez (Sofía Vergara) and ten-year-old son Percy (Emjay Anthony). Following a scathing review from one of his early supporters—respected online food critic Ramsey Michel (Oliver Platt), Carl impulsively sends him an incendiary message on Twitter, mistakenly believing it to be private. Instead, it goes public and viral. Carl settles on a do-over and issues Michel an invite but the special menu he prepared is squelched by his stodgy boss Riva (Dustin Hoffman), who wants him to stick to the restaurant's bland regular menu. An infuriated Carl decides to quit and publicly explodes at Michel, feeling his negative review was a personal attack. Out of work, Carl reluctantly takes his ex-wife's advice and meets with her other ex-husband Marvin (Robert Downey Jr.), who gifts him…a run-down food truck. With nothing to lose, Carl dives headfirst into the food truck business, repairing and sprucing up the vehicle with the help of Martin and his estranged son Percy. Thanks to his son's social media knowhow, Carl's 'El Jefe' food truck soon becomes a national sensation, sending the former chef on a career renaissance.

We're all looking at Sofía Vergara, right? Right?!

'The feel-good movie of the summer'—it's a critic's phrase that has since become tired and overused as Hollywood studios continuously tout their latest films to the masses but in the case of Jon Favreau's "Chef," it's accurate. In fact, I guarantee audience members will be leaving the theater with a big smile on their face as well as a growling stomach thanks to all the mouth-watering food that's being cooked on-screen. While I'm no Roger Ebert, I've been doing this long enough to know whether a director is actually invested in the film that he or she is making, and Favreau is definitely invested because the story he's telling in "Chef" is pretty much a direct corollary to his own career, just with food instead of movies. Favreau emerged during the late 1990s by writing and starring in the well-received indie comedies "Swingers" and "Made" but his filmmaking career exploded when he was handed the reins to Marvel Studios' "Iron Man," which—let's be honest with ourselves—is the only reason a Marvel Cinematic Universe even exists at all. However, the world of big-budget filmmaking comes with a fair share of creative restraints and it's clear that Favreau feels he's lost his way following the critical drubbing of 2011's "Cowboys & Aliens." "Chef" is the response to his critics but I feel it's going to be misconstrued by some people. After quitting his job, Carl publicly confronts Ramsey Michel about his negative review and basically explodes, telling him that the bad review hurt and that he doesn't understand how hard the kitchen staff works to make people happy. Although it feels like Favreau is railing against critics, calling them stupid and useless, he's actually very much on their side. A good critic wants the person he or she is criticizing to improve and can offer a unique perspective on someone's work that they themselves could never reach. Michel knows that Carl is an amazing chef but technical skill is not enough, you need passion. A negative review, even one as harsh as Michel's, can serve as a much-needed wake-up call to those who are unknowingly stuck in a rut and are unable to climb their way out.

Another interesting theme that Favreau explores in "Chef" is the role of social media. With the help of his son, Carl makes an account on Twitter to find out what people are saying about him online. When he comes upon Michel's tweet of his negative review, he impulsively starts a 'flame war' with the food critic. Carl's lack of understanding of how social media works contributes to his job loss but it also provides the path to his eventual career renaissance. The second half of the film finds Carl, his former line cook Martin, and his ten-year-old son Percy traveling across the lower United States in their food truck—newly christened as 'El Jefe'—and the success of Carl's new business is entirely owed to social media. As they stop in each city, Percy sends out a tweet, which brings in a line of hungry customers that stretches for blocks. Favreau's recognition of the power of social media gives the film much more relevance to the present day and especially to those who are looking to start their own business. Websites like Facebook and Twitter can destroy careers but in the right hands, they can also save it.

