The Lost Bladesman (關雲長) Review

Not Rated

Running Time: 1 Hour & 49 Minutes

Cast-

Donnie Yen-Guan Yun-Chang

Jiang Wen-Cao Cao

Betty Sun-Qi Lan

Alex Fong-Liu Bei

Wang Po-Chieh-Emperor Liu Xie of Han

Chin Siu-Ho-General Yan Liang

Shao Bing-Zhang Liao

Andy On-Kong Xiu

Nie Yuan-Han Fu

Yu Ailei-Bian Xi

Wang Xue-Bing as Wang Zhi

Calvin Li-Qin Qi

Zhou Bo-Pujing

Dong Yong-Xun You

Sang Ping-Xu Chu

Chen Hong-Lady Gan/Liu Bei's First Wife

Zhao Ke-Lady Mi/Liu Bei's Second Wife

Directed by Alan Mak and Felix Chong

Donnie Yen as the legendary historical figure Guan Yun-Chang in "The Lost Bladesman," which takes place some years before the Three Kingdoms era in China.

Note: In Mandarin with English subtitles.

If you're Chinese like me, you've often heard the phrase that 'China has 5000 years of history.' However, that statement is nothing more than a misnomer as the earliest ancient writings only date back to approximately 3300 years. One time period that has received considerable attention in folk stories, novels, films and even video games is the Three Kingdoms period, which lasted roughly sixty years from 220 AD to 280 AD. One of the bloodiest chapters in Chinese history, the Three Kingdoms era was part of a long period of disunity that began with the collapse of the Han dynasty and lasted for over 300 years, until 589 AD when the Sui dynasty briefly took control. Among the dynasties that formed during this turbulent era were three competing states: Cao Wei, Shu Han, and Eastern Wu, each led by an emperor claiming to be the legitimate successor of the Han dynasty. Hundreds of years later in the fourteenth century, author Luo Guan-Zhong released his historical novel Romance of the Three Kingdoms, one of the Four Great Classical Novels of Chinese Literature (a list that includes Journey to the West by Wu Cheng'en from the sixteenth century), which greatly romanticized the Three Kingdoms period by mixing facts with legend. Not only is it one of the most beloved works of literature in East Asia whose influence has been compared to that of Shakespeare, it is also the most widely read historical novel in late imperial and modern China. Romance of the Three Kingdoms has inspired numerous adaptations that include John Woo's "Red Cliff," which was released in two parts in 2008 and 2009 with a total running time of four hours and forty-eight minutes to a series of action video games titled "Dynasty Warriors," published by Tecmo Koei. The latest film to explore the Three Kingdoms period is Alan Mak and Felix Chong's "關雲長," known as "The Lost Bladesman" in North America and starring Donnie Yen, who is currently one of the most popular and highest paid actors in Asia. Despite Yen's star-power and his brilliant action choreography, "The Lost Bladesman" represents one of the actor's lesser efforts due to a plodding, emotionally hollow storyline whose nuance will be lost on those not familiar with Chinese history.

Beginning in medias res at the funeral of Guan Yun-Chang (Donnie Yen), the film flashbacks to twenty years ago to 200 AD during the Battle of Baima (the first of a series of battles that preceded the Three Kingdoms era), where Guan Yu was a prisoner of Cao Cao (Jiang Wen), a warlord and chancellor to Emperor Liu Xie (Wang Po-Chieh) of Han. In the name of peace, Guan Yu agrees to fight under Cao Cao's banner and leads thirty cavalry men against Yuan Shao's general, Yan Liang (Chin Siu-Ho), and kills him with his Guan Dao. For his decisive part in lifting the siege on Baima, Emperor Liu Xie grants Guan Yu the title of 'Marquis of Han Shou' and promotes him to the rank of lieutenant general. During this time, Liu Bei's (Alex Fong) family and his concubine/soon-to-be third wife Qi Lan (Betty Sun) were staying in Cao Cao's territory with Guan Yu. Cao Cao constantly presented Guan Yu with gifts in the hopes that he would remain by his side but the general refused to renounce his loyalty to Liu Bei, who is his sworn brother. Guan Yu negotiates the release of Liu Bei's family when he learns that the warlord had sought refuge under Yuan Shao. Qi Lan stays with Guan Yu (who is secretly in love with her) but upon receiving the whereabouts of Liu Bei from a messenger, he leaves the service of Cao Cao. The decision is strongly opposed by Cao Cao's advisors, who fear that by letting him go, Guan Yu would become a threat to their lord in the future. Despite their concerns, Cao Cao is adamant that no one is to stop him from leaving. However, the advisors secretly inform the six generals guarding the five passes to apprehend and slay Guan Yu, forcing the great warrior to shed more blood in order to protect Qi Lan.

A popular figure in Chinese folk religion, Guan Yu's true life stories have largely been replaced with heavily fictionalized ones, mostly found in Luo Guan-Zhong's Romance of the Three Kingdoms. Many Chinese shops and restaurants have a small shrine dedicated to Guan Yu as he is revered for his loyalty and righteousness. "Infernal Affairs" trilogy writers Alan Mak and Felix Chong adapts chapters 25 and 26 of Luo Guan-Zhong's historical novel in "The Lost Bladesman," where Guan Yu set out on his famous journey known as 'Crossing Five Passes and Slaying Six Generals.' Unfortunately, the restrictions of the source material lead to a hamstrung narrative that saps much of the drama in the film, making for an emotionally hollow experience. While the opening Battle of Baima is suitably exciting, that momentum isn't carried through and leads to a rather plodding first half as Cao Cao unsuccessfully tries to manipulate Guan Yu into fighting for his side. Numerous names are dropped by the characters but those unfamiliar with the Three Kingdoms period or Luo Guan-Zhong's novel will be left scratching their heads as to who they are and what role they play in the context of the film's story. The love triangle between Guan Yu, Liu Bei, and Qi Lan is also underdeveloped because Bei himself only makes a cursory appearance in a flashback scene. Guan Yu frequently refers to Liu Bei as his sworn brother but there is no attempt to provide any background on their relationship or explain why he is so fiercely loyal to him. Part of the problem is that the film assumes audiences will be familiar with the source material and while this may be true for viewers living in China, those in the U.S. won't be. The overall plot in "The Lost Bladesman" can still be followed but the deeper motivations of the characters, the 'why,' are sadly lost in translation.

Not helping matters is the fact that Guan Yu is a relatively bland character since the script makes him out to be this heroic figure that can do no wrong. If you're flawless, there's no drama. Thankfully, Jiang Wen's Cao Cao makes up for this issue. Presenting a friendly exterior, Cao Cao is extremely manipulative and employs unethical means to get what he wants, such as drugging Guan Yu's food with an aphrodisiac so that he will rape a paralyzed Qi Lan but the general manages to keep his composure through sheer force of will. However, Cao Cao is ironically a man of his word who orders his subordinates to let Guan Yu leave despite the threat he poses to them. Cao Cao is a pragmatist and therein lies the main theme of the film—idealism vs. pragmatism. Guan Yu is so bound by honor and duty that he is unable to do what it takes to reunite China while Cao Cao understands that it will take bloodshed to bring the other two factions under control. This is all well and good but "The Lost Bladesman" never gives you a reason to care about what's happening, leaving the action scenes to pick up the slack. As Yen serves as the film's action director, you can expect a number of rousing sword battles that get the blood pumping. The standout (and most ambitious) is during a horseback chase between Guan Yu and Andy On's Kong Xiu in a narrow, circular alleyway. The two end up engaging in a furious one-on-one battle that will leave action fans on the edge of their seats. There's also an extended sequence at a water mill that has Guan Yu taking on numerous opponents despite being poisoned. A major battle also takes place behind closed doors, which is a bold move but it ends with a wonderfully executed moment as a stoic Guan Yu slowly walks away from a pile of bodies. The second half definitely proves to be more exciting thanks to its heavy emphasis on action and elevates what would've been a mediocre film to a passable one.

