The Twilight Saga: Breaking Dawn - Part 2 Review

Rated PG-13 (Sequences of Violence including Disturbing Images, Some Sensuality and Partial Nudity)

Running Time: 1 Hour & 55 Minutes

Cast-

Kristen Stewart-Isabella 'Bella' Swan

Robert Pattinson-Edward Cullen

Taylor Lautner-Jacob Black

Mackenzie Foy-Renesmee Cullen

Peter Facinelli-Dr. Carlisle Cullen

Elizabeth Reaser-Esme Cullen

Ashley Greene-Alice Cullen

Jackson Rathbone-Jasper Hale

Kellan Lutz-Emmett Cullen

Nikki Reed-Rosalie Hale

Billy Burke-Charlie Swan

Chaske Spencer-Sam Uley

Julia Jones-Leah Clearwater

Booboo Stewart-Seth Clearwater

Michael Sheen-Aro

Jamie Campbell Bower-Caius

Christopher Heyerdahl-Marcus

Daniel Cudmore-Felix

Charlie Bewley-Demetri

Dakota Fanning-Jane

Cameron Bright-Alec

MyAnna Buring-Tanya Denali

Casey LaBow-Kate Denali

Christian Camargo-Eleazar Denali

Mia Maestro-Carmen Denali

Maggie Grace-Irina Denali

Lee Pace-Garrett

Rami Malek-Benjamin

Omar Metwally-Amun

Andrea Gabriel-Kebi

Angela Sarafyan-Tia

Marlane Barnes-Maggie

Lisa Howard-Siobhan

Patrick Brennan-Liam

Judi Shekoni-Zafrina

Tracey Heggins-Senna

Noel Fisher-Vladimir

Guri Weinberg-Stefan

Amadou Ly-Henri

Janelle Froelich-Yvette

Directed by Bill Condon

Bella (Kristen Stewart) and Edward (Robert Pattinson) look for food in "The Twilight Saga: Breaking Dawn Part 2," arguably the best entry in the series.

When it comes to a blockbuster franchise like "Twilight," you either love the series with a fanatical zeal or hate it vehemently and frequently troll online message boards to voice your derision. Since its debut in 2005, Stephenie Meyer's novels have sold over 116 million copies worldwide as of October 2010 while the film adaptations grossed a gargantuan $2.5 billion at the box office. Reviews of the novels have always focused on its popularity among young female adults because let's be blunt here: no one will mistake this as literature. Critical reception of the films has ranged from terrible to mediocre; as for my own feelings, I found the 2008 original to be passable but the installments that followed were awful. However, I've always been fair in my assessment of each film. It's hard to believe that it's only been four years and already the series is coming to a close with "The Twilight Saga: Breaking Dawn Part 2." Taking a page from "Harry Potter and the Deathly Hallows," Summit Entertainment (now owned by LionsGate) chose to split the final book into two parts, allowing the studio to reap double the money. Last year's "Breaking Dawn Part 1" was a massive bore as director Bill Condon was forced to pack the film with numerous filler scenes in order to meet its two hour running time. I had little hope the conclusion would be any better but color me surprised, the second part is actually good. Of course, 'good' is a relative term here given how low the bar's been set. From a film criticism perspective, "The Twilight Saga: Breaking Dawn Part 2" is neither great nor good cinema but it delivers a rousing enough conclusion and is by far the strongest entry out of the entire franchise. Condon sure saved the best for last. 

Picking up immediately after the events of "Breaking Dawn Part 1," Isabella 'Bella' Swan (Kristen Stewart) has been brought back from the brink of death thanks to her husband, Edward Cullen (Robert Pattinson). Now a newborn vampire, Bella has little trouble controlling her thirst and is eager to see her daughter, Renesmee (Mackenzie Foy). Upon learning that Jacob Black (Taylor Lautner) had imprinted on Renesmee, Bella flies into a rage but calms down when Seth Clearwater (Booboo Stewart) intervenes. Settling into their new roles as parents, Bella and Edward are astonished at Renesmee's accelerated growth. In a matter of months, she physically matures to the appearance of a ten-year old girl. The Cullen's peace is threatened when Irina (Maggie Grace), of the Denali clan, sees Renesmee and mistakes her for an immortal child that Bella and Edward had created. She immediately informs the Volturi's leader, Aro (Michael Sheen), of the 'crime' that the Cullens had committed. As immortal children could not be controlled, the Volturi chose to purge them. The creation of such children was punishable by death. Foreseeing their arrival thanks to Alice's (Ashley Greene) talents, the Cullens begin to gather allies from around the world to convince the Volturi that Renesmee is not who they think she is. If need be, they would fight the Volturi to the death to protect her. 

