Lone Survivor Review

Rated R (Strong Bloody War Violence and Pervasive Language)

Running Time: 2 Hours & 1 Minute

Cast-

Mark Wahlberg-SO2 Marcus Luttrell

Taylor Kitsch-Lieutenant Michael P. Murphy

Emile Hirsch-SO2 Danny Dietz

Ben Foster-SO2 Matthew 'Axe' Axelson

Eric Bana-Lieutenant Commander Erik S. Kristensen

Alexander Ludwig-SO2 Shane Patton

Yousuf Azami-Ahmad Shah

Sammy Sheik-Taraq

Ali Suliman-Muhammad Gulab

Directed by Peter Berg

Peter Berg's directs "Lone Survivor," a harrowing account of a failed 2005 military mission in Afghanistan.

Note: Screened on Wednesday, December 11, 2013 at AMC Loews 34th Street 14.

With over seventeen million copies sold worldwide since its release in 2007, "Call of Duty 4: Modern Warfare" not only popularized the modern military shooter genre but also came to define it, leading to a new trend in the video game industry as developers scrambled to emulate its success. Despite the ultra-realism of its setting, the "Call of Duty" series—along with its equally-popular competitor "Battlefield"—will never approach the horrors of being in a real war. When you're surrounded by the enemy and suffering from numerous bullet wounds, every second becomes a struggle for survival. I won't sit here and pretend to know what it feels like to be an American soldier (because I don't) but what I can do is appreciate their courage, their determination, and most importantly, their sacrifice. Even if you don't approve of the concept of war, the fact remains that men and women voluntarily put their lives on the line everyday just so people like you and me don't have to. Peter Berg understands this and it's clear that the director has a deep and earnest respect for the American military as exemplified in his latest film "Lone Survivor," based on Marcus Luttrell and Patrick Robinson's 2007 non-fiction book of the same name. It's easy to write off "Lone Survivor" as another throwaway jingoistic affair but this gut-wrenchingly brutal and harrowing account of a failed 2005 military operation in Afghanistan treats its subject matter with the respect and seriousness it deserves while also honoring the dedication and sacrifice of SEAL Team 10. It's a shame that the film will likely be buried among other would-be awards contenders.

Stationed in Bagram Airbase in Afghanistan in the summer of 2005, Lieutenant Michael P. Murphy (Taylor Kitsch) and his fellow SEAL Team 10 members—Special Warfare Operators Marcus Luttrell (Mark Wahlberg), Danny Dietz (Emile Hirsch), and Matthew 'Axe' Axelson (Ben Foster)—bond over their shared confusion with their significant others, with Murphy's fiancé wanting an Arabian horse as a wedding present and Dietz's wife redecorating the house in his absence. Their arguments over colored kitchen tiles and the cost of Arabian horses are cut short when Lieutenant Commander Erik S. Kristensen (Eric Bana) informs them that 'Operation Red Wings' is now in effect. During the mission briefing, Kristensen discloses to the SEALs in attendance that their target is Ahmad Shah (Yousuf Azami), a senior member of the Taliban who is responsible for killing twenty Marines. The objectives are to positively ID Shah and take him out along with his right-hand man Taraq (Sammy Sheik). To provide reconnaissance, Murphy, Luttrell, Dietz, and Axelson are deployed in the Hindu Kush region under cover of darkness. Using the rough terrain to camouflage their movements, the recon team—dubbed 'Spartan 01'—tries to get a bird's eye view of the Taliban leader's village but is discovered by three passing goat shepherds. With the mission now compromised, the four SEALs debate whether they should let the shepherds go or terminate them, with Axelson strongly favoring the latter. After a few minutes of arguing, Murphy steps in and says that they're going to let the shepherds go (since one of them is just a child) and radio for an extraction. Hiking toward a nearby peak to get a better signal, the recon team is soon attacked by a large contingent of Taliban soldiers, locking the four SEALs in a desperate struggle for survival.

At first glance, "Lone Survivor" looks like another throwaway war film that blindly glorifies the actions of the American military. The presence of Peter Berg didn't fill me with confidence either since the director was responsible for the horrible 2012 sci-fi blockbuster "Battleship" (yes, based on the Hasbro/Milton Bradley board game). Well, it turns out that Berg had to agree to helm that film first in order to get Universal to fund "Lone Survivor," which had been a long-time passion project of his ever since he read Luttrell and Robinson's book while shooting the superhero action comedy "Hancock" in 2007. Although the book covers Luttrell's childhood as well as his 1999 enlistment and training, Berg wisely choose to limit the film's focus to SEAL Team 10's disastrous mission 'Operation Red Wings.' Launching with a montage of documentary footage that show a group of recruits being put through the gauntlet—both physically and mentally—when they sign up for SEAL training, the opening credits in "Lone Survivor" reminds viewers that although it takes a special kind of person to be a Navy SEAL, at the end of the day they're just as human as you and me. Beyond their careers as soldiers, these men are husbands, fathers, lovers, and more importantly, best friends. Berg, who also wrote the script, doesn't spend too much time on characterization, choosing to develop Murphy, Luttrell, Dietz, and Axelson in broad strokes. This would be a detriment in any other film but when it comes to stories of survival, it's best to keep things simple and allow the characters to develop through the hardships they face.

Using the word 'hardships' doesn't even begin to describe what the recon team went through in Afghanistan. Deployed in the Hindu Kush region in the dead of night, the four SEALs make their way toward a mountain called 'Sawtalo Sar,' which overlooks a village where the Taliban leader Shah is suspected to be. Although they manage to positively ID him, their mission ends up being compromised when three goat shepherds inadvertently discover them. What follows is a tense argument with no easy outcome. Killing the shepherds will not only put a black mark on their conscience but also lead to them being crucified by the media. Letting them go means potentially alerting the Taliban to their whereabouts. It would be easy for Berg to slip into gung-ho jingoism and blame the 'liberal media' for insisting that soldiers should strictly adhere to the 'rules of engagement' (as Luttrell does in his book) but the director sensibly avoids falling into this trap and instead shows that either way, the mission was doomed. At the time, the recon team was faced with communication problems, with their radio unable to receive any signal, and worse, they were in unknown territory. It's a small detail but notice how the Afghan teen quickly leaps down a steep hill despite the rocky terrain? Meanwhile, Axelson clumsily trips over a rock and sprains his ankle. No matter how good their training was, the four SEALs were at a disadvantage from the beginning as they lacked the Taliban's familiarity with the environment.