Donnie Yen may be one of the highest paid actors in Asia but he gives a rather cold and emotionally distant performance as Guan Yu. His excellent action choreography makes up for his lack of nuance and limited emotional range. Jiang Wen fares better with his charismatic turn as Cao Cao but his dialogue is often reduced to waxing political treatises. Playing Guan Yu's love interest Qi Lan, Betty Sun unfortunately has little to do besides scream and bat her pretty eyes at Yen. The rest of the supporting cast are little more than cannon fodder under Guan Yu's Green Dragon Crescent Blade.

"The Lost Bladesman" was released on April 28, 2011 in China and Hong Kong but it wasn't until this year's New York Asian Film Festival that it was finally shown theatrically in North America. Reviews have been mixed with 57% on Rotten Tomatoes but the film managed to become a box office hit in China with a total gross of ¥158.5 million or $24.4 million. Audience response at NYAFF 2012 was largely enthusiastic and Donnie Yen himself even made a special guest appearance to talk about his role as Guan Yun-Chang. Surprisingly, he admitted that he wasn't all that familiar with the Three Kingdoms era before signing on and had to do some initial research. Yen also revealed that he ate five meals a day, putting on some extra body weight to portray the famous historical and legendary figure. Currently out on Blu-Ray in Hong Kong, "The Lost Bladesman" offers up some rousing action scenes but the script from Alan Mak and Felix Chong proves to be too obtuse for those unfamiliar with Luo Guan-Zhong's novel or the Three Kingdoms period in Chinese history. Nevertheless, it remains a passable film thanks to Donnie Yen's presence and his top-notch action choreography.

Final Rating: 3 out of 5

"As transient as dreams and shadows, as erratic as dew and lightning, such is life."

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Ice Age: Continental Drift 3D Review

Rated PG (Mild Rude Humor and Action/Peril)

Running Time: 1 Hour & 34 Minutes

Cast (voice)-

Ray Romano-Manny

John Leguizamo-Sid

Denis Leary-Diego

Dana Elaine Owens/Queen Latifah-Ellie

Keke Palmer-Peaches

Josh Gad-Louis

Wanda Sykes-Granny

Aubrey Drake Graham/Drake-Ethan

Onika Tanya Maraj/Nicki Minaj-Steffie

Heather Morris-Katie

Seann William Scott-Crash

Josh Peck-Eddie

Joy Behar-Eunice

Alan Tudyk-Milton

Peter Dinklage-Captain Gutt

Jennifer Lopez-Shira

Aziz Ansari-Squint

Nick Frost-Flynn

Rebel Wilson-Raz

Chris Wedge-Scrat

Patrick Stewart-Ariscratle

Directed by Steve Martino and Michael Thurmeier

Manny (Ray Romano), Sid (John Leguizamo), and Diego (Denis Leary) find themselves on the run from pirates in "Ice Age: Continental Drift."

Like Marvel and DC, the world of CG animation in Hollywood is dominated by two studios: Pixar and DreamWorks Animation. Of course, there are a number of smaller studios that also exist in the industry, one of which is Blue Sky, a subsidiary of 20th Century Fox. Founded in February 1987 by Chris Wedge, Carl Ludwig, and four others who had previously worked on Disney's groundbreaking "Tron," Blue Sky mainly concentrated on the production of television commercials and visual effects for film throughout the late 1980's and 1990's until they were acquired by Los Angeles-based VIFX in August 1997. Known collectively as Blue Sky | VIFX, the newly formed company contributed visual effects for a number of films such as 1997's "Alien Resurrection" and 1998's "Blade" but the f/x market crash led to VIFX being sold to Rhythm and Hues Studios in 1999. 20th Century Fox was considering selling Blue Sky as well until the studio got their hands on the script for a little film titled "Ice Age," courtesy of producer Lori Forte. Released on March 15, 2002, "Ice Age" received positive reviews from critics (77% on Rotten Tomatoes) and earned $383 million worldwide, over six times its production budget of $59 million. The film had the third best opening weekend debut behind Pixar's "Monsters Inc." and "Toy Story 2," establishing Blue Sky as the third studio to launch a successful CG animated franchise. However, Blue Sky has yet to achieve the critical acclaim of Pixar as none of its features have won an Academy Award and the studio has increasingly relied on the "Ice Age" series as its sole moneymaker. Personally, I've only seen the original and while it certainly paled in comparison to the works of Pixar and even DreamWorks Animation, the film benefitted from its likable characters (especially the acorn-obsessed squirrel Scrat) and strong voice acting. I skipped the sequels but 2006's "Ice Age: The Meltdown" and 2009's "Ice Age: Dawn of the Dinosaurs" earned big bucks at the box office despite mixed reviews with $655 and $887 million worldwide each, so the release of another sequel did not come as a total surprise. Although Blue Sky's CG visuals have improved by leaps and bounds, "Ice Age: Continental Drift" fails to break any new ground with its one-dimensional, formulaic script but there are enough solid laughs, combined with some enthusiastic voice acting, that prevents this sequel from completely sinking.  

The film is preceded by an amusing four-and-a-half minute short titled "The Simpsons: The Longest Daycare." Continuing his obsessive hunt for acorns, the squirrel known as Scrat (Chris Wedge) finds himself plummeting down to the Earth's core, where his manic attempts to escape causes the supercontinent Pangaea to break up into the continents we know today. Meanwhile, wooly mammoths Manny (Ray Romano) and his wife Ellie (Queen Latifah) are trying to manage their nineteen-year-old daughter Peaches (Keke Palmer), who has a crush on a popular mammoth named Ethan (Aubrey 'Drake' Graham). Unbeknownst to Peaches, her mole-hog best friend Louis (Josh Gad) also has feelings for her. Sid's (John Leguizamo) family of sloths arrive for an impromptu visit after abandoning him back in the first film but they quickly leave after dropping off his loud-mouthed, obnoxious grandmother (Wanda Sykes), who suffers from dementia and often speaks to an imaginary pet named Precious. Due to Scrat's actions, the break-up of the continent separates Manny from his wife and daughter. He ends up being swept away by a massive hurricane while trapped on a floating iceberg with Sid, his saber-tooth tiger friend Diego (Denis Leary), and Granny. A large moving landmass forces Ellie to lead the surviving herd of animals toward a land bridge, where she hopes to reunite with her husband. Lost at sea, Manny and his friends are captured by a pirate gang, led by a giant ape named Captain Gutt (Peter Dinklage). His second-in-command is the beautiful Shira (Jennifer Lopez), who Diego immediately becomes smitten with. Captain Gutt tries to persuade Manny to forsake his family life and join his crew but he refuses. The ape takes this as a personal insult and forces an oblivious Granny to walk the plank as punishment. However, Manny and Diego manage to save Sid's grandmother while also destroying Captain Gutt's ship in the process. The quartet continues on their odyssey toward home but not far behind is Captain Gutt and his vengeful crew. Together, they vow to take away everything Manny holds dear, starting with his family. 