As Carl is rediscovering his passion for cooking, he's also reconnecting with his estranged son and while the dramatic outcomes are largely predictable, Jon Favreau and relative newcomer Emjay Anthony overcome that predictability by bringing an earnest and heartfelt sincerity to their roles. There's a scene where Anthony's character Percy sends his father a 'vine' (a short looping video clip made by the mobile app of the same name) of their road trip together and I have to say, the moment where Carl finally watches the clip made my eyes well up with tears. It's not an especially grand gesture but like author Emilie Barnes once said, it's these 'little details in life that make all the difference.' Favreau has gathered an impressive supporting cast that includes John Leguizamo, Bobby Cannavale, Sofía Vergara, Oliver Platt, Dustin Hoffman, Scarlett Johansson, and Robert Downey Jr. Leguizamo is clearly having a lot of fun as Martin, a line cook who decides to follow in Carl's footsteps, quitting his cushy job in order to help his friend's fledgling food truck business. The scenes where Leguizamo's character is on the road with Carl and Percy provide some of the funniest moments in the film. In fact, I wish the running time was longer so that we get more of this terrific trio. The rest of the cast are all excellent in their roles, no matter how small, with Platt enjoyably riffing on his food critic brother Adam and Downey Jr. making the most of his single-scene cameo with his trademark sarcastic wit.

Given a limited release on May 9, 2014, "Chef" has received very positive reviews with 88% on Rotten Tomatoes. Critics hailed the film's 'charming cast and sharp, funny script,' noting that it added 'enough spice to make this feel-good comedy a flavorful—if familiar—treat.' Audience reception at the advance screening was highly enthusiastic. Although a nationwide release date isn't yet available, Open Road Films is set on expanding "Chef" over the next couple of weeks. I do hope people go see this little gem as it's such a great film. Funny and poignant, "Chef" is a guaranteed lock on my 'Best Films of 2014' list, one that'll leave famished audiences rushing toward the nearest restaurant once the end credits roll.

Final Rating: 4.5 out of 5

"I get to touch people's lives with what I do and I love it, and I want to share this with you."

Read More

Godzilla (2014) 3D Review

Rated PG-13 (Intense Sequences of Destruction, Mayhem and Creature Violence)

Running Time: 2 Hours & 3 Minutes

Cast-

Aaron Taylor-Johnson-Lieutenant Ford Brody

Elizabeth Olsen-Elle Brody

Bryan Cranston-Joseph Brody

Juliette Binoche-Sandra Brody

Ken Watanabe-Dr. Ichiro Serizawa

Sally Hawkins-Dr. Vivienne Graham

David Strathairn-Admiral William Stenz

Carson Bolde-Sam Brody

Cameron John Adams-Young Ford Brody

Richard T. Jones-Captain Russell Hampton

Victor Rasuk-Sergeant Tre Morales

Patrick Sabongui-Lieutenant Commander Marcus Waltz

Directed by Gareth Edwards

Bryan Cranston and Aaron Taylor-Johnson star in "Godzilla," Gareth Edwards' contemporary reimagining of the 1954 classic.

Note: Screened on Monday, May 5, 2014 at Regal E-Walk Stadium 13.

'They called it grotesque junk, and said it looked like something you'd spit up. I felt sorry for my crew because they had worked so hard!' When director Ishirō Honda released his now-seminal kaiju film "Godzilla" (In Japanese: "ゴジラ," "Gojira") on November 3, 1954, the response from Japanese critics ranged from mixed to negative, with many accusing the picture of exploiting the widespread devastation that the country had suffered during World War II. Audiences, however, reacted differently as the experience of watching Honda's film proved to be emotionally cathartic for them. As the monster indiscriminately rampaged through the city of Tokyo, Japanese viewers watched 'in somber silence, broken[only] by periodic weeping.' Barely nine years ago, the United States dropped two atomic bombs—one on Hiroshima and the other on Nagasaki—in an effort to force the Japanese to surrender and end World War II. I'm not here to debate whether it was right or wrong to use these weapons of mass destruction but there's no denying that it left a long-lasting scar on Japan's cultural psyche. Honda's "Godzilla" was a warning against the use of nuclear weapons as the eponymous prehistoric creature was mutated and awakened from its centuries-long slumber by Japan's errant nuclear testing. In order to defeat it, an even more destructive weapon dubbed the 'Oxygen Destroyer' is invented but the device kills all life in the sea as well as the creature itself. For Japanese viewers, "Godzilla" wasn't spectacle; it was their collective fear of the atomic bomb personified.