Once the bullets start flying, "Lone Survivor" turns into an action picture but the nearly-forty minute sequence isn't designed to entertain; it's to put you through the same hell that these four men experienced while they were beset on all sides by Taliban soldiers. Tautly paced, Berg makes you feel the agony of bullets tearing through flesh but the cruelest moment is when the team is forced to seek cover by hurling themselves downhill…twice! It's a grueling scene, with every bone-crunching scrape registering with tremendous impact thanks to the excellent sound effects work from David Brownlow. The ghastly prosthetics from Howard Berger and Greg Nicotero will make even the hardiest individuals wince and shows that whatever problems you have, they're nothing compared to the ones that soldiers face, day in and day out. While there's no real stand-out amongst the performances as the script demands that the four actors behave as a single unit, Mark Wahlberg, Taylor Kitsch, Emile Hirsch, and Ben Foster embody their roles with genuine sincerity, with Eric Bana providing a familiar face. If there's any real flaw with Berg's film, it's the title and poster, which makes it explicitly clear that Wahlberg's character is the only one who survives. How he survives will come as a surprise to viewers unfamiliar with the true story it's based on but suffice to say, it validates Murphy's decision to let the goat shepherds go free. Variety's Justin Chang says it best when he writes about 'the power of individual acts of conscience amid the moral murkiness of war.' It's a strong reminder for everyone to never judge an entire people based on the actions of a militant few.

Hoping to gain awards traction, "Lone Survivor" was given a limited release on Christmas Day and is currently set to go wide on January 10, 2014. To my dismay, reviews have been lukewarm so far with 65% on Rotten Tomatoes. Critics noted that 'while it may deliver its messages of patriotism, courage, and sacrifice a tad heavy-handedly, [the film] finds writer/director Peter Berg wielding enough visceral power to mitigate many of [its] jingoistic flaws.' I have to disagree with that last part because Berg's film is the complete opposite of jingoistic. He's not blindly glorifying the American military as some critics are saying; instead he's honoring their actions and giving a voice to those who don't have one anymore. There are no politics or overblown heroics here, only men who were willing to give their very lives to see the job done. Whether it's going to be a major awards contender or not, Peter Berg should be extremely proud of the film he's made as "Lone Survivor" is patriotic, respectful, and honors those that were lost in 'Operation Red Wings' without resorting to cheap flag-waving theatrics. Mr. Berg, I not only forgive you for "Battleship" but also deem your film among the very best of 2013.

Final Rating: 4.5 out of 5

"There's a storm inside of us. I've heard many team guys speak of this. A burning. A river. A drive. An unrelenting desire to push yourself harder and further than anyone could think possible. Pushing ourselves into those dark cold corners. Where the bad things live. Where the bad things fight. We wanted that fight at the highest volume. The loud fight. The loudest, coldest, hottest, most unpleasant of the unpleasant fights."

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The Hobbit: The Desolation of Smaug - An IMAX HFR 3D Experience Review

Rated PG-13 (Extended Sequences of Intense Fantasy Action Violence, and Frightening Images)

Running Time: 2 Hours & 41 Minutes

Cast-

Martin Freeman-Bilbo Baggins

Ian McKellen-Gandalf the Grey

Richard Armitage-Thorin Oakenshield

Graham McTavish-Dwalin

Ken Stott-Balin

Aidan Turner-Kíli

Dean O'Gorman-Fíli

Mark Hadlow-Dori

Jed Brophy-Nori

Adam Brown-Ori

John Callen-Óin

Peter Hambleton-Glóin

William Kircher-Bifur

James Nesbitt-Bofur

Stephen Hunter-Bombur

Orlando Bloom-Legolas

Evangeline Lilly-Tauriel

Lee Pace-Thranduil

Luke Evans-Bard

Sylvester McCoy-Radagast the Brown

Mikael Persbrandt-Beorn

Stephen Fry-Master of Lake-town

Ryan Gage-Alfrid

Cate Blanchett-Galadriel

Manu Bennett-Azog the Defiler

Lawrence Makoare-Bolg

Benedict Cumberbatch-Smaug the Dragon/Necromancer

Directed by Peter Jackson

Don't wake the dragon, Bilbo...

Note: Screened on Monday, December 9, 2013 at AMC Loews 34th Street 14.

'Yes, I do believe the worst is behind us now.' I wouldn't be so hasty there, Mr. Bilbo Baggins, as you still have to deal with a massive, fire-breathing dragon at the end of your journey. Despite being mired in development hell for six years due to tedious lawsuits and MGM's financial troubles, a film adaptation based on J.R.R. Tolkien's beloved 1937 fantasy novel The Hobbit finally saw the light of day with the release of "The Hobbit: An Unexpected Journey" last December. In a controversial move, returning "Lord of the Rings" director Peter Jackson decided to split the three hundred-page prequel into a new trilogy, supplementing the main plot with material taken from the appendices published in the back of The Return of the King. "An Unexpected Journey" grossed over a billion dollars at the worldwide box office but reception was mixed compared to the critical acclaim that the original trilogy received nine years earlier. With a lukewarm 65% on Rotten Tomatoes, many critics felt the film was unnecessarily bloated and were additionally turned off by Jackson's decision to shoot the picture at 48 frames-per-second. Personally, I loved it in spite of some extraneous padding in the first half. Jackson may have initially been reluctant to return as director but "An Unexpected Journey" remains an obvious labor of love for him as he pours the same amount of passion, creativity, and attention to detail that made his "Lord of the Rings" film trilogy such a huge success. Seeing Sir Ian McKellen as Gandalf the Grey again was like visiting a grandfather whom you haven't seen for a long time. If you came away disappointed with the first installment, have no fear because "The Hobbit: The Desolation of Smaug" jumps right into the action now that all the set-up is out of the way. The narrative can get hamstrung at times due to its 'middle chapter' status and the film closes with an abrupt cliffhanger but it remains a rollicking roller-coaster thrill ride, one that continuously offers up dazzling set-pieces while also enriching the source material in surprisingly clever ways. 