The "Ice Age" films have held up surprisingly well since its debut ten years ago but it's clear that the series is fast running out of steam as "Ice Age: Continental Drift" offers more of the same, just with higher production values. Predictable and not to mention formulaic to a fault, the script from Michael Berg and Jason Fuchs is overstuffed with new characters to make up for the lack of new ideas and their inclusion seems to be little more than an excuse to have as many celebrity voices as possible. These characters are one-note, with only a few lines of dialogue and are utilized as little more than gags. Granted, the slapstick humor does provide some laughs even if the material stays firmly in the realm of a Saturday Morning Cartoon. However, it's telling when the four-and-a-half minute short that precedes the film proves to be funnier, showing that the "Ice Age" series is fast approaching its expiration date, although it's clear that Blue Sky has no intention of stopping at number four. The relaxed interplay between Manny, Sid, and Diego keeps the film moving at a comfortable pace but it is Granny who provides the most laughs as she has all the best lines and benefits from Wanda Sykes' hyperactive voice acting. The subplot involving Scrat, the series' breakout character, is hilarious and finds the squirrel searching for a legendary isle rumored to be full of acorns. There's also a memorable encounter with a group of Sirens and an island full of squeaking chipmunk-like creatures called hyraxes. Amusingly, Sid communicates with them by flailing around and speaking in nonsensical gibberish. While Manny and his friends struggle to get home, "Ice Age: Continental Drift" pads its running time with Ellie leading a herd of animals toward a land bridge but this parallel story feels tacked on with its half-baked themes of staying true to who you are and the importance of familial compromise. Despite the paper-thin plot, the film offers plenty of colorful action and set-pieces, including a fun song-and-dance number from Captain Gutt and his crew. 

It's impressive to see how much Blue Sky has improved with their use of CG animation, which is on par with the works of DreamWorks Animation but still a cut below Pixar. Although lacking the visual splendor of "Madagascar 3: Europe's Most Wanted," the characters still exhibit amazing detail, right down to their fur, and the water approaches photorealism. As for the 3D, it's certainly better than "Brave" but it does not add to the experience in any significant way. The brightness issue has largely been solved by this point and yet 3D films still struggle with creating a sense of depth even though it should be easier for a CG animated film. There's nothing inherently wrong with the 3D in "Ice Age: Continental Drift" but it’s ultimately a perfunctory extra that you can avoid. 

By far the strongest element in the film is the voice acting and it's obvious that everyone had fun judging from the end credits. Reprising the roles of Manny, Sid, and Diego are Ray Romano, John Leguizamo, and Denis Leary, who all turn in solid work but they are upstaged by Wanda Sykes and Peter Dinklage from HBO's "Game of Thrones." Dinklage's voice is virtually unrecognizable as Captain Gutt and his enthusiasm shines through in every scene he's in thanks to his lively performance while Sykes is her usual acerbic self as Sid's annoying grandmother. The voice cast includes a lot of celebrities but many of them, such as Aziz Ansari, Rebel Wilson, and Heather Morris, have only two or three lines of dialogue. Nicki Minaj and Drake are wasted despite their names being displayed so prominently on the poster. Jennifer Lopez fares the best as Diego's love interest Shira and represents one of her better roles, even if she is just providing her voice. The end credits have most of the cast singing We Are by Keke Palmer. 

"Ice Age: Continental Drift" was released on July 13, 2012 and has received mixed reviews with 45% on Rotten Tomatoes. Critics noted that it 'has moments of charm and witty slapstick, but it often seems content to recycle ideas from the previous films.' I saw the film at a morning screening last Saturday and the children in the audience definitely loved it so the fact that it has received a less than warm reception means little to its intended demographic. With a production budget that is significantly less compared to Pixar, the film should have no problem topping the weekend box office since it is the only major release. It has already earned $238 million internationally, making a fifth installment all but guaranteed. "Ice Age: Continental Drift" brings absolutely nothing new to the table but it remains a passable animated film thanks to some solid laughs and excellent voice acting. However, it would be wise for Blue Sky to diversify itself and not stick with one franchise as its sole bread-and-butter.

Final Rating: 3 out of 5

"My mother once told me that bad news was just good news in disguise."

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Katy Perry: Part of Me 3D Review

Rated PG (Some Suggestive Content, Language, Thematic Elements and Brief Smoking)

Running Time: 1 Hour & 37 Minutes

Cast-

Katy Perry

Russell Brand

Shannon Woodward

Glen Ballard

Adele Laurie Blue Adkins/Adele (cameo)

Robyn 'Rihanna' Fenty (cameo)

Stefani Joanne Angelina Germanotta/Lady Gaga (cameo)

Justin Bieber (cameo)

Jessica Cornish/Jessie J (cameo)

Keith Hudson

Mary Hudson

Angela Hudson

David Daniel Hudson

Directed by Dan Cutforth and Jane Lipsitz 

Katy Perry with her mascot, Kitty Purry, in her new documentary/concert film, "Katy Perry: Part of Me."

'Do you ever feel like a plastic bag / Drifting through the wind, wanting to start again? / Do you ever feel, feel so paper thin / Like a house of cards, one blow from caving in? / Do you ever feel already buried deep? / Six feet under screams, but no one seems to hear a thing / Do you know that there's still a chance for you / 'Cause there's a spark in you? / You just gotta ignite the light and let it shine / Just own the night like the Fourth of July / 'Cause baby, you're a firework / Come on, show 'em what you're worth / Make 'em go, oh, oh, oh / As you shoot across the sky-y-y…' This is an excerpt from Katy Perry's Firework, which was released as a single on October 26, 2010 by Capitol Records and went on to sell over 6.6 million copies worldwide. The first time I heard Katy Perry's music was during the trailer for 2009's "The Proposal," which featured her 2008 song Hot n Cold but at the time, I was unaware that the singer was Katy Perry. When it comes to pop music, I'm hopelessly out of the loop because honestly, it's not my cup of tea as I prefer the orchestral sounds of Hans Zimmer or John Williams. The only band that I actively listen to is Zooey Deschanel and M. Ward's She & Him, which leans more toward indie pop/folk music. Of course, I was aware of Katy Perry peripherally due to the whole "Sesame Street" scandal (which is a load of hooey by the way) and her much-publicized marriage to comedian Russell Brand but as for her music, I've only heard it in passing. Although I wasn't planning on seeing Perry's documentary/concert film "Katy Perry: Part of Me," its shockingly positive reviews convinced me otherwise. It may come off as a PR fluff piece at times but "Katy Perry: Part of Me" is a surprisingly enjoyable experience thanks to its bombastic 3D concert scenes and poignant look at a woman determined to put on the best show on earth while not shying away from the fact that fame is a double-edged sword.  