Although Godzilla went on to become a worldwide pop culture icon, with Honda's film spawning twenty-seven sequels (and a much-reviled American remake in 1998 from director Roland Emmerich), the so-called 'King of the Monsters' has unfortunately become something of a punchline over the years due to the franchise's notoriously cheesy special effects and acting. That's all about to change as Gareth Edwards, director of the 2010 sci-fi cult hit "Monsters," is returning Toho's famous kaiju to its destructive roots in the simply-titled "Godzilla," set to be released this Friday. A co-production between Warner Brothers and Legendary Pictures, Edwards' contemporary reimagining of Honda's classic is one of my most anticipated films of the summer and I really must commend both studios for waging such an effective marketing campaign, doling out just enough footage to whet the appetites of moviegoers while still keeping the majority of the film under wraps. Sony could learn a thing or two from them when it comes time to promote "The Amazing Spider-Man 3." Despite the impressive trailers and talented cast, there's still some trepidation among fans. After all, they've already been burned once before by the 1998 film. Emmerich's remake was so reviled that Toho, after acquiring the rights to the design in 2003, renamed the American Godzilla as 'Zilla' and pitted him against the genuine article in the most one-sided fight ever in 2004's "Godzilla: Final Wars," which served as a swan song to the long-running franchise. The only question that remains is whether Edwards' film delivers. The answer: oh, yes it does!

Joseph Brody (Bryan Cranston), an engineer at Japan's Janjira nuclear power plant, has been sounding the alarm on some strange seismic activity that he's detected but his warnings have so far been ignored. When the nuclear power plant suffers a sudden catastrophic 'meltdown' that tragically claims the life of his co-worker and wife Sandra (Juliette Binoche), Joseph spirals into a deep depression and spends the next fifteen years investigating the disaster, refusing to believe that it was natural. When he is caught snooping around in the irradiated quarantine zone, his estranged son Ford (Aaron Taylor-Johnson)—now a Lieutenant in the United States military—is forced to travel to Japan in order to bail him out. After studying sonic sound and Richter scale readings, Joseph tells Ford that the seismic pattern from fifteen years ago has started up again and convinces his son to come with him to the quarantine zone to investigate. While there, they witness the birth of a gigantic prehistoric monster. The trail of destruction that it leaves behind prompts another ancient creature to rise from the ocean depths: GODZILLA.

If I had to describe Gareth Edwards' "Godzilla" in two words, it would be 'exhilarating' and 'reverent.' That last word is especially important given the monster's place in pop culture history and it's clear that the creators for this contemporary reimagining have only the utmost respect for Ishirō Honda's 1954 classic. Not only do they return Godzilla to his destructive roots, they also manage to honor the various incarnations of the monster, blending them together into something exciting and new. I love how the film weaves the 1954 original into its narrative as it is revealed that scientists like Ken Watanabe's Dr. Ichiro Serizawa (this name should be very familiar to fans) are fully aware of Godzilla but have covered up its existence. In a nice nod to the plethora of monsters that Toho had introduced to the "Godzilla" franchise over its fifty-year run, Edwards also makes the planet home to various other gigantic prehistoric beasts that feed on radiation. As the story unfolds, we learn that Serizawa and his partner Vivienne Graham (Sally Hawkins) are part of a group called MONARCH, which was formed for the sole purpose of studying these seemingly dead monsters but the scientists' curiosity gets the better of them as it results in one of the beasts suddenly awakening from its slumber. 

Toho's famous kaiju is reborn for the twenty-first century.