Following a daring escape from the Goblin King's underground horde in the Misty Mountains, reluctant adventurer and hobbit Bilbo Baggins (Martin Freeman), Gandalf the Grey (Ian McKellen), and the twelve dwarves led by Thorin Oakenshield (Richard Armitage)—Balin (Ken Stott), Dwalin (Graham McTavish), Glóin (Peter Hambleton), Óin (John Callen), Ori (Adam Brown), Nori (Jed Brophy), Dori (Mark Hadlow), Kíli (Aidan Turner), Fíli (Dean O'Gorman), Bifur (William Kircher), Bofur (James Nesbitt), and Bombur (Stephen Hunter)—soon run afoul of Azog the Defiler (Manu Bennett) and his band of orcs who are hell-bent on wiping out the line of Durin. With his hand forced, Gandalf has the group take refuge within the home of Beorn (Mikael Persbrandt), a skin-changer who dislikes dwarves but hates orcs even more. However, their respite proves to be short-lived as the very next day, Bilbo, Gandalf, and the rest of Thorin's company set out toward the great forest of Mirkwood, where the elderly wizard suddenly reveals that they will have to proceed without him as he must investigate a pressing matter. Before he departs, Gandalf warns Bilbo and the dwarves to not leave the marked path for any reason whatsoever. Despite being besieged on all sides by vicious Giant Spiders, Wood-Elves, and bloodthirsty orcs, the group manages to make it out of the deadly forest alive. Stripped of their weapons and with Durin's Day fast approaching, Thorin and his company are forced to ally with Bard (Luke Evans), who agrees to ferry the group to Lake-town, located in the shadow of the Lonely Mountain, in exchange for gold. When Bard discovers that they intend to reclaim Erebor, he tries to stop them, knowing that awakening the dragon Smaug (Benedict Cumberbatch) will only bring destruction to his home.

An audible groan erupted from the audience when "The Hobbit: The Desolation of Smaug" abruptly faded to black mid-climax, forcing us to wait another twelve months to see how it all ends. Middle chapters in a planned trilogy can be difficult to pull off as the director has to leave viewers wanting more while also providing a resolution that satisfies. Unfortunately, "The Desolation of Smaug" doesn't really succeed in that regard. Just when all the disparate plot threads are about to coalesce into something exciting or meaningful, Jackson ends the film, leaving you with a feeling of frustrating whiplash instead of fulfillment. Even last year's "An Unexpected Journey" managed to build to a sincere resolution that provided some measure of closure both emotionally and thematically, with Bilbo finally finding his courage and gaining not only the admiration of Thorin but also his respect. Of course, Jackson isn't entirely to blame here as the source material is self-contained to one novel, not three. Then again, this problem wouldn't even exist if he had chosen to tell Tolkien's story in two installments like he originally planned. It ultimately lessens the emotional pay-off because it's arriving so separate from the context of this film.

Abrupt ending aside, the rest of "The Desolation of Smaug" remains as exciting as ever. Similar to its predecessor, the film opens with a familiar face but it isn't Ian Holm. Instead, it's Peter Jackson himself, who lurches out of an inn while once again gnawing on a carrot like in "The Fellowship of the Ring." The inn just happens to be the Prancing Pony, where Thorin Oakenshield is anxiously waiting to meet Gandalf in order to discuss reclaiming his homeland Erebor from the dragon Smaug. It's a fantastic way to bring viewers up to speed without needlessly lingering on the details. Ten minutes later, we're back on the road with Bilbo, Gandalf, and the dwarves, who are still being pursued by Azog and his band of orcs. In an attempt to tighten up the pacing and address some of the criticisms of the first film, the sequel dispenses with early events relatively quickly, with the group staying with Beorn for only one night before continuing on their journey the next morning. If you've read the novel, you should know that this isn't the last time we'll see the gruff skin-changer. The early departure of Gandalf allows Jackson the opportunity to relish in his horror roots as he slowly ratchets up the tension when Bilbo and the dwarves are forced to fend for themselves while trekking through the great forest of Mirkwood. These moments are complemented by a simmering, dissonant chorus from Howard Shore's score, which gives way to loud, blaring horns during a deadly encounter with a group of Giant Spiders. These overgrown arachnids make Shelob look like a harmless tarantula. It's here that Bilbo gets to demonstrate his newfound courage but it's tempered by the subtle, insidious hold that the ring is already beginning to have on him. Even as he grows more heroic, the film doesn't let you forget about his nascent dark side, a fact that the hobbit is increasingly well-aware of.

Jackson has shown that he isn't afraid to deviate from the original source material when necessary and while die-hard Tolkien purists may be horrified by this, the changes that he has enacted actually feel organic rather than extraneous. A great example would be the action, which has been amplified into a series of grand set-pieces with so many moving parts yet Jackson makes it all look so effortless with his confident camerawork. Instead of having the dwarves simply escape unscathed in empty wine barrels, he transforms the famous Barrels out of Bond sequence into a gleeful, ingeniously choreographed action symphony. As Thorin's company float down the river, they have to fight off a contingent of orcs while Legolas (Orlando Bloom) and newcomer Tauriel (Evangeline Lilly) gracefully weave in and out, taking down orcs as they go even as they try to prevent their prisoners from escaping. It's exhilarating to watch but it's the climactic battle with Smaug that will leave you breathless. The last thirty minutes or so is akin to watching a thriller, with Bilbo and the dragon playing a cat-and-mouse game of sorts. Like Andy Serkis' Gollum, Smaug is a technical marvel to behold and even though we already know what a dragon is 'supposed' to look like, his entrance is still awe-inspiring to say the least. It's enough to give you goose-bumps. Seeing "The Desolation of Smaug" in 48 frames-per-second definitely heightens the realism of the film's many CG creations, although some of the issues with the format remain as it betrays the fact that some of the locations are just sets. Be that as it may, the production design is still sumptuously detailed, with Lake-town seemingly inspired by Renaissance-era Venice. The 3D is fine, if perfunctory. I don't imagine it looking too well on a 24 frames-per-second projection though. As the film approaches its climax, the story grows increasingly busy with no less than four concurrent plot threads. Unfortunately, the end credits roll right when the film is at its most compelling. It's frustrating as I've said before but everything leading up to it is so good, I admit that I was truly left wanting more.

All of the returning players are uniformly excellent, with Martin Freeman still a joy to watch as Bilbo Baggins. His character remains a little too marginalized for my liking but I love the way Freeman approaches the role. In the first film, he portrayed Bilbo as a bumbling, overly-cautious neurotic who worried over the most inconsequential matters, like his doilies and mother's dishes. He's much more assertive in the sequel yet he's still the same bumbling hobbit that's easily gripped by fear. The main difference is that he fights through that fear now and uses it to motivate himself further. Bilbo may not be all that handy with a sword but he's clever. Even when coming face-to-face with an enormous dragon, it is his quick-thinking that keeps him from being incinerated into an ash pile. Richard Armitage continues to bring a sense of gravitas to Thorin Oakenshield while also subtly hinting that the character's reasons for reclaiming Erebor aren't as pure as he initially made them out to be. Thorin is a natural-born leader, a trait that Armitage fully captures but the cracks are beginning to show, making for a fascinating study at how even the most good of intentions can succumb to something as simple as recklessness and greed. Each of the twelve dwarves are given a more distinct personality this time around and it helps that the story eventually splits them up into two groups, which is easier to manage for Jackson as it prevents the film from becoming overly crowded.