From the synopsis alone, "Breaking Dawn Part 2" doesn't look especially exciting but its final half-hour delivers the necessary jolt that the series has been lacking for the past three installments. Right from the get-go, you can feel that there's something different about this film as we're treated to a stylish opening credits sequence. It then transitions to Bella awakening for the first time as a vampire and rushing out into the forest to test her new abilities. I've always found Bella to be a terrible character defined only by the men in her life and while I still view her wanting to be a vampire as selfish, it does allow her to finally evolve and not mope around. Bella's new lease on life (or un-life) gives her a sense of empowerment and she proudly proclaims that she 'was born to be a vampire.' Even Edward gets to smile more instead of looking constipated all the time! These films have always been silly fluff and Condon finally embraces the absurdity of it all (especially the costumes) but holds back just enough to not let it fall into a ridiculous self-parody. Many of the best scenes involve Bella's father Charlie (Billy Burke), which includes Jacob once again dropping his clothes, inspiring cheers from the audience. However, it still suffers from the same issues that plagued the previous entries, even if it is alleviated. The most serious offender is the dialogue; some of it is just cringe-inducing. The narration doesn't help either as it comes off as clumsy. Unlike the time-waster that was "Part 1," there's a sense of urgency as the Volturi makes their way toward Forks and as such, it moves at a nice clip and doesn't feel like two hours. Condon builds to a surprisingly engaging climax as the film breaks out with an impressive action scene between the Cullens (with their allies) and the Volturi. There's quite a lot of heads being ripped-off and it allows some of the minor characters who barely have any lines to shine. The way the battle is resolved might be viewed as a cop-out to some, even if it is unexpected. While the cinematography from Guillermo Navarro leads to some striking images, the visual effects remain problematic given the production budget and some of the wirework is too obvious. "Breaking Dawn Part 2" ends with a nice look back through the series, including an extended roll call of every cast member. It's a strangely dour send-off but Condon handles it well; it's just a shame that it took the last installment to show that "Twilight" could actually be good. 

There is some minor improvement with the performances. Kristen Stewart is more expressive now that she's a full vampire, playing a much more assertive and dare I say, ass-kicking Bella. Robert Pattinson and Taylor Lautner may not have much to do but it was a nice change to pace to see them get along instead of squabbling like hormone-addled teenagers. Lautner is still a terrible actor though; at least Pattinson tries. The rest of the supporting cast is mostly just set-dressing, with the exception of Michael Sheen as Volturi leader Aro. He knows what type of film he's in and goes way over-the-top with his goofy cackling. His every movement is exaggerated to theatrical proportions. Billy Burke is always enjoyable as Charlie and is the one thing that's been consistently good in the series. Dakota Fanning is unfortunately wasted as the sadistic Jane. 

To be released on November 16, 2012, "The Twilight Saga: Breaking Dawn Part 2" has surprisingly been receiving a positive reception and currently stands at 82% on Rotten Tomatoes. The first and the third installments are the best-reviewed with 49% each; I'm going to go out on a limb here and predict a final score in the lower-60s. The advance screening I attended yesterday leaned heavily female and they clearly enjoyed the film, with many cheering as each name popped up in the opening and end credits. For them, the experience was…orgasmic. It will rule the box office this weekend without any question, with some projecting a debut of at least a $140 million. Summit Entertainment is keen to start on spin-offs but it'd be better if the studio just let it end with some dignity as it would only be a blatant attempt to just milk the franchise. "Twilight" will never be viewed as a great series outside of its rabid fanbase but this final installment ends it on a classy note that lends it a sense of legitimacy, although it won't win any new converts. No matter your feelings about what Meyer has created, even the most jaded person will grudgingly admit that it wrapped up on a stronger foot than when it began.

Final Rating: 3.5 out of 5

"After eighteen years of being utterly ordinary, I finally found that I could shine."

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Taken 2 Review

Rated PG-13 (Intense Sequences of Violence and Action, and Some Sensuality)

Running Time: 1 Hour & 32 Minutes

Cast-

Liam Neeson-Bryan Mills

Famke Janssen-Lenore

Maggie Grace-Kim Mills

Rade Šerbedžija-Murad Krasniqi

Leland Orser-Sam

Jon Gries-Casey

D.B. Sweeney-Bernie

Luke Grimes-Jamie

Kevork Malikyan-Inspector Durmaz

Alain Figlarz-Suko

Directed by Olivier Megaton

You don't interrupt Liam Neeson when he's on the phone, or he will find you and kill you!