The film is preceded by a 3D sing-a-long to You're the One That I Want from 1978's "Grease," starring John Travolta and Olivia Newton-John. Shot during her year-long, 124 show California Dreams Tour in 2011, "Katy Perry: Part of Me" chronicles the meteoric rise of bubblegum pop singer Katy Perry (real name Katheryn Elizabeth Hudson) from a child growing up in a strict Pentecostal Christian household in Santa Barbara, California to becoming a seemingly overnight sensation with the release of her mainstream album debut One of the Boys in 2008 from Capitol Records. Interspersed with concert footage is a behind-the-scenes look at the logistics of handling such a tour that is so huge in scope, along with interviews with the professional team that works for Perry as well as her family and friends. Her marriage to comedian Russell Brand and the devastating effect their subsequent divorce had on her is also explored. 

Edward Douglas of ComingSoon.net writes in his review that 'it's with that cynical mentality I went into the highly-touted 3D concert doc Katy Perry: Part of Me, [where I was] prepared to be bombarded with all those songs I hated and have my feelings confirmed that there's nothing beyond Perry's shallow and superficial surface. Boy was I wrong.' This statement perfectly encapsulates my feelings about the film as what initially seems like a blatant cash-in to sell more albums is actually an informative and often dazzling look at how Katy Perry came to be what she is today. The girl who would go on to become the first woman in music history to have five number one singles, a feat that only Michael Jackson achieved, was born on October 25, 1984 in Santa Barbara, California to Mary and Keith Hudson, who were Pentecostal preachers who forbade their daughter from listening to 'secular music.' Her parents wouldn't even let their children (Perry has one older sister, Angela Hudson, and one younger brother, David Hudson) eat Lucky Charms cereal because they believed the concept of luck was the work of the Devil. Although frequently mistaken as an overnight sensation after her first single, I Kissed a Girl, became an instant hit when it was released on April 28, 2008, Perry had already been struggling in the music industry for quite some time since the age of seventeen when she heard Alanis Morissette sing Jagged Little Pill on VH1, which was her first exposure to mainstream music. Prior to that, Perry had a short-lived career as a gospel singer and even released an album titled Katy Hudson but it was a commercial flop, selling only 100 copies despite some positive reviews. During her time with Columbia Records, the record label tried to turn her into the next Avril Lavigne and there's a humorous scene in the film where she attempts to come off as angry while playfully throwing a stool. She was later paired with production team The Matrix as its female vocalist but the project fell through and Columbia ended up dropping her from their label. It wasn't until her publicist stole Perry's files from Columbia and brought her to the attention of Capitol Records that she finally achieved mainstream success and the film hammers home its themes of perseverance and self-confidence, of staying true to who you are. 

I was impressed to learn that Perry takes an active role in writing her own songs, a fact that many of her detractors ignore. "Katy Perry: Part of Me" is ultimately a rags-to-riches tale but even with all the interviews and fan testimonials that predictably talk up how great Perry is—there's a genuine sincerity to it because the film does not shy away from showing the singer at her most vulnerable. Perry describes her marriage to Russell Brand as something of a fairy tale but reality soon gives her a wake-up call when the comedian filed for divorce in December, 2011 while she was doing her California Dreams Tour. We see her sans make-up sobbing uncontrollably while her screaming fans in São Paulo, Brazil eagerly wait for her to appear. This is the moment where Perry earns my respect because even though her personal life is in shambles, she really does care about her fans and puts on a smile before finally emerging on-stage. The failure of her marriage is not for lack of trying as Perry is shown flying from one show and then back to the UK to spend time with Brand despite the toll it takes on her. Although he shows up in a couple of scenes, Brand is never painted as the 'bad-guy.' People may complain about her but underneath Perry's candy-coated exterior is a professional who takes her work and her fans seriously. The film candidly serves as a reminder that she is just a human being like us despite her worldwide fame. 

As for the concert aspect of the film, I came away both impressed and slightly disappointed as the songs are never played in its entirety due to being interspersed with interviews and behind-the-scenes footage. With its vibrant Candyland-like theme, the show is definitely well-put together and a feast for the eyes. Perry even goes through seven costume changes using some sleight of hand techniques while singing Hot n Cold. Most of her more popular songs such as the aforementioned I Kissed a Girl, Teenage Dream, Peacock, Last Friday Night (T.G.I.F.), California Gurls, and of course, Firework, make an appearance. In fact, the film really packs a lot of content despite its ninety-seven minute running time. I wonder if her fans notice how sexually suggestive some of her music is, although I admit that her lyrics are definitely catchy. The 3D is only used for the concert footage but it certainly adds to the immersive factor of the film. 

"Katy Perry: Part of Me" was released on June 5, 2012 to positive reviews with 75% on Rotten Tomatoes. Critics found that it 'succeeds on the strengths of the pop star's genuine likability, inspiring work ethic, and dazzling stage show, even if it plays somewhat like a PR puff piece at times.' However, if you look on IMDB, the film has an astonishingly low rating of 3.7. Pay absolutely no attention to this because I doubt any of the people who are rating it a one has even seen the film. Honestly, I do not understand what satisfaction they could derive from down-rating a film or vice versa. Despite an aggressive marketing campaign, "Katy Perry: Part of Me" flopped at the box office with an opening weekend debut of only $7.1 million and a four-day total of $11.2 million, less than 2009's "Jonas Brothers: The 3D Concert Experience," which is viewed as a notorious flop that received overwhelmingly negative reviews from critics. There were approximately fifteen people when I saw the film during a late afternoon screening, mostly comprised of women and teenage girls—plus a grand total of two men (including me) in the theater. While I won't be running out to buy all her music, I came away with a newfound respect for the pop singer after seeing "Katy Perry: Part of Me" and I will admit to being shot with an arrow of what fans call 'Katy Perry-ness.' Those who are already hardcore Katy Cats will love her even more after seeing this film but others who are simply curious will find it hard not to get swept up in her candy-coated world that involves being shot with whip cream from a bazooka.

Final Rating: 4 out of 5

"Thank you for believing in my weirdness!"

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Savages Review

Rated R (Strong Brutal and Grisly Violence, Some Graphic Sexuality, Nudity, Drug Use and Language Throughout)

Running Time: 2 Hours & 11 Minutes

Cast-

Blake Lively-Ophelia 'O' Sage

Aaron Taylor-Johnson-Ben

Taylor Kitsch-Chon

Salma Hayek-Elena Sánchez/Elena La Reina

Benicio del Toro-Miguel Arroyo/Lado

John Travolta-Dennis

Demián Bichir-Alex

Sandra Echeverría-Magda

Emile Hirsch-Spin

Joaquín Cosio-El Azul

Directed by Oliver Stone

Chon (Taylor Kitsch) and Ben (Aaron Taylor-Johnson) prepare to unleash their inner savage in Oliver Stone's latest film, "Savages."