Ian McKellen is wonderful as always as Gandalf the Grey but most impressive are the cast's newcomers. Even though his character doesn't appear in the novel, it's nice seeing Orlando Bloom's Legolas doing what he does best again, which is filling orcs with arrows. However, he is completely upstaged by Evangeline Lilly's Tauriel, a new character created specifically for the film. Despite being saddled with a rote love triangle between the dwarf Kíli and the aforementioned Legolas, Lilly manages to kick all kinds of ass as Tauriel, taking down orcs left and right and looking gorgeous while doing it. This is a perfect example of enriching the source material without disrespecting it. Luke Evans brings a quiet intensity to Bard and it'll be interesting to see his character develop into the famous 'Bowman' in the third film. He's only lending his voice but Benedict Cumberbatch purrs with cunning malice as the titular Smaug. While the dragon is obviously brought to life via CG, Cumberbatch transforms this pile of pixels into a fully-realized character. Smaug isn't feared because he can breathe fire and turn cities into mere ash; he's feared because he's smart, a fact he repeatedly demonstrates as he easily deduces what Bilbo plans to do and begins to plant seeds of doubt within him, telling the overwhelmed hobbit that Thorin is only using him for his own personal gain. It's a highly compelling vocal performance that turns the third act into an engrossing battle of wits between him and Bilbo. Finally, there's Stephen Fry, looking almost unrecognizable and appropriately sleazy as 'The Master' of Lake-town.

Released on December 13, 2013, "The Hobbit: The Desolation of Smaug" has received positive reviews with a solid 73% on Rotten Tomatoes. Critics noted that while it was 'still slightly hamstrung by middle chapter narrative problems and its formidable length, [the film] represents a more confident, exciting second chapter for the Hobbit series.' Audience reception at the advance screening was highly enthusiastic in spite of the abrupt ending and it's all but guaranteed to be a box office success. While the lukewarm reception of "An Unexpected Journey" will likely temper its final gross, the sequel is still poised to make at least $800 million worldwide. Taken as a stand-alone film, "The Hobbit: The Desolation of Smaug" doesn't quite work as it offers little emotional pay-off yet it remains a thrilling sequel, with Jackson continuing to bring Tolkien's words to life with meticulous zeal. Christopher Tolkien feels that Hollywood has 'eviscerated' his father's work but I think if he were alive today, he would be proud of the way the films have inspired an entirely new generation of fans that otherwise wouldn't have picked up the novels.

Final Rating: 4.5 out of 5

"Dragon-fire and ruin—that is what you'll bring upon us! He cannot see beyond his own desires!"

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The Hunger Games: Catching Fire Review

Rated PG-13 (Intense Sequences of Violence and Action, Some Frightening Images, Thematic Elements, a Suggestive Situation and Language)

Running Time: 2 Hours & 26 Minutes

Cast-

Jennifer Lawrence-Katniss Everdeen

Josh Hutcherson-Peeta Mellark

Liam Hemsworth-Gale Hawthorne

Willow Shields-Primrose Everdeen

Paula Malcomson-Mrs. Everdeen

Elizabeth Banks-Effie Trinket

Woody Harrelson-Haymitch Abernathy

Lenny Kravitz-Cinna

Philip Seymour Hoffman-Plutarch Heavensbee

Stanley Tucci-Caesar Flickerman

Toby Jones-Claudius Templesmith

Donald Sutherland-President Coriolanus Snow

Patrick St. Esprit-Romulus Thread

Sam Claflin-Finnick Odair

Lynn Cohen-Mags

Jena Malone-Johanna Mason

Bobby Jordan-Blight

Jeffrey Wright-Beetee Latier

Amanda Plummer-Wiress

Alan Ritchson-Gloss

Stephanie Leigh Schlund-Cashmere

Bruno Gunn-Brutus

Meta Golding-Enobaria

Elena Sanchez-Cecelia

John Casino-Woof

E. Roger Mitchell-Chaff

Maria Howell-Seeder

Directed by Francis Lawrence

Katniss Everdeen finds herself fighting for survival once more in "The Hunger Games: Catching Fire."

Note: Screened on Monday, November 18, 2013 at AMC Empire 25.

'Hope—it is the only thing stronger than fear. A little hope is effective…a lot of hope is dangerous. A spark is fine, as long as it's contained.' After winning the 74th Annual Hunger Games alongside fellow tribute Peeta Mellark, Katniss Everdeen inadvertently becomes a symbol of hope among the twelve oppressed districts of Panem in "The Hunger Games: Catching Fire,"  the highly-anticipated sequel to Gary Ross' critically-acclaimed 2012 hit. Based on a trilogy of dystopian science fiction novels from author Suzanne Collins, the original "Hunger Games" was made for only $78 million, a relatively low production budget compared to other would-be blockbusters but the odds managed to be in Lionsgate's favor as the film had devoured a gargantuan $691.2 million worldwide by the end of its theatrical run. Its $152.5 million opening weekend easily eclipsed (pun definitely intended) all of the "Twilight" films, setting a new record for highest debut ever for a non-sequel. With excellent reviews (84% on Rotten Tomatoes), the studio fast-tracked "Catching Fire" (which had already been green-lit eight months prior to the first film's release) into production but the tight schedule forced Ross to drop out as director. Replacing him is Francis Lawrence, whose work has been somewhat of a mixed affair. Out of the three films he's made, only 2007's "I Am Legend" stood out due in large part to Will Smith's strong performance. Fans were rightly concerned but they can put their worries to rest now. Excellently expanding on the source material's thought-provoking and subversive themes while also upping the stakes, "The Hunger Games: Catching Fire" is one of those rare sequels that manage to surpass its predecessor in almost every way.

Emerging as the victors of the 74th Annual Hunger Games, fellow tributes Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson) return home to District 12—the poorest sector in the totalitarian nation of Panem, which rose from the ashes of a post-apocalyptic North America following an unspecified catastrophic event in the far future. However, Katniss and Peeta's reunion with their family and friends proves to be short-lived as the two must then embark on a 'Victory Tour' across all of the districts. Before the tour officially begins, President Coriolanus Snow (Donald Sutherland), the ruthless autocratic leader of Panem, pays Katniss a visit and expresses his outrage for her act of defiance that allowed her and Peeta to win. As he leaves, Snow makes a veiled threat toward her best friend, Gale Hawthorne (Liam Hemsworth), whom she has feelings for. Pretending to be madly in love for their adoring public in the Capital, Katniss and Peeta reunite with their alcoholic mentor Haymitch Abernathy (Woody Harrelson) and gaudy chaperone Effie Trinket (Elizabeth Banks) during the Victory Tour but unrest brews within the oppressed districts. Knowing that Katniss has become a beacon of hope, Snow plots to destroy her with the aid of new Game Maker Plutarch Heavensbee (Philip Seymour Hoffman). As the 75th Annual Hunger Games—also known as the Quarter Quell—commences, Snow announces that the tributes will be reaped from the existing pool of victors in a brutal effort to crush the fires of rebellion that Katniss' actions had inadvertently sparked.