'I don't know who you are. I don't know what you want. If you are looking for ransom, I can tell you I don't have money. But what I do have are a very particular set of skills; skills I have acquired over a very long career. Skills that make me a nightmare for people like you. If you let my daughter go now, that'll be the end of it. I will not look for you, I will not pursue you. But if you don't, I will look for you, I will find you, and I will kill you.' At age 56 (now 60), who knew that Liam Neeson, an Academy Award-nominated actor, would have the chops to be a bona fide action star? Written and produced by Luc Besson, Pierre Morel's "Taken" was first released in France in February 2008 and didn't arrive in North American theaters until a year later in January, the month where movies go to die. However, the film proved to be a surprise hit despite mixed reviews (58% on Rotten Tomatoes) and racked up an impressive $226.8 million worldwide, almost ten times its $25 million production budget. It also marked a major turning point in Neeson's career, redefining the actor as a successful action star, which he's been keen to take advantage of by following up on his newfound status with films like "Unknown" and "The Grey." Money talks in Hollywood and seeing the potential for a new cash cow, 20th Century Fox announced a sequel in November 2010, once again with Besson writing the script with Robert Mark Kamen and churned out by his factory-like production company, EuropaCorp. While it's always nice to see Liam Neeson in badass mode, the lazily titled "Taken 2" is nothing more than a cynical cash-grab that is content with rehashing the original film. 

In Tropojë, the leader of the Albanian Mafia, Murad Krasniqi (Rade Šerbedžija), mourns the loss of his son Marko, who was electrocuted to death by former CIA agent Bryan Mills (Liam Neeson) while searching for his kidnapped daughter Kim (Maggie Grace) in Paris, France. The relatives of all the men Bryan killed gather with Murad, vowing to avenge the deaths of their loved ones. Back in Los Angeles, Bryan continues to keep a close eye on his daughter, who is currently late for her daily driving lesson. He learns from his ex-wife Lenore (Famke Janssen) that Kim is at her boyfriend's house and he easily tracks her down using the GPS device secretly installed on her phone. Kim is less-than thrilled of her father's still-overprotective behavior. The next day, Bryan visits Lenore again, only to find her in tears. Her husband Stuart had cancelled their trip to China over an argument and feeling sympathetic, Bryan suggests that she and Kim come join him in Istanbul, Turkey after he wraps up a high-paying security job. He initially believes that they had not taken up on his offer but is surprised to see that they had indeed flown out to see him. Meanwhile, Murad and his gang of thugs learn that Bryan is in Istanbul. While spending time with Lenore, Bryan senses danger and orders her to go back to his hotel room but both end up getting kidnapped. Enlisting the help of Kim, Bryan must once again put his skills to use and do what he does best—kill the men who are after him. 

The only reason that "Taken 2" exists is because the original was a box office success. As proof of its laziness, writers Luc Besson and Robert Mark Kamen simply took the script of the previous film and replaced Bryan's daughter with his wife. It's painful to see a respected actor like Liam Neeson sink to such lows and recite some of the worst dialogue in recent memory. Part of the problem is the fact that the film takes an inordinate amount of time to set everything up and by the time it's done, there's only thirty minutes left before the end credits. "Taken 2" simply begins and ends since the entire second act is virtually missing. Not doing the paper-thin story any favors is its complete absence of logic, where Bryan seemingly possesses some sort of Spider-Sense as he is able to locate Murad's men by memorizing the sounds of the route they took…while blind-folded. Making Bryan into a superhuman ex-spy undermines the suspense as it never feels like he or his family is in any danger. In the film's most ridiculous moment, he has his daughter throw hand grenades in order to determine his location by timing how long it takes for the sound to reach him. First off, no one's hearing is that good and second, you're throwing grenades out in the open and yet the good citizens of Istanbul are completely oblivious that a car just exploded. 

Replacing director Pierre Morel is Olivier Megaton (whose previous work was 2011's "Colombiana," which was just as terrible) and he continues to show his incompetence by turning the film's biggest selling point—the action—into a complete, indecipherable mess. The fight scenes are encumbered by shaky cam and choppy editing. Each shot lasts no more than a second and all you see is just a blur of fists coupled with some sound effects. There's also a complete lack of energy, as if Megaton was falling asleep at the wheel. A perfunctory car chase is thrown in but watching Bryan repeatedly shout at his daughter to drive faster is unintentionally hilarious. It ends with them crashing into the U.S. Embassy and apparently one call to the CIA makes it all better. Then again, destroying public property in foreign countries is what America is famous for. Due to the PG-13 rating, all the violence has been diluted. At times, it looks like Bryan is killing his opponents simply by raking his hand over their faces due to the poor angles chosen. The inept script would've been somewhat forgivable if Besson had kept Morel or hired someone who wasn't a hack but alas, he picked Megaton. You have to wonder if he was even thinking! 