Can an Academy Award-winning director lose his mojo? With a career spanning close to four decades, Oliver Stone's eclectic filmography has invited both critical acclaim and controversy. Graduating from film school at New York University in 1971 (under the mentorship of Martin Scorsese), Stone made his directorial debut in 1974 with surreal horror-thriller "Seizure" but success continued to elude him until 1979, when he won his first Academy Award for Best Adapted Screenplay for Alan Parker's "Midnight Express," based on Billy Hayes' 1977 novel which chronicled the author's five year imprisonment in Turkey for smuggling four pounds of hashish out of the country and his eventual escape. The 1980's proved to be a pivotal turning point for Stone as 1986's "Platoon," which explored the horror and meaninglessness of war in Vietnam, earned him another Academy Award, this time for Best Director. The next two years saw the release of "Wall Street," introducing audiences to Michael Douglas' Gordon Gecko (for which he won an Academy Award for Best Actor) and "Talk Radio," a drama that was partially inspired by the 1984 assassination of radio host Alan Berg. Stone won his third Academy Award for his 1989 adaptation of Ron Kovic's autobiography "Born on the Fourth of July" starring Tom Cruise. Despite the acclaim he has received over the years, Stone has made his fair share of duds but 2004 marked another turning point in his career with the release of "Alexander," a historical epic exploring the life and death of Macedonian conqueror Alexander the Great. The film ended up being a massive critical and commercial flop, grossing only $167 million worldwide (not enough to cover production and marketing costs) with a lowly 16% on Rotten Tomatoes. A three hour and thirty-four minute 'Final Cut' was released in 2007 on DVD/Blu-Ray but no amount of deletions or additions could fix the mess that was "Alexander." Since then, Stone's work has received a mixed reception at best, leaving critics and fans wondering if the director's best years were behind him. Does "Savages," based on Don Winslow's 2010 novel of the same name, mark a return to form for Stone? The answer is sadly no as "Savages" is a bloated, overlong film that suffers from lifeless characters, a needlessly convoluted plot that goes nowhere, and pointless scenes of graphic violence that contribute little except for shock value. Stone has clearly hit rock-bottom and while this isn't the worse flick I've seen this year, it's certainly the most boring. 

A young woman narrates: 'Just because I'm telling you this story doesn't mean that I'm alive at the end of it. It's that kind of a story, where things got so out of control...' The woman is named O, short for Ophelia (Blake Lively), who is in a ménage à trois relationship with two men, Ben (Aaron Taylor-Johnson) and Chon (Taylor Kitsch). A graduate of University of California, Berkeley with a degree in business and botany, Ben runs a lucrative marijuana empire in sunny Laguna Beach, California with his best friend Chon, a former U.S. Navy SEAL who serves as his enforcer, killing anyone that double-crosses them. Using a strain recovered by Chon during his tour of duty in Afghanistan, the marijuana that Ben grows has a THC (delta-9-tetrahydrocannabinol) content of 33%, making it extremely potent. Although sold to medical dispensaries, Ben and Chon make most of their money by illegally shipping the marijuana out of state. A pacifist who practices Buddhism, Ben has been seeking to get out of the drug business but matters soon take a turn for the worse. Interested in learning how they have cultivated such high-quality marijuana and seeking to expand their operation into California, the Mexican Baja Cartel, led by Elena Sánchez, a.k.a. 'Elena La Reina' (Salma Hayek), sends their lawyer, Alex (Demián Bichir), to negotiate a deal with Ben and Chon. After a short discussion with Chon, Ben decides to give away their whole operation to the cartel but reveals that they won't be joining them. Unwilling to take no for an answer, Elena sends her enforcer, Miguel Arroyo, a.k.a. 'Lado' (Benicio del Toro), to kidnap Ophelia in order to force Ben and Chon to comply with her demands. Faced with no choice, Ben and Chon do as Elena asks but secretly plan to turn the tables on her and rescue Ophelia. Meanwhile, a corrupt DEA agent named Dennis (John Travolta) uses the situation to his advantage by playing both sides against each other. "

Savages" is Oliver Stone's most mainstream film to date but it's also a career worst for the Academy Award-winning director. The first of many problems is the dull narration by Blake Lively's Ophelia that provides redundant exposition to what is already happening on-screen. It's liable to put you to sleep given how lifeless it is. In fact, the character of Ophelia is little more than a glorified MacGuffin. Second is the absolutely inane dialogue. During a furious sexual romp with Chon, Ophelia describes him as 'always trying to f*ck the war out of himself. I have orgasms; he has wargasms.' I do not know whether this is taken verbatim from Winslow's novel but I find it hard to believe that Stone would be the author of such garbage. Given that he wrote the screenplay for the atrocious "Aliens vs. Predator: Requiem" from 2007, I lay the blame on Shane Salerno. Finally, much of the suspense and tension is drained away due to the plodding nature of the film. Even though the running time is only two hours and eleven minutes, "Savages" feels bloated and drawn out with its thinly developed characters doing little to advance the story as they stand around scheming or making empty threats. The only time the film really comes alive is when Ben and Chon, wearing stylized Santa Muerte masks and aided by Chon's squad of ex-Navy SEALs, pull off daring heist where they steal $3 million right under Elena's nose from one of the cartel's stash houses in the middle of the desert. It's a stylishly edited sequence but it's just not enough to save the film. The script attempts to explore the hypocrisy that exists within human nature and how easy it is for people to give into their baser instincts but it lacks subtlety and ultimately devolves into a shallow, predictable tale of revenge and retribution. Themes of power and corruption play a role as well but all of this gets lost in a sea of graphic violence. At one point, a man suspected to be a mole within Elena's cartel is brutally whipped until one of his eyes is left dangling out of its socket and is subsequently burned alive but such scenes come off as gratuitous and serve no purpose other than to provide shock value. The ending will also leave audiences scratching their heads at what happened and comes off as a big 'screw you' from Stone in its attempt at misdirection. "Savages" could've been a great film but instead we're left with an empty, soulless affair that offers little in the way of actual substance. 

The film offers up a few memorable performances that keep it from fully sinking. The best of these is Salma Hayek, who chews up the scenery as the over-the-top leader of the Baja Cartel, Elena. However, her character's behavior is never consistent as she goes from making brutal threats to crying over her daughter, Magda (Sandra Echeverría) at the drop of a hat. Benicio del Toro also gives a similarly scenery-chewing performance as Elena's sadistic enforcer Lado but I could do without the constant mustache twirling. Making his first film appearance in two years, John Travolta is great as a fast-talking, corrupt DEA agent who only wants to survive and has no qualms about pitting those around him against each other. As for the leads, Aaron Taylor-Johnson and Taylor Kitsch are solid as two best friends caught in a desperate situation where they are forced to employ extreme methods in order to live. However, it's unlikely to recover Kitch's career given how badly "John Carter" and "Battleship" flopped. The worst performance comes from Blake Lively and it's not just her listless narration. I found myself unable to sympathize with Ophelia given how self-absorbed her character is. 

Released on July 6, 2012, "Savages" has received mixed reviews with 53% on Rotten Tomatoes. Critics found it ' undeniably messy, but [the film] finds Oliver Stone returning to dark, fearlessly lurid form.' Opening against "The Amazing Spider-Man" and "Katy Perry: Part of Me," Stone's film was never expected to do big business given its hard R-rating and debuted in fourth place with an unremarkable $16.2 million. The production budget was only $45 million but it'll likely struggle to make back that modest amount given the rough competition ahead and poor word-of-mouth. The audience I saw the film with was surprisingly quiet so it was somewhat hard to gauge their reaction but there were some exclamations of confusion during the ending. Oliver Stone has made quite a few masterpieces, which leaves me puzzled as to how a director of such high caliber would make a film as terrible as "Savages." Eric Eisenberg of CinemaBlend sums up the film perfectly: 'In the making of this movie Stone had his head completely on backwards and the result is an absolute mess that will not only lead you to leaving the theater disappointed, but possibly even furious.' I wouldn't say furious, more like sad at how low Stone's career has sunk to.