Like comic books, adapting young adult novels for the big screen has become all the rage in Hollywood but for every "Harry Potter" and "Twilight" that makes billions of dollars, there's a "Beautiful Creatures" and "Mortal Instruments" that flop at the box office. The reason "The Hunger Games" succeeded where others have failed is because it offered moviegoers something exciting and new, with the film managing to grow beyond its fanbase and appeal to those who weren't overly familiar with the source material. Detractors will continue to complain of its similarities to the 2000 Japanese film "Battle Royale" and while that's true to a certain extent, Kinji Fukasaku's violent and controversial action thriller was a cult classic that was never going to attain the widespread exposure that "The Hunger Games" now enjoys. For audiences, Gary Ross' adaptation of the 2008 Suzanne Collins novel was the first time they've seen a story like this. Given the critical and commercial success of the original film, expectations were at an all-time high for "Catching Fire." So many things could've gone wrong but not only did Francis Lawrence build upon its predecessor, he improved on it. Only a handful of sequels ("Aliens," "The Dark Knight") have accomplished such a rare and difficult task. In spite of its two hour and twenty-six minute running time, "Catching Fire" is pitch-perfectly paced with emotional stakes that will leave you impatiently yearning for the final two installments.

I had read the first novel prior to seeing Ross' film but this time around, I made a conscious decision to go into the sequel completely blind. Scripted by Academy Award-winning writers Simon Beaufoy and Michael Arndt (credited under the puzzling pseudonym 'Michael deBruyn'), "Catching Fire" immediately sets itself apart from the original with its decidedly darker and more cynical tone, finding our young heroine suffering from severe posttraumatic stress disorder due to her harrowing experience at the 74th Annual Hunger Games. Katniss' blatant act of defiance, where she was fully prepared to commit suicide alongside her fellow tribute Peeta rather than give Panem's totalitarian regime the satisfaction of another victor, has sent ripples across the nation's twelve districts. Unrest with the government is slowly building up toward open rebellion, forcing President Snow to use increasingly brutal methods to maintain his control over the populace. There's a great scene in the first film where Snow explains to Seneca Crane the reason why they hold the Hunger Games every year. Rounding up twenty-four people and executing them would be easier and faster but it effectively turns them into martyrs. The Games exist to give the districts a small measure of hope, which is violently taken away by forcing the citizens to watch their own children being killed. This potent commentary of suffering as mass entertainment for the rich is smartly built upon when Snow decides not to kill Katniss but to completely destroy what she stands for through the Quarter Quell. One aspect that I really enjoyed is the concept of celebrity within this dystopian sci-fi world. It eerily mirrors our own as Katniss and Peeta's 'star-crossed romance' has captured the hearts and minds of those living in the Capitol while dehumanizing tragedies are all but virtually ignored. I love the way the story has these characters try to use their celebrity status to undermine Snow, from Katniss' wedding dress transforming into a mockingjay in a blaze of fire to Peeta's surprise announcement that she's newly pregnant with his child, which ironically incites the crowd at Caesar Flickerman's show to call for the Games to be cancelled! This is contrasted with the harsh ugliness that now grips Panem in the wake of the 74th Annual Hunger Games, where even the smallest acts of defiance are met with instant executions and public whippings.

The love triangle that has now become a staple of young adult fiction is handled in a mature manner in spite of the characters being teenagers. It achieves an emotional resonance that is light-years ahead of the groan-inducing petulance that was at the center of the "Twilight" series. Katniss' feelings for Gale stem from them being childhood friends but she also owes a huge debt to Peeta, whose presence gave her the necessary strength to ultimately win the Hunger Games. For her, it's not about who she loses her virginity to; it's about forming a human connection when every day is a battle for survival, whether it's for food or in an arena. The two men may long for Katniss but they also understand the reality of their situation. Rather than waste time engaging in pointless competition, they instead support one another and are not only prepared to die for the woman they love but for each other as well. It's this noble selflessness that defines Katniss' relationships with Gale and Peeta, which is a breath of fresh air compared to other young adult franchises that rely on some shallow interpretation of 'love.'

It's obvious that Francis Lawrence is a director-for-hire here but that's actually to the film's advantage. While nothing has really changed stylistically, Lawrence does eliminate the shaky cam approach that characterized the first film, allowing the action in "Catching Fire" to feel more fluid as it quickly moves from one set-piece to another. There's still a bloodbath when all the tributes rush toward the Cornucopia, now located in the middle of a circular lake, but there's less focus on the brutality among the contestants. Instead, the tributes must contend with an hourly series of deadly obstacles designed by Heavensbee. This includes a poisonous fog that result in painful boils when coming in contact with skin, vicious mutated monkeys, 'jabberjays' that psychologically torment the tributes with screams of their loved ones, and drowning the tributes with a torrential rain of blood. Lawrence keeps the tension at an all-time high without losing sight of the character-driven drama and a sense of hopelessness pervades the Quarter Quell as Snow gleefully watches the tributes slowly become demoralized. The violence definitely pushes the boundaries of its PG-13 rating but it serves not to entertain but to emphasize the brutal callousness of Panem's oppressive regime. If there are any flaws in "Catching Fire," it's the film's structural similarity to the original. However, this is due to Collins' playwriting background, which taught her to write in a three-act structure. The ending, although true to the source material, is also somewhat abrupt but it does leave you anticipating the final two installments.

Most of the cast bring their A-game as if this was a prestige picture. Fresh off her Academy Award win for Best Actress in last year's "Silver Linings Playbook," Jennifer Lawrence continues to excel with her captivating portrayal of Katniss Everdeen, adding layers of emotional depth as her character struggles to deal with the physical and emotional trauma of competing in the Hunger Games while also becoming a symbol of hope for the oppressed citizens of Panem, a status she'd rather not have due to the danger it puts her family and friends in. Much has been said about Lawrence's down-to-earth demeanor and it is that quality that allows her performance to feel so genuine. Josh Hutcherson is just as strong in the role of Peeta Mellark, whose love for Katniss goes beyond a mere boyhood crush. This is someone who has a defined sense of loyalty and respect, and it's these two traits that Hutcherson derives when conveying his character's intense devotion to his fellow tribute. Woody Harrelson and Lenny Kravitz perfectly capture the mentor relationship their characters share with Katniss and Peeta but one of the bigger surprises is Elizabeth Banks, who lends Effie a more human side without betraying who she is. Banks also has some of the funniest scenes in the film as Effie effectively acts as Katniss and Peeta's publicist. The other surprise is Sam Claflin as District 4 tribute Finnick Odair. He at first comes off as extremely unlikable with his arrogant self-confidence and cocky personality but Claflin slowly reveals that there's more to Finnick, that he isn't just the shallow pretty boy that Panem's media makes him out to be. Jeffrey Wright brings a calm gravitas to tech wizard Beetee while the beautiful Jena Malone adds some much-needed spunk to axe-wielding tribute Johanna Mason. Veteran actors Donald Sutherland and Philip Seymour Hoffman are excellent as always in their antagonistic roles. Finally, there's Liam Hemsworth and he is…fine. Don't get me wrong; his performance is miles ahead of the one he gave in "Paranoia" but being merely adequate just isn't enough when everyone around you is challenging themselves in new ways.