Liam Neeson is a brilliant actor and seeing him in badass mode was one of the real treats in the original "Taken." However, he looks completely disinterested here as he goes through the motions and yet he remains watchable despite the train wreck he's in. The sequel does add a slight wrinkle by pairing Bryan with Kim as they escape from Murad's endless supply of mindless thugs and Maggie Grace handles the action well enough. The actress is clearly too old to be playing a teenager (she's now 29) so some of the story elements, such as her learning how to drive, don't entirely make sense (nothing does). Famke Janssen essentially replaces Grace's role in the previous film and is little more than a MacGuffin. Rade Šerbedžija is effective as the villain but his final confrontation with Bryan is a letdown. To stop Bryan, he sends an Albanian bruiser who wears a tacky track suit that does his pronounced beer gut no favors. Not exactly a smart move. 

Released on October 5, 2012, "Taken 2" has received largely negative reviews with 21% on Rotten Tomatoes. Critics found it 'bereft of the kinetic thrills—and surprises—that made the original a hit.' Of course, that didn't stop audiences from flocking to theaters, with the film earning $49.5 million during its opening weekend.  It has already grossed $348.3 million worldwide on an increased production budget of $45 million, all but assuring a "Taken 3" in the future, possibly even more. The people that enjoy this do not care for story or proper editing or all the other elements that make up a good film and are content with being fed sloppy seconds. Six weeks after release, it's still in the top five at the box office! I hate to do this to Liam Neeson but "Taken 2" is an awful mess, a soulless, derivative sequel that solely exists to take money from moviegoers who simply don't know any better.

Final Rating: 1.5 out of 5

Bryan Mills: If I kill you, your other sons will come and seek revenge?

Murad Krasniqi: They will...

Bryan Mills: And I will kill them too.

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Lincoln Review

Rated PG-13 (An Intense Scene of War Violence, Some Images of Carnage and Brief Strong Language)

Running Time: 2 Hours & 29 Minutes

Cast-

Daniel Day-Lewis-Abraham Lincoln

Sally Field-Mary Todd Lincoln

Joseph Gordon-Levitt-Robert Todd Lincoln

Gulliver McGrath-Tad Lincoln

David Strathairn-William Seward

Tommy Lee Jones-Thaddeus Stevens

Hal Holbrook-Francis Preston Blair

James Spader-William N. Bilbo

John Hawkes-Robert Latham

Tim Blake Nelson-Richard Schell

Bruce McGill-Edwin Stanton

Lee Pace-Fernando Wood

Peter McRobbie-George Pendleton

Michael Stuhlbarg-George Yeaman

Boris McGiver-Alexander Coffroth

Walton Goggins-Clay Hutchins

Jared Harris-General Ulysses S. Grant

Jackie Earle Haley-Alexander Stephens

Gregory Itzin-John A. Campbell

Gloria Reuben-Elizabeth Keckley

David Oyelowo-Corporal Ira Clark

Directed by Steven Spielberg

Daniel Day-Lewis delivers the year's best performance in Steven Spielberg's latest film, "Lincoln."

'A house divided against itself cannot stand.' Although these words were spoken by Abraham Lincoln 154 years ago in 1858, it remains surprisingly relevant today given the recent presidential election, which was marked by bitter attacks from both sides. It's ironic that director Steven Spielberg chose to release his biographical drama film "Lincoln" at such a polarizing time, and what's remarkable is that it shows how little our country's politics have changed in the last 150 years. Much has been already said about Lincoln, who has attained a near-mythological status, rising from relative obscurity through honest hard work to lead the United States through one of the bloodiest wars in history and end slavery at the same time. Despite the title, Spielberg's film does not focus on Lincoln's life but instead on a pivotal moment of his presidency: the passing of the Thirteenth Amendment and the end of the American Civil War. While it feels more suited as a stage play than as a film, "Lincoln" remains a compelling and poignant portrait of an American legend thanks to another superb performance from Daniel Day-Lewis. 