Final Rating: 2 out of 5

"I like talking to you, Ophelia, but let me remind you that if I had to, I wouldn't have a problem cutting both their throats."

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The Amazing Spider-Man - An IMAX 3D Experience Review

Rated PG-13 (Sequences of Action and Violence)

Running Time: 2 Hours & 16 Minutes

Cast-

Andrew Garfield-Peter Parker/Spider-Man

Emma Stone-Gwen Stacy

Rhys Ifans-Dr. Curtis 'Curt' Connors/The Lizard

Denis Leary-NYPD Captain George Stacy

Martin Sheen-Uncle Ben

Sally Field-Aunt May

Irrfan Khan-Dr. Rajit Ratha

Chris Zylka-Eugene 'Flash' Thompson

Campbell Scott-Richard Parker

Embeth Davidtz-Mary Parker

Michael Massee-Gustav Fiers/The Gentleman

Directed by Marc Webb

Marvel's iconic hero swings back into action once more in the reboot "The Amazing Spider-Man."

It's amazing (no pun intended!) how one bad apple can ruin the whole bunch. Trapped in development hell for close to twenty-five years, pre-production work finally began for the original "Spider-Man" in April 1999 when Columbia Pictures/Sony acquired the film rights to the Marvel character from MGM in a complex trade-off where Columbia agreed to relinquish its rights to create a competing 007 series if MGM gave up its claim to Spider-Man. Sam Raimi, who was primarily known for his horror-comedy trilogy "The Evil Dead," signed on as director in January 2000. A fan of the comics in his youth, Raimi's passion for the character earned him the job. Tobey Maguire was cast six months later in the iconic role thanks to his performance in 1999's "The Cider House Rules." Riding a wave of massive hype, "Spider-Man" was released on May 3, 2002 to critical acclaim (89% on Rotten Tomatoes) and massive box office success, grossing a gargantuan $822 million worldwide, which was unheard of at the time. "Spider-Man 2" arrived two years later in 2004 and received glowing praise (93% on Rotten Tomatoes), with many ranking it as one of the best comic book films of all time. Unfortunately, franchise fatigue set in when "Spider-Man 3" was released in 2007 and although its hype resulted in a then-record breaking $151 million opening weekend debut, the film was viewed as a disappointment from both critics and fans, with 63% on Rotten Tomatoes. Raimi was under pressure to top his own film but studio interference played a role as well as fan-favorite villain Venom was shoe-horned into the script in an already over-stuffed story. Despite the mixed reception, Raimi had every intention to make "Spider-Man 4" but after going through four script revisions, he (along with Maguire) withdrew from the film as the director felt that he could not meet its summer 2011 release date and maintain his creative integrity at the same time. In other words, he didn't want to do a half-assed sequel and while I was sad to see Raimi go, I understood his stance. Almost immediately, Columbia Pictures/Sony announced a reboot of the franchise for 2012 but the news was negatively received by fans, as it would've only been ten years since the release of the original film, which was still fresh in moviegoers' minds. Even I was skeptical of its 'gritty, contemporary' approach as it felt like the studio was courting the "Twilight" crowd. Having director Marc Webb (what an ironic last name) didn't inspire much confidence either. While I loved 2009's "(500) Days of Summer," Webb had absolutely no experience in directing a big-budget blockbuster. Fortunately, my doubts began to melt away as the more previews I saw, the more I came away impressed and it became clear that this wasn't just a cash-grab, but a serious attempt at re-interpreting a pop culture icon. "The Amazing Spider-Man" finally swings into theaters but does it do the character justice? Although it does not tread any significant new ground and will invite some feelings of déjà vu, "The Amazing Spider-Man" remains a triumphant return to form for the franchise as the film not only benefits from its impressive cast, especially Andrew Garfield, but also from Webb's perfect blend of drama and action. 

Four-year-old Peter Parker is enjoying a game of hide-and-seek when he discovers that his father's study has been broken into. A concerned Richard Parker (Campbell Scott) enters the study and quickly gathers up his documents. He and his wife Mary (Embeth Davidtz) take their son to the home of his Aunt May (Sally Field) and Uncle Ben (Martin Sheen). After a tearful good-bye, they leave but Richard promises Peter that he will be back soon. Years later, Peter Parker (Andrew Garfield) grows into an awkward teenager and attends Midtown Science High School, where he is often bullied by the more popular Eugene 'Flash' Thompson (Chris Zylka). Peter also has a secret crush on Gwen Stacy (Emma Stone), the daughter of NYPD Captain George Stacy (Denis Leary). While helping his uncle fix a flood in the basement, Peter finds a leather briefcase that belonged to his father. Inside he finds a folder containing his father's equations, which includes a mysterious 'decay rate algorithm,' and a picture of Richard with his colleague, Dr. Curtis 'Curt' Connors (Rhys Ifans). Connors is a biologist working on cross-species genetics at Oscorp, led by its mysterious CEO, Norman Osborn. Peter sneaks into Oscorp by posing as an intern and runs into Gwen, who is Connors' lab assistant. He follows a scientist named Dr. Rajit Ratha (Irrfan Khan) into a locked lab where hundreds of genetically modified spiders are spinning a super strong 'bio-cable.' A dozen spiders drop on Peter when he touches one of the strands but he brushes them off and leaves the lab. Unbeknownst to him, one of the spiders hid in the collar of his jacket and bites him on the neck. Peter begins developing strange spider-like abilities and uses them to get revenge on Flash. He also introduces himself to Connors as Richard Parker's son. Connors and Peter's father were working on cross-species genetics in order to find a way to regenerate his missing right arm but before a breakthrough could be made, Richard and Mary were killed in a mysterious plane crash. Peter gives Connors the decay rate algorithm and works with him to test the limb-regeneration serum. When he arrives home, Uncle Ben scolds Peter for neglecting to pick up Aunt May at the train station. A heated argument ensues and Peter storms out of the house, shattering the door's window. He witnesses a convenience store robbery but does nothing as the cashier had slighted him before. Uncle Ben, who had been out looking for Peter, tries to stop the thief and is shot dead. Overcome with grief, Peter adopts a masked identity to find his uncle's murderer. Meanwhile, Connors tests the limb-regeneration serum on himself and although it works, there is a side effect as he is transformed into an extremely powerful, superhuman hybrid of man and lizard. Now known as Spider-Man, Peter is forced to stop Connors as he tries to balance his personal and superhero lives. 