To be released on November 22, 2013, "The Hunger Games: Catching Fire" has so far received overwhelmingly positive reviews with 95% on Rotten Tomatoes. Critics are hailing it as 'a thoroughly compelling second installment in the Hunger Games series' thanks to its 'smart, smoothly directed, and…deeper exploration of the franchise's thought-provoking themes.' Judging from its enthusiastic response at Monday's advance screening, "Catching Fire" is pretty much guaranteed to be a box office success and has a strong chance of surpassing "Iron Man 3" as the highest grossing film of the year. Many sequels fail to live up to the promise of their predecessors but "The Hunger Games" might be one of those rare franchises that continue to get better with each successive installment. "Catching Fire" easily cements itself as one of the best films of 2013 and will leave you fuming with rage that "Mockingjay—Part 1" won't arrive until November 2014.

Final Rating: 4.5 out of 5

"Katniss, when you're in the arena…you just remember who the enemy is."

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The World's End Review

Rated R (Pervasive Language including Sexual References)

Running Time: 1 Hour & 49 Minutes

Cast-

Simon Pegg-Gary King

Nick Frost-Andrew Knightley

Paddy Considine-Steven Prince

Eddie Marsan-Peter Page

Martin Freeman-Oliver Chamberlain

Rosamund Pike-Sam Chamberlain

Pierce Brosnan-Guy Shephard

David Bradley-Basil

Michael Smiley-Reverend Green

Darren Boyd-Shane Hawkins

Bill Nighy (voice)-The Network

Directed by Edgar Wright

The fate of one small town lies in the hands of these six people.

Note: Screened on Wednesday, August 21, 2013 at Landmark Sunshine Cinema.

Nostalgia's a b*tch, ain't it? The past always seems to look better in hindsight the more we get older but that's because we tend to selectively recall positive memories as opposed to negative ones. For his latest effort, British writer/director Edgar Wright takes audiences on a stroll down memory lane as he explores one person's foolish quest to recapture the 'glory days' of his formative years while also fending off an insidious alien invasion in the late-summer sci-fi action comedy "The World's End." The final installment in the so-called "Three Flavours Cornetto" trilogy, the film reunites Wright with frequent co-writer/actor Simon Pegg and his best friend/fellow actor Nick Frost. It's amazing to see these three still working together almost fifteen years later since they first collaborated on the short-lived but critically acclaimed Channel 4 sitcom "Spaced," whose success helped pave the way for 2004's "Shaun of the Dead." Gleefully mixing elements of British romantic comedies with homages to old-school zombie flicks from George A. Romero, the film quickly became a cult classic and went on to receive overwhelmingly positive reviews with 91% on Rotten Tomatoes. Some even went so far as to call it 'the best horror-comedy ever made.' Three years later, Wright returned with the thematic follow-up "Hot Fuzz," a riotous, over-the-top riff on the buddy cop action films typified by the likes of "Lethal Weapon" and "Bad Boys II." It too received positive reviews. Six years is an eternity in Hollywood but Wright is never one to accept projects he doesn't believe in (despite being in active development since 2006, he's still attached to direct "Ant-Man") and I'm glad to see that there are still directors who take their time to deliver something special. If there's one last film you should see this summer, look no further than "The World's End," a madcap, poignant, and action-packed sci-fi comedy that stands among the year's very best.

For twenty-three years, Gary King (Simon Pegg) has been unable to move on from his failure to complete the 'Golden Mile,' an epic pub crawl involving twelve local pubs in his hometown of Newton Haven. In an attempt to recapture the thrill of the 'good ol' days,' Gary successfully cons high school friends Andrew Knightley (Nick Frost), Steven Prince (Paddy Considine), Peter Page (Eddie Marsan), and Oliver Chamberlain (Martin Freeman) into finishing what they started when they were teenagers. The quintet returns to their old haunts but are unnerved to find their community strangely homogenized and eerily tranquil. Although slightly annoyed that he wasn't met with a hero's welcome, Gary brushes this aside and quickly sets out on his quest to finish the 'Golden Mile' while also trying to catch the attention of Oliver's beautiful sister Sam (Rosamund Pike), whom Steven had always secretly loved. All hell breaks loose when the group uncovers an alien conspiracy to replace all the residents of Newton Haven with mechanical duplicates. Gary and his friends must now battle for their very survival if they are to make it through all twelve pubs, with their last stop being the eponymous 'World's End.'

Edgar Wright has always excelled at blending comedy, action, and drama into one wildly perfect concoction and "The World's End" is no different. Although the films in the "Three Flavours Cornetto" trilogy aren't outright parodies, each one does poke fun at a specific genre while also paying homage to it. What's interesting about this series is the way Wright chooses to develop his characters, placing them in outlandish situations that have no basis in reality. However, the emotional journey they go through remains very rooted in real life. In "Shaun of the Dead," perennial slacker Shaun is forced to 'man up' and take responsibility for his actions despite having to deal with a sudden zombie apocalypse. In "Hot Fuzz," dedicated police officer Nicholas Angel tries to 'loosen up' and enjoy the little details in life but finds this to be increasingly difficult when faced with a string of mysterious murders. With "The World's End," the trilogy comes full circle by casting Simon Pegg as a slacker once again. Compared to Shaun, Gary King is even more of a pathetic loser whose life peaked in high school and it's been downhill ever since. The film opens with a somewhat exposition-heavy prologue that introduces our five main characters and their initial failed attempt to complete the 'Golden Mile' when they were teenagers in 1990. It then fast-forwards twenty-three years later where everyone has largely drifted apart, consumed by the daily routines of their adult lives. Gary however is still trapped in the past and gathers his friends for one final blowout. There are a lot of laughs to be had about the way Gary desperately clings to his youth despite pushing forty yet you also can't help feeling sorry for the guy, making "The World's End" a more mature work compared to the previous entries in Wright's trilogy.