Honda's classic had a potent environmentalism theme, where Japan's errant nuclear testing rouses Godzilla from hibernation. There's a bit of karmic justice in the creature's appearance as it was the country's irresponsible actions that led to Godzilla wreaking havoc on the Japanese populace. Since Godzilla was born of nature, Japan would have to commit a horrifying act against nature to destroy it. In Edwards' film, this theme is tweaked as the scientists' aforementioned curiosity lead to nature becoming unbalanced. At one point, Serizawa remarks that 'the arrogance of man is thinking nature is in our control…and not the other way around.' Godzilla is that balancing force and functions as Mother Nature's warrior. The monster's job is to restore equilibrium to the world and doesn't go out of its way to protect humans but it doesn't actively go after them either. There's actually a tragic undertone to Godzilla's task as humans attack the creature wherever it goes. They see Godzilla as a threat when it is only doing its job. Edwards' film not only makes viewers root for Godzilla, it manages to humanize the monster as well, which is something that Emmerich's film seriously bungled.

Of course, moviegoers who aren't hardcore fans of Toho's franchise to begin with won't care about all this. They just want to see lots and lots of destruction. Edwards absolutely delivers on that front but like the 1954 original, he holds back on showing the titular monster for quite some time. By doing this, he allows the anticipation for Godzilla's full reveal to steadily build so that when the creature finally appears, it is a truly awe-inspiring moment. In fact, Godzilla's first full appearance in the film literally left me with chills shooting down my spine. The visual effects are nothing short of spectacular, with Godzilla's design and sense of movement having a real, organic quality. There's a scene where Godzilla is facing off against one the MUTOs, which vaguely resemble Mothra and stands for 'Massive Unidentified Terrestrial Organism.' As the MUTO flies in for the kill, Edwards cuts to a shot of Godzilla staring the creature down, almost as if it's taunting its opponent. Right when the MUTO is about to deliver the killing blow, Godzilla dodges at the last minute, swinging its massive tail around and slamming the MUTO into a nearby building. It's a crowd-pleasing moment and further emphasizes Godzilla's status as nature's mightiest warrior. The score from Alexandre Desplat is excellent as well, evoking an eerie B-movie vibe one moment and going bold and bombastic the next. As for the 3D, it's fine but much of the film takes place at night so I'd recommend just going for the 2D version instead.

If there's one thing Edwards' "Godzilla" doesn't quite succeed at, it's the human element. Despite his limited screen-time, Bryan Cranston manages to deliver a gut-wrenching performance full of intense, heartbreaking passion. His character's tearful good-bye to his wife—played by an equally strong Juliette Binoche—registers as the film's biggest emotional moment. Unfortunately, it's something that Edwards has trouble recapturing. Although the story goes to great lengths to show that Aaron Taylor-Johnson's Ford is desperate to reunite with his wife and son, that sense of emotional urgency is not reflected in his performance. He's not bad in the role but he comes off as bit flat when compared to Cranston. Elizabeth Olsen fares even worse, with the talented actress saddled with a go-nowhere part as the worried wife of Taylor-Johnson's character. On the other hand, Ken Watanabe, Sally Hawkins, and David Strathairn manage to bring a sense of gravitas to their thinly-written roles, adding some much-needed weight to the often-ridiculous exposition. Watanabe in particular is wonderful as Dr. Ichiro Serizawa and its clear the actor strongly respects the material with his grounded performance.

To be released on May 16, 2014, "Godzilla" has received positive reviews so far with a strong 88% on Rotten Tomatoes. The most common complaint I've encountered from critics is that the human element is not as compelling compared to the visual spectacle on display but overall, many are in agreement that Edwards' film is a wildly successful reimagining of the titular pop culture icon. Audience reception at the advance screening was highly enthusiastic and it's currently tracking for a $60 million opening weekend debut. I have a feeling that this film will have long legs at the domestic box office. Its human characters aren't the most nuanced but Gareth Edwards' "Godzilla" is summer blockbuster entertainment done right and reaffirms why Toho's famous kaiju is called the 'King of the Monsters.'

Final Rating: 4.5 out of 5

"The arrogance of man is thinking nature is in our control…and not the other way around."

Read More