It is 1865 and the Civil War rages on in its fourth year with no end in sight. Visiting a Union Army camp, President Abraham Lincoln (Daniel Day-Lewis) listens to two African American soldiers recount a recent battle against the Confederates. The younger of the two soldiers expresses his desire to move up the ranks and maybe work for Lincoln himself one day, which makes Lincoln smile with pride. Two white soldiers, newly enlisted, approach Lincoln and proclaim their admiration of him by reciting the Gettysburg Address from memory. However, they become flustered and forget the last sentence, leaving the younger African American soldier to recite the final line. Returning to the White House, Lincoln begins to push for the ratification of the Thirteenth Amendment which will formally abolish slavery. To gather the necessary two-thirds majority in the House of Representatives, Secretary of State William Seward (David Strathairn) enlists the aid of three lobbyists, William N. Bilbo (James Spader), Robert Latham (John Hawkes), and Richard Schell (Tim Blake Nelson), to convince several Democrats to either switch or abstain their votes. As Seward works to get the Amendment passed, Lincoln faces trouble at home, with eldest son Robert (Joseph Gordon-Levitt) frustrated at his parent's refusal to let him join the Union Army and help in the war effort while First Lady Mary Todd (Sally Field) continues to mourn the death of their son Willie a few years earlier. The weary President finds solace in the arms of young Tad (Gulliver McGrath), who often runs amok in the White House dressed in the attire of a Union soldier. Meanwhile, the passage of the Thirteenth Amendment hits a snag when rumors of a peace delegation from the Confederacy reach the ears of Lincoln's Cabinet. Lincoln is faced with a difficult choice: save the lives of thousands of soldiers by ending the Civil War now or grant freedom to the millions of slaves living in the South by passing the Thirteenth Amendment first. 

"Lincoln" is an atypical biopic, focusing less on our nation's sixteenth President and more on the difficulty in getting the Thirteenth Amendment ratified. What's striking about Spielberg's film is that the politics of 1865 is no different from the politics of today, although Republicans were ironically seen as 'radical' with their anti-slavery views while Democrats quoted the Bible to justify their conservative values. Seeing the two factions bicker in the House of Representatives invites quite a few eerie comparisons to our time. At one point, New York Congressman Fernando Wood (Lee Pace) proclaims that 'Congress must never declare equal those whom GOD created unequal,' which recalls the current issue of same-sex marriage, with those who oppose it often citing religious reasons. Written by playwright Tony Kushner and based on Doris Kearns Goodwin's 2005 biography Team of Rivals: The Political Genius of Abraham Lincoln, the depiction of Lincoln himself leans toward the saintly kind as he moves about delivering humorous anecdotes, poking and prodding his men to do what is morally right. However, he's not exactly the 'Honest Abe' that we've read about in school as he is forced to resort to less-than savory means to get the Amendment passed. This means having his closest confidante, Secretary of State William Seward, employ three lobbyists to basically bribe (called 'patronage') twenty Democrats to either abstain from voting or switch sides. Lobbying hasn't changed much in modern times and continues to be a controversial practice, even if you're fighting for a good cause. This leads to a hilarious montage that includes one Democrat shooting at Spader's William N. Bilbo. In order to buy enough time, Lincoln even asks General Ulysses S. Grant (Jared Harris) to delay the Confederate peace delegation and lies to the Democrats that there is no such peace offer on the table. This in no way demonizes Lincoln but instead emphasizes the fact that he knew how to play the political game, which sometimes meant getting your hands dirty. As soft-spoken as he was, there was a fire within Lincoln and he wasn't afraid to show it, slamming his hand on the table during a powerful scene where he orders his Cabinet to stop squabbling and do what is necessary to get the Amendment through. The story's narrow focus lends "Lincoln" a stage-bound feel, with much the drama taking place behind closed doors yet it maintains a grasp on the cinematic thanks to Janusz Kamiński's cinematography, where sun rays pierce through the windows of the White House, inviting a rustic ambience that is occasionally interrupted by the horrors of war. Since this is a historical film, we already know that the Thirteenth Amendment did pass but Kushner and Spielberg still manage to create an atmosphere of suspense as the votes are slowly tallied up, juxtaposed with scenes of Lincoln quietly sitting in his office as his son Tad runs about. The film ends with his inevitable assassination and yes, we know its coming but it still hits you emotionally. 'Now he belongs to the ages,' a mournful Edwin Stanton (Bruce McGill) remarks. There are times when Spielberg indulges in moments of schmaltz but he treats Abraham Lincoln with the respect and reverence that he deserves, serving as a reminder of what democracy can accomplish when you have a leader who leads with words. 