If Wright had just focused on the characters rediscovering their friendship and mending old wounds, it would've been completely fine but thirty minutes in, he throws a curveball by revealing that the town of Newton Haven has been completely taken over by robotic duplicates! It's a nostalgic callback to the classic 1956 sci-fi film "Invasion of the Body Snatchers" (which was remade in 1978 and 2007) and the director cleverly uses this to push Gary to face his own insecurities while the others individually try to resolve their own issues, such as Andrew's long-simmering frustrations with his friend's self-destructive tendencies or Steven attempting to reconnect with his teenage crush Sam. It adds a sense of emotional urgency as everyone is literally fighting for their very survival, with Wright piling on the absurdity with some tightly edited and wickedly choreographed action scenes. Watching Nick Frost pummeling his way through an endless stream of 'blanks' (as the invaders are called) is a sight to behold and no words could do it justice. "The World's End" does falter during the last fifteen minutes as Gary finally comes face-to-face with the 'entity' behind the conspiracy. The two then engage in a pseudo-philosophical debate about the nature of free will and conformity that goes on for a little too long but these issues are rather minor. It may close with a somewhat bleak ending yet Wright's ode to friendship remains as fun as ever with its zippy, energetic dialogue and memorable characters.

In a bit of a role-reversal, Simon Pegg is the abrasive loud-mouth while Nick Frost is the more responsible one. Pegg's performance can lean toward scenery-chewing as Gary tries to reclaim his figurative 'crown' but the way he subtly laces his character with a tinge of sad desperation allows him to remain grounded in spite of how outlandish the plot gets. Delivering a career best is Frost, who successfully captures the anger and resentment that comes with being betrayed by someone you love. Paddy Considine is endearingly romantic as the lovesick Steven while Eddie Marsan plays up Peter's meekness and then gets hilariously nuttier as the film progresses. Martin Freeman brings a charming wit to stick-in-the-mud Oliver, which unfortunately leaves Rosamund Pike getting the short end of the stick. She's defined solely by her relationships to Gary and Steven, and it doesn't help when Pike disappears for a large stretch of the film only to inexplicably pop up in the end.

Released back in July in the UK, "The World's End" is finally arriving in US theaters on August 23, 2013, which is the second-to-last weekend of the summer movie season. Similar to the previous two entries in the "Three Flavours Cornetto" trilogy, the film has received critical acclaim with 93% on Rotten Tomatoes. Unfortunately, all that praise won't expand its appeal beyond the Wright faithful as general audiences will write it off as just another comedy dealing with the apocalypse. It's a real shame but not entirely a surprise considering the low domestic grosses for "Shaun of the Dead" and "Hot Fuzz." As a finale to arguably the best comedy trilogy of the past ten years, "The World's End" knocks it out of the park and into the stratosphere thanks to Wright's contagious enthusiasm. When a director is passionate about his film, you can tell, and Wright is nothing if not full of passion about his work.

Final Rating: 4.5 out of 5

"It's all right. I'm not trying to have sex with you. There's something I need to tell you right now. Unless you do want to have sex in which case I'll tell you afterwards."

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Pacific Rim 3D Review

Rated PG-13 (Sequences of Intense Sci-Fi Action and Violence Throughout, and Brief Language)

Running Time: 2 Hours & 11 Minutes

Cast-

Charlie Hunnam-Raleigh Becket

Rinko Kikuchi-Mako Mori

Idris Elba-Stacker Pentecost

Charlie Day-Dr. Newton Geiszler

Burn Gorman-Dr. Hermann Gottlieb

Clifton Collins Jr.- Tendo Choi

Ron Perlman-Hannibal Chau

Max Martini-Herc Hansen

Robert Kazinsky-Chuck Hansen

Diego Klattenhoff-Yancy Becket

Robert Maillet-Aleksis Kaidanovsky

Heather Doerksen-Sasha Kaidanovsky

Mark Luu-Cheung Wei Tang

Charles Luu-Hu Wei Tang

Lance Luu-Jin Wei Tang

Mana Ashida-Young Mako Mori

Ellen McLain (voice)-Jaeger A.I.

Directed by Guillermo del Toro

Jaeger 'Gipsy Danger' prepares to duke it out with a Kaiju in rain-drenched Hong Kong in Guillermo del Toro's "Pacific Rim." 

Note: Screened on Monday, July 8, 2013 at AMC Empire 25.

Japanese pop culture has always held a deep fascination with giant robots and monsters. By far the most famous movie monster of all time is, of course, Godzilla. Commonly referred to as the 'King of the Monsters,' Godzilla made his debut in Ishirō Honda's 1954 film of the same name and quickly spawned one of the longest-running franchises in cinema history with a total of 28 installments. A classic in the 'Kaiju' subgenre, the massive beast initially personified the Japanese populace's fears of science and technology run amok as well as the destructive power of nuclear weapons, which was appropriate since Japan was still reeling from the effects of the atomic bomb nine years prior. Despite the widespread havoc the creature wrought on Tokyo, audiences sympathized with Godzilla as he was only acting out of self-preservation. In some bizarre way, Honda's film insinuated that Japan deserved this hell as the use of nuclear weapons had unbalanced nature.

Similarly, the 'mecha' or 'Kikaiju' subgenre was borne out of the Atomic Era with Mitsuteru Yokoyama's 1956 manga Tetsujin 28-Gō, whose literal translation is ironically 'Iron Man #28.' Almost sixty years later, mecha anime has become a ubiquitous part of Japanese pop culture from the billion-dollar "Gundam" franchise to the critically-acclaimed "Neon Genesis Evangelion" series. The appeal of mecha lies in their ability to transcend their own genre conventions and of course, it's just plain awesome to watch these metal monstrosities beat the living crap out of each other. What kid hasn't dreamed of piloting a Giant Death Robot? Now, Kaiju and Kikaiju are coming together this Friday to duke it out for the fate of the world in Guillermo del Toro's latest film, "Pacific Rim." Highly underrated, del Toro is one of my favorite directors and I love how he always exhibits a passionate, child-like glee toward his own work. This is one person who truly loves to make movies and share them with the world. A staggering visual feast for the eyes, "Pacific Rim" is nothing short of an orgasmic experience for everyone that grew up with "Power Rangers," "Ultraman," "Godzilla," and "Gundam," and stands tall as near-perfect summer entertainment.