It's almost impossible to talk about "The Amazing Spider-Man" without mentioning Raimi's “Spider-Man" trilogy so let's get the comparisons out the way first. As much as I love the Raimi films (even the third one but to a lesser extent), I admit that there's a certain cheesiness to them, especially when viewed in the context of Christopher Nolan's "The Dark Knight." Raimi grew up with and was inspired by Stan Lee and Steve Ditko's stories from the 1960's, which is apparent in his choice of villains (Green Goblin, Dr. Octopus, and Sandman). In contrast, "The Amazing Spider-Man" uses Brian Michael Bendis and Mark Bagley's Ultimate Spider-Man as its point of reference. While not necessarily darker, the tone is definitely more mature and there's an emphasis on grounding the film in a sleeker, modern setting. Although it does not tread any significant new ground in its first hour, the difference in tone and the subtle changes in the origin story keep "The Amazing Spider-Man" emotionally engaging and owe much to Webb's skillful handling of the drama. Peter Parker is more angst-ridden with a bit of a snarky personality but deep down he's still just a timid nerd trying to find his place in the world. Having experienced so much tragedy, his initial exploits as Spider-Man are concerned with only finding his uncle's killer but he is soon led away from this path of vengeance toward a larger world of responsibility when he realizes what his uncle was trying to teach him. This is what the film really boils down to and it works because Peter is such a fully-realized individual. Webb and his writers (James Vanderbilt, Alvin Sargent, and Steve Kloves) understand that much of what defines Spider-Man as a character often revolves around death and they use this to create a roadmap of his journey from awkward nerd to vengeful vigilante to finally self-sacrificing hero. The romance element is also a lot stronger compared to the Raimi trilogy thanks to the likable chemistry between Andrew Garfield and Emma Stone. Their awkward yet flirtatious exchanges are amusing but I like the fact that Gwen Stacy isn't just some damsel-in-distress and proves herself to be every bit the intellectual equal to Peter Parker, whose aptitude in science is emphasized just as much as his combat prowess. Similar to "Batman Begins," you'll see Peter slowly develop his costume and more importantly, his trademark web-shooters. 

As great as the film is, it's not perfect and one of the problems is with the pacing. The first hour is slow as the origin story plays out but the second hour is where the bulk of the action takes place as it quickly segues from one set-piece to another, creating a film that is not as cohesive as it hopes to be pacing-wise. Another issue is that many of the plot lines introduced, such as the disappearance of Peter's parents, what his father was really working on, and Norman Osborn's connection to all this, are left deliberately unresolved so there's a lack of closure but I understand that Webb wants to create a series with an overarching story-line. It's just frustrating because we will have to potentially wait two to three years before a sequel is released, and one will be made. Finally, there's the choice of villain. I was excited to see the Lizard make his appearance on the big-screen but Curt Connors never comes across as particularly sympathetic, something that the Raimi films handled extremely well. Yes, Connors is first shown to be an optimistic scientist who wants to genuinely make the world a better place but once he becomes the Lizard, he devolves into another 'mad scientist' villain bent on executing a rather cartoonish plan—which is to turn everyone in New York City like him. In the comics, there was a tragic quality to Connors as he had a wife and son. Including them would've not only created a stronger sense of urgency in stopping him but also much better drama between him and Peter as one who has faced the death of a loved one now seeks to prevent that for another family. 

One of my biggest worries is how Webb would handle the action scenes due to his novice status but to my surprise, "The Amazing Spider-Man" has some of the best fight sequences in the franchise. Spider-Man has a greater sense of speed and agility as he pummels on the Lizard but with the exception of the climax, the battles are certainly smaller in scope. Many of them take place in enclosed locations such as an underground sewer or Peter's high school. I also appreciated Peter taking his superhero namesake to heart by creating a large web and waiting for his prey to approach. Humorously, he passes the time by playing a game on his cell phone, one of the ways in which technology and social media are incorporated into the film's tone. The CG is definitely an improvement but that's almost a given. There's a great sense of exhilaration as Spider-Man swings around New York City. However, as hyped up as the 3D was, I admit coming away disappointed. While it was filmed natively in 3D using the RED Epic Camera, Webb does not utilize the effect to his advantage. Many scenes come off as flat and when taking off the glasses, there's barely any blur, which means the image has no depth. The only instance where the 3D really comes alive is when Spider-Man is swinging through the city and shooting his web but beyond that, there's little here to justify the extra surcharge. Thankfully, the image remains bright despite the many nighttime scenes. All of the Marvel films have lacked a memorable music theme compared to Superman and Batman but while this isn't James Horner's best work, his score is more cinematic and rousing compared to Danny Elfman's. 

The performances in "The Amazing Spider-Man" are excellent and it is clear that Webb chose his actors and actresses well. I'm not going to debate whether Tobey Maguire or Andrew Garfield is better but Garfield really captures every nuance of Peter Parker from his feelings of abandonment to his snarky sense of humor while catching common crooks. His chemistry with his co-stars such as Denis Leary and Martin Sheen makes the film more engaging, whether it'd be a tense argument about Spider-Man's vigilante status or when Peter angrily blasts Uncle Ben for speaking of responsibility when his father abandoned his. The beautiful Emma Stone is great as Gwen Stacy, creating a much more rounded individual who is feisty, intelligent and not always in need to be rescued. Martin Sheen and Sally Field embody Uncle Ben and Aunt May very well but the latter is sadly pushed to the sidelines in the second hour. Rhys Ifans is fine as Curt Connors even if he comes across as a little cold and finally there's Denis Leary as NYPD Captain George Stacy, who makes the most of his role even if his screen-time is somewhat limited. 

"The Amazing Spider-Man" was released on July 3, 2012 and has received positive reviews with 72% on Rotten Tomatoes. Critics praised the film for its 'well-chosen cast and sure-handed direction [that] allows The Amazing Spider-Man to thrill despite revisiting many of the same plot points from 2002's Spider-Man.' I saw it at an advanced screening on Monday night and while the majority seemed to enjoy it, I overheard some people complain that it was a 'chick flick.' First off, there is nothing wrong with chick flicks and second, romance has always been a central ingredient in the soap opera of Spider-Man. If this person was turned off by the drama, perhaps he should've saw "Battleship." The film should do well at the box office given the enormous popularity of Spider-Man and has earned a record-breaking $35 million, surpassing Michael Bay's "Transformers" five years ago but the higher ticket prices for 3D and IMAX surely played a role. Columbia Pictures/Sony is estimating a conservative $110 to $120 million debut across its first six days but $150 million is reachable. However, given that "The Dark Knight Rises" is opening two weeks from now, Webb's film will likely tail off at $250 million domestically, which isn't bad for a reboot that many were skeptical about but international grosses should make up for marketing costs. The idea for a Spider-Man reboot may have been born from the mind of a greedy studio executive but "The Amazing Spider-Man" is anything but half-assed as it is obvious the film was made with a clear vision in mind. It is by no means perfect but I think even the most jaded comic book fan will come away impressed with what Webb accomplished.

Final Rating: 4 out of 5

"Your father lived by a simple philosophy. If you have the ability to do good things then you have a moral obligation to do those things. Not a choice—a responsibility.

Note: There is an extra scene during the end credits so do not leave the theater!

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Seeking a Friend for the End of the World Review

Rated R (Language including Sexual References, Some Drug Use and Brief Violence)

Running Time: 1 Hour & 41 Minutes

Cast-

Steve Carell-Dodge Peterson

Keira Knightley-Penelope 'Penny' Lockhart

Rob Corddry-Warren

Connie Britton-Diane

Patton Oswalt-Roache

Melanie Lynskey-Karen

Adam Brody-Owen

Derek Luke-Speck

Martin Sheen-Frank

William Petersen-Trucker

Bob Stephenson-Officer Wally Johnson

T.J. Miller-Chipper Host/Darcy

Gillian Jacobs-Waitress/Katie

Nancy Carell-Linda Peterson

Directed by Lorene Scafaria

It may be the end of the world but there's always time for one more road trip!