Daniel Day-Lewis, what more can be said about him? No amount of praise can describe his portrayal of Abraham Lincoln, which ranks as the best performance of the year, no contest. Tall, lanky, his face wrinkled from the burdens of leading a fractured country, it's as if Lincoln himself was still alive. Lewis captures the humble and quiet dignity of the man but also his frustrations as he struggles to not only keep his troubled wife from falling apart but also his Cabinet. Sally Field is excellent as Lincoln's long-suffering wife, Mary Todd, while David Strathairn is the voice of reason as William Seward. Joseph Gordon-Levitt pops up briefly as eldest son Robert Todd Lincoln but his screen-time is too limited to make much of an impression. Tommy Lee Jones, the only actor able to hold the screen with Lewis, is enjoyable and at times hilarious as hardline Republican abolitionist Thaddeus Stevens, who is a force of nature in the House Chamber yet can be self-deprecating when he needs to be, such as mocking himself for wearing an obviously terrible wig. James Spader, John Hawkes, and Tim Blake Nelson make for a fun trio as three lobbyists working in secret to get the Thirteenth Amendment passed, offering a birds-eye view of the history being made before their eyes. A number of familiar faces such as Jared Harris, Jackie Earle Haley, Gregory Itzin, and Walton Goggins have minor supporting roles, adding to the already incredible talent on display. 

In limited release since November 9, 2012, "Lincoln" has received critical acclaim with 91% on Rotten Tomatoes. Critics hailed it as a 'witty, dignified portrait of [an] American icon that immerses the audience in its world and entertains even as it informs.' The audience greeted the film with applause at the advance screening this past Thursday, with many staying through the end credits to listen to John William's score. It may have only been shown in eleven theaters but "Lincoln" had an impressive per-theater average of $81,818 this past weekend, which suggests a healthy run at the box office. Its character-driven drama and stage-bound quality won't appeal to everyone but "Lincoln" is an excellent film in its own right thanks to the subtle gravitas Daniel Day-Lewis lends to this great historical figure. I bet Lincoln himself would be proud of Spielberg's film if he was still alive today.

Final Rating: 5 out of 5

"We are stepped out upon the world stage now, the fate of human dignity in our hands. Blood's been spilled to afford us this moment, NOW, NOW, NOW!"

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007 Skyfall Review

Rated PG-13 (Intense Violent Sequences Throughout, Some Sexuality, Language and Smoking)

Running Time: 2 Hours & 23 minutes

Cast-

Daniel Craig-007/James Bond

Javier Bardem-Raoul Silva

Naomie Harris-Eve

Judi Dench-M

Ralph Fiennes-Gareth Mallory

Ben Whishaw-Q

Albert Finney-Kincade

Bérénice Marlohe-Sévérine

Rory Kinnear-Bill Tanner

Ola Rapace-Patrice

Helen McCrory-Clair Dowar

Directed by Sam Mendes

Daniel Craig returns as James Bond after a four-year absence in Sam Mendes' "Skyfall."

Fifty years, twenty-three films—now that is impressive. To remain relevant in the public consciousness for this long is a testament to James Bond's enduring appeal, and his appeal is legendary: women want him and men want to be him. The action, the women, the gadgets; for half a century, Bond has been thrilling audiences all over the world and now he's back in "Skyfall" with Academy-Award winning director Sam Mendes at the helm. Mixed reception aside, 2002's "Die Another Day" was a dismal failure for Bond fans with its ridiculous plot and gadgets which included, of all things, a giant laser in space and an invisible car. Even Roger Moore thought it went too far, and this is the guy that made love in space ("Moonraker" anyone?)! The success of the "Bourne" films and "Batman Begins" convinced MGM and Eon Productions to reboot the Bond series, shedding over forty years of continuity and taking a 'back to basics' approach. Daniel Craig was chosen to play the titular character and when "Casino Royale" arrived in 2006, it reestablished Bond as a darker, more vulnerable character. This was James Bond before he became James Bond. The film was a critical and commercial success (95% on Rotten Tomatoes), with Craig being favorably compared to Sean Connery. Unfortunately, the follow-up, 2008's "Quantum of Solace," was viewed as a disappointment (64% on Rotten Tomatoes), although I see it as underrated. Due to MGM's financial troubles, it took four long years for Bond to return but the wait was worth it. Sleek, sexy, action-packed, and full of brilliant performances, not only does "Skyfall" rank as one of the best Bond films, it's also one of the best films of 2012. 