In the not-too-distant future, a mysterious portal unexpectedly opens at the bottom of the Pacific Ocean and unleashes a wave of massive beasts known as Kaiju upon the world. The first of these 'trespassers' leveled San Francisco before it was brought down with a nuclear strike. As the frequency of Kaiju attacks increased, conventional weaponry quickly proved to be ineffective, forcing governments to put aside their petty differences and pool their resources on a new type of weapon: the Jaeger. A building-sized, mobile exoskeleton controlled by two-to-three pilots via a mind-meld dubbed the 'Neural Handshake,' the advent of the Jaegers finally gave humanity a fighting chance but the war continued to drag on. In 2020, Marshall Stacker Pentecost (Idris Elba) of the Pan Pacific Defense Corps sends Jaeger 'Gipsy Danger,' piloted by brothers Yancy (Diego Klattenhoff) and Raleigh Becket (Charlie Hunnam), to battle against a Category 3 Kaiju known as 'Knifehead.' However, Gipsy Danger is severely damaged during the fight, with Yancy torn from the Jaeger while still connected to his brother. Raleigh manages to barely survive but the loss of Yancy is too much to bear for him, and he subsequently goes into early retirement. Five years later, only a handful of Jaegers remain, with even fewer skilled pilots to control them. With humanity slowly losing the war against the Kaiju, Pentecost seeks out Raleigh and convinces him to return in a last-ditch attempt to save the planet. Paired with an ambitious rookie named Mako Mori (Rinko Kikuchi), Raleigh prepares to assault the breach with the last remaining Jaegers while scientists Hermann Gottlieb (Burn Gorman) and Newton Geiszler (Charlie Day) try to determine a weakness that they can exploit before the apocalypse is upon them.

Kaiju and Jaeger—these are the two words you see flash on screen in the very first frame in Guillermo del Toro's "Pacific Rim." Although it functions as a loving homage to every giant monster and robot movie that we all fell in love with as kids, the film doesn't make any overt references to them and feels original and yet instantly familiar. The mantra here is to 'keep it simple' and it is that simplicity, in both design and execution, that makes del Toro's latest one of the best summer blockbusters I've ever had the pleasure to see. Let us recall the original "Star Wars" from 1977. Pretty much everything you needed to know was presented in the opening crawl and concepts like 'the Force' was slowly introduced to the audience. For "Pacific Rim," as long as you understand what the two words shown in the beginning mean, you're all set.

With giant monsters dubbed Kaiju threatening the world, humanity is forced into an arms race and develops huge robots called Jaegers to combat them. So massive are these machines that the mental strain it takes to pilot them is too much for one person to handle. The workload is divided between two to three people, who sync up through a mind meld via a 'Neural Handshake' where every thought, emotion, and memory is shared in a space nicknamed 'the Drift.' This is a very clever concept because rather than having two individuals slowly build their trust over time, it forces them to literally take a leap of faith and open themselves up even though they're complete strangers to each other. What's really refreshing about the film is the way del Toro chooses to tell his story. With Hollywood so focused on building the next billion-dollar franchise, there's something decidedly old-fashioned in seeing a filmmaker pour everything he has into a tale that has a definitive beginning, middle, and end. Even its approach to heroism harkens back to a simpler time. Heroes today are often gripped with a sense of doubt and fear but in "Pacific Rim," the characters are proud to be heroes. In fact, they want to be heroes and it's this straightforward earnestness that makes the film such a success.

Del Toro's attention to detail, like the Troll Market in 2008's "Hellboy II: The Golden Army," continues to impress me. The world that we see in "Pacific Rim" is radically different from the one we know today as the sudden appearance of the Kaiju has changed the way people live their lives. Some, like Ron Perlman's Hannibal Chau, see it as opportunity. Chau runs a black-market operation out in Hong Kong where he salvages and sells Kaiju body parts as all-natural remedies. Others see the Kaiju as a sign of God's wrath while everyday folks like you and me just try to survive from day to day. Wherever you look, the world is reacting to the Kaiju threat and it grounds the film despite its outlandish elements. It also helps that the Jaegers are presented as finite; weapons need time to charge and ammo is often limited. Of course, many of you are waiting for me to talk about the action so let me put it to you this way. If one were to look up the definition of 'orgasm' in the dictionary, you would see a poster of "Pacific Rim." The action, and by extension the CG effects from Industrial Light and Magic, are earth-shatteringly beautiful and vividly captured with Guillermo Navarro's cinematography. It's almost like you're watching a dance as Jaeger metal clashes with Kaiju flesh. Seeing these two behemoths trade blows and smashing into buildings made me feel like a child again. Although post-converted, the 3D is actually quite good and is more focused on creating a sense of depth (similar to last year's "Prometheus") rather than having objects distractingly pop out at us. When someone is passionate about their work, you can tell, and del Toro is nothing without passion. It's evident in every frame that this is a labor of love for him and he's having a ton of fun making it. That is what sets "Pacific Rim" apart from Michael Bay's "Transformers" series. Bay's creations are cold and mechanical; del Toro's has heart and soul.

Their performances won't set the world on fire (Get the reference?) but the cast manages to put in some good work. Idris Elba just exudes cool in every scene and he's the type of guy you don't want to get angry but when things get rough, you'll want him at your side. Although Rinko Kikuchi (from 2006's "Babel") has some problems with enunciating some of her dialogue, she manages to lend Mako both a wide-eyed innocence and quiet determination. The hyperactive Charlie Day and the underrated Ron Perlman provide some excellent comic relief even when their characters are faced with a literal apocalypse. The weakest link is Charlie Hunnam, who looks like a cross between the late Heath Ledger and Garrett Hedlund from "Tron: Legacy." Granted, Raleigh is the most clichéd character with his maverick-like attitude but there's still a sincerity behind his performance that fits in with the tone that del Toro was going for.

To be released on July 12, 2013, "Pacific Rim" has received largely positive reviews with 84% on Rotten Tomatoes. Critics hailed it as 'a terrific modern creature feature [that's] bolstered by fantastical imagery and an irresistible sense of fun.' The bigger question is whether audiences will flock to the theater to see the film. I hope they do because it is a genuinely good film and will lend Guillermo del Toro the clout he needs to get all his numerous projects off the ground, like "Hellboy III"! Currently it's tracking for a soft opening at around $25 to $35 million, which is not that great since its production budget is $180 million. Still, even if American audiences spurn the film the Asian market should help it turn a profit. There was a lot riding on "Pacific Rim" and I'm glad to say that the film is an unqualified success. In just two hours, del Toro has crafted a universe that might very well become the next "Star Wars."

Final Rating: 4.5 out of 5

"Today, at the edge of our hope, at the end of our time, we have chosen not only to believe in ourselves, but in each other. Today, there is not a man or woman in here who will stand alone. Today, we face the monsters that are at our door, and bring the fight to them! Today, we are CANCELING THE APOCALYPSE!"

Make sure to stay during the end credits for a very funny scene!

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