What would you do if you found out that the world was ending three weeks from now? Some people will spend their last moments with family and friends while others will just lose whatever self-control they have but for me, I honestly do not know how I would react to such news. The only way I can properly answer this question is when the end of the world is actually upon us. Last year Christian radio host Harold Camping of Family Radio falsely predicted that Judgment Day would occur on May 21, 2011. Numerous advertisements were plastered all over the subway but of course, nothing happened. Camping later revised his prediction, saying that May 21st was a 'spiritual day of judgment' and that the actual end of the world will take place on October 21, 2011. Once again, nothing happened and Camping became something of a laughingstock. What's worse is that there are people who actually believe him. Films dealing with apocalyptic, end-of-the-world scenarios are nothing new but there's been a renewed interest in them due to the hubbub surrounding the Mayan calendar where a cataclysmic event is supposed to take place on December 21, 2012. Director Roland Emmerich used this as inspiration for his 2009 effects-driven disaster flick "2012" but recent attempts at exploring the apocalypse has been focused on intimate character drama such as Lars von Trier's "Melancholia" from 2011 and Zal Batmanglij's "Sound of My Voice." Making her directorial debut is Lorene Scafaria with "Seeking a Friend for the End of the World," an apocalyptic comedy/drama starring Steve Carell and Keira Knightley. Despite its decidedly bleak premise, "Seeking a Friend for the End of the World" is a whimsical, funny, and often touching look at the human need to connect in the face of their inevitable doom. 

A news segment on the radio announces that the space shuttle Deliverance has failed in its mission of stopping a seventy-mile wide asteroid named Matilda from colliding with Earth and that the end of the world will occur in three weeks. Listening to the broadcast in their car is Dodge Peterson (Steve Carell) and his wife Linda (Nancy Carell), who promptly leaves her husband after hearing the shocking news. Unsure of how to cope with the impending apocalypse, Dodge continues his day-to-day routine of selling insurance. He visits his friends Warren (Rob Corddry) and his wife Diane (Connie Britton), who wants to set Dodge up with someone so that he wouldn't die alone. However, Warren couldn't care less and is spending his last days getting drunk and not giving a sh*t about anything. Later that night at a party, Dodge reunites with another friend named Roache (Patton Oswalt), who explains that he has slept with a different woman every night since the news made the announcement that the end is coming. Back at home, Dodge looks through his belongings and finds a picture of him and his ex-girlfriend Olivia, along with a harmonica. He begins playing but stops when he sees his neighbor, Penny Lockhart (Keira Knightley), sobbing uncontrollably. Inviting her in, Penny reveals that before she dies she would like to see her parents in the UK one last time but is unable to due to all flights being grounded. The next day, Penny gives Dodge three years of mail that had been delivered to the wrong person. Among them is a letter from Olivia, where she reveals that she recently went through a divorce and that Dodge has always been the love of her life. Dodge realizes that he must find her before the end comes and enlists the aid of Penny, telling her that he knows someone with a plane that can fly her back to the UK. They meet a number of quirky characters along their trip, all the while falling for each other despite the looming apocalypse. 

"Seeking a Friend for the End of the World" is essentially a road trip film and while there are some laughs to be had, there is a depressing vibe to the comedy given its premise. Scafaria does not trivialize the film's serious subject matter and provides a nice balance with its more lighthearted elements, humorously examining how various people would cope with the coming apocalypse. Some commit suicide or spend their last moments with friends and family members but others throw an end-of-the-world bash where everyone just doesn't give a damn anymore, throwing their morals/inhibitions out the window. Dodge's friend Warren tells his teenage son to go f*ck himself and gives vodka to all his children while heroin gets passed around to all the partygoers. The world is ending; might as well die while hopped up on drugs! Of course, what the film is really about is our innate fear of dying alone and the need to find someone, anyone, to spend time with when faced with an inevitable cataclysm. Despite the age difference between them, Steve Carell and Keira Knightley make for a convincing couple because the film takes its time building up their relationship in an organic way. Their characters are so different from each other but Dodge's introverted personality is perfectly complemented by Penny's flighty, overly emotional demeanor. How the film ends isn't a surprise (hint: it's not happy) so the main focus is the journey of how these two people who are polar opposites come to realize that they are soul-mates. During their road trip, Dodge and Penny meet a trucker who hires an assassin to kill him, a police officer in total denial of what is happening, and later they come upon a TGI Friday's-like restaurant called Friendsies where a happy birthday song suddenly descends into a full-blown orgy. Though episodic, these scenes are fun in a bleak way but it's really the drama that stands out, with Dodge reuniting with his father Frank (Martin Sheen), whom he hasn't spoken to for twenty-five years, and sharing a much needed cathartic moment with him. "Seeking a Friend for the End of the World" begins to lose steam toward the end but thankfully, it doesn't overstay its welcome more than it should. What began as a dark and cynical comedy evolves into an oddly bittersweet film despite its fatalistic premise. 

The performances are all uniformly excellent thanks to the emotional honesty behind them. Steve Carell isn't exactly doing anything new here as Dodge is similar to his roles in 2006's "Little Miss Sunshine" and 2007's "Dan in Real Life." It's the type of role he can play in his sleep but Carell manages to find the right amount of pathos to make you care about what his character is going through. Keira Knightley hasn't been in the spotlight since her appearance in the "Pirates of the Caribbean" trilogy but she's kept herself busy with a number of smaller productions such as 2010's "Never Let Me Go" and last year's "A Dangerous Method." Later this year, she will star in Joe Wright's "Anna Karenina," based upon Leo Tolstoy's 1877 novel of the same name. The actress has dabbled in comedy before (2002's "Bend It Like Beckham" and 2003's "Love Actually") but very rarely. Her filmography is largely dominated by period dramas. Knightley is appealing given her character's bubbly personality and although understated, there's a palpable chemistry between her and Carell that will allow audiences to believe that the two can be soul-mates. The rest of the cast only pop up for cameos but they make the most of their small roles, such as Rob Corddry's Warren with his 'don't give a sh*t' attitude to Patton Oswalt's hedonistic Roache. 

Released on June 22, 2012, "Seeking a Friend for the End of the World" has received mixed reviews with 51% on Rotten Tomatoes. Critics found it 'tender, charming, and well-acted, [but the film] is unfortunately hamstrung by jarring tonal shifts and a disappointing final act.' This is something I do not agree with as I felt Scafaria handled the tone perfectly fine and the ending was what I expected, unless the critics were expecting a more uplifting conclusion. Unfortunately, no one saw the film as it debuted in tenth place with a shockingly low $3.8 million, although the production budget was only $10 million so it's not a huge loss for Focus Features. Still, I find it puzzling that the studio would release an indie comedy/drama in the middle of summer. Given that "People Like Us" also flopped, it's clear that audiences are just not interested in watching characters facing an existential crisis and would rather go for whatever easily digestible product that Hollywood releases every week. "Seeking a Friend for the End of the World" makes for a successful debut for Lorene Scafaria and I look forward to seeing more of her work in the future. Funny, touching, and featuring two likable leads, this is the type of film that should be made more often so if you're turned off by the latest blockbuster, go see this one before it quickly disappears from theaters.

Final Rating: 4 out of 5

"I promise not to steal anything if you promise not to rape me."

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