007 James Bond (Daniel Craig) and fellow MI6 agent Eve (Naomie Harris) are sent to Istanbul, Turkey to retrieve a hard drive containing the names of every NATO-allied spy currently in deep cover in various terrorist cells. Chasing a mercenary named Patrice (Ola Rapace) to a speeding train, Bond fights with him over the disk but is accidentally shot when M (Judi Dench) orders Eve to open fire. Bond is subsequently declared 'missing, presumed killed.' Three months later, M finds herself under political pressure to retire due to the mission's failure during a meeting with Gareth Mallory (Ralph Fiennes), the chairman of the Intelligence and Security Committee. On her way back from the meeting, MI6's computer system is hacked and an explosion occurs, leaving eight employees dead and many more wounded. Bond ends his self-imposed exile when he learns of the attack and returns to London. Despite not being physically or mentally ready, M sends Bond back into the field to apprehend the person responsible for the attack. Heading to Shanghai, China, Bond's search leads him to Raoul Silva (Javier Bardem), a sadistic cyber-terrorist who has ties to M's past and is now seeking revenge. 

"Skyfall" is a landmark Bond film, not just as a celebration of the series' 50th anniversary but also to finish what was begun in "Casino Royale": reestablishing the character within a modern context. As Bond himself says, this is a 'brave new world,' during his first meeting with the new Quartermaster (Q for short), played by Ben Whishaw. The central conflict isn't between him and Silva, it's against a more dangerous and cynical world that views spies as antiquated, a relic of a bygone era. With a rousing two-note introduction, an indistinct silhouette steps into view. The figure strides forward with confidence before revealing itself to be Bond, kicking off a thrilling action scene that ends with our hero being declared MIA and presumed killed. It serves as a reminder that despite his considerable skills and training, Bond is still flesh and blood. Following the terrorist attack on MI6, he resurfaces and is forced to go through a series of tests to see if he is physically and mentally fit for active duty but it soon dawns on Bond that he is not at his peak. His hand visibly shakes as he aims with his trademark Walther PPK. "Skyfall" puts Bond on a journey to prove not only his worth but his relevancy in an age of superheroes and gritty superspies like Jason Bourne, with Mendes taking all these familiar characters and evolving them to the next level. In this way, it feels like a truer reboot compared to "Casino Royale," which jettisoned the martinis and double entendres in order to differentiate itself. At the film's heart is the relationship between Bond and M. This is where Mendes takes the biggest risk by doling out bits of Bond's past and where he came from. Some may complain that it demystifies the character but this instead humanizes Bond, revealing that he was an actual person before he became a killing machine. He may openly flout her authority but M is the closest to being a mother figure for Bond and by extension, this makes her the ultimate Bond Girl. Raoul Silva even refers to M as 'Mommy' several times, and his relationship to M is a twisted variant of Bond's. There's an amazing scene that has undertones of Hannibal Lecter, where a captured Silva gleefully reminds M of her mistakes, taunting her to 'think on your sins,' almost like a child who is angry with his mother. This is someone who feels betrayed and abandoned, which makes Silva more of a tragic character than an out-right villain. Neal Purvis, Robert Wade, and John Logan's script is classic Bond through and through, adhering to the formula but daring to explore new avenues with its characters, something the franchise has always been afraid to do. Mendes transplants Bond into a world where the lines aren't as black and white as they once were and it's the reason why we need him now more than ever. 

"Skyfall" doesn't forget that it's an action film, shot with a steady hand thanks to the return of Alexander Witt as second-unit director. The set-pieces are paced organically with Mendes having a firm grasp of the surroundings he's working with, allowing him to fully take advantage of every location, be it the London Underground or the mansion in which the film's massive climax takes place. By the way, that is one big explosion that Chris Corbould, the special effects coordinator, set off at the end. Roger Deakins' gorgeous cinematography makes "Skyfall" one of the best looking films to date. Every scene is meticulously chosen and shot, creating dazzling visuals that include an aerial view of a neon-drenched Shanghai and a casino in Macau decorated with glowing lanterns in the shape of dragons. The highlight is when Bond pursues Patrice to a large skyscraper, culminating in a furious struggle that's drenched in shadow, with the only light coming from the burst of the mercenary's sniper rifle. Mendes replaces David Arnold with frequent collaborator Thomas Newman for the score. It's a somewhat jarring change but Newman eventually grows on you; he knows how to get the adrenaline pumping and I welcomed the use of the James Bond Theme, which Arnold avoided in the previous two entries except for the end credits. The opening number, also called Skyfall, is sung by Adele and has a decidedly old-fashioned tone and actually reveals the meaning behind the film's title if you listen to the lyrics closely. 

Despite the four year gap, Daniel Craig hasn't lost a step in his third outing as James Bond. This is Bond at the end of his rope and Craig appropriately brings a sense of weariness to the character, using his piercing blue eyes to reveal an emptiness that Bond futilely tries to fill with a steady stream of one-night stands and a repeated flirtation with death. However, the charming wit and confidence that embodies the character is more pronounced here, allowing Craig to enjoy himself with a ready quip while also smashing through walls as the 'blunt instrument' introduced in "Casino Royale." Almost stealing the film from Craig is Javier Bardem as Raoul Silva. With his bleached hair and accented, effeminate voice, Bardem straddles the line between intimidating menace and self-parody, delivering a theatrical and charismatic performance that recalls Heath Ledger's Joker from 2008's "The Dark Knight." He certainly makes quite an entrance with his monologue of rats eating other rats and quickly establishes himself as one of the most developed and memorable villains in the Bond franchise. Equally impressive is Judi Dench as M, who's often relegated to pre-mission briefings and exposition in the previous films but she plays a larger role here, fighting not only on behalf of Bond but also for the future of MI6. Her conviction comes through with an impassioned plea during an enquiry where she is to defend her actions and M does this by quoting Alfred Tennyson's 1833 poem Ulysses. It's a moving scene that's juxtaposed with Bond chasing Silva through the streets of London. Ralph Fiennes and Ben Wishaw also shine in their roles; I enjoyed the younger Q's penchant for dry humor as he tells a disappointed Bond that they don't do 'exploding pens' anymore (fans should immediately get the reference). Bond Girls have always been an essential ingredient in these films but the women here don't exactly interact with Bond in any meaningful way. Naomie Harris is fine but her screen-time is too limited to make much of an impression while Bérénice Marlohe's Sévérine is only used to move Bond from point A to point B in the story. Albert Finney also pops up as Kincade, a role that was originally written for Sean Connery as a nod to the 50th anniversary of the series. As fun as that would be, it would've been a little jarring seeing two Bonds interacting on-screen so I'm glad Mendes decided not to pursue this. 

"Skyfall" was released on November 9, 2012 to overwhelmingly positive reviews with 93% on Rotten Tomatoes. Critics hailed it as 'a smart, sexy, riveting action thriller that qualifies as one of the best 007 films to date.' It has already made a killing (no pun intended) overseas with $323 million and it's on track to become the highest grossing Bond film to date. Audience reaction was enthusiastic at the advance screening this past Wednesday. Thankfully, the noise level was kept to a minimum despite the amount of high school students in attendance (Do they even know of Bond's history in film?). "Skyfall" is an excellent Bond film, a triumphant return that celebrates the very best of its 50-year tenure. I will be looking forward to James Bond's return, even if it takes another four years.

Final Rating: 5 out of 5

"The two survivors. This is what she made us."

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Argo Review

Rated R (Language and Some Violent Images)

Running Time: 2 Hours

Cast-

Ben Affleck-Antonio 'Tony' Mendez

Bryan Cranston-Jack O'Donnell

Alan Arkin-Lester Siegel

John Goodman-John Chambers

Tate Donovan-Robert Anders

Clea DuVall-Cora Lijek

Christopher Denham-Mark Lijek

Kerry Bishé-Kathy Stafford

Scoot McNairy-Joe Stafford

Rory Cochrane-Henry Lee Schatz

Victor Garber-Ken Taylor

Page Leong-Pat Taylor

Kyle Chandler-Hamilton Jordan

Taylor Schilling-Christine Mendez

Bob Gunton-Cyrus Vance

Philip Baker Hall-Warren Christopher

Directed by Ben Affleck

Ben Affleck stars as CIA specialist Tony Mendez in "Argo," set during the Iranian Hostage Crisis.

Whenever a film is 'based on a true story,' it's almost always meaningless as its been widely altered to fit into a specific Hollywood formula, one that involves 'inspiring' the audience and feeding them a sappy, clichéd 'happy ending.' 2006's "The Pursuit of Happyness" tells the story of Chris Gardner (played by Will Smith), who toils for months at stock brokerage firm Dean Witter as an intern while struggling with homelessness with his little boy, Chris Jr. Although Gardner did in fact get a job at the firm through hard work, he was not exactly a great father figure and was even arrested at one point for domestic abuse. His son was also conceived when he was still married to another woman and Gardner even admitted to selling drugs and doing cocaine with his mistress. Of course, including those unsavory details wouldn't have left the audience with a smile on their face. The problem is that these films often fall outside the bounds of credibility. Not so with Ben Affleck's "Argo," a thriller that takes place during the tumultuous Iranian Hostage Crisis of 1979. After receiving critical acclaim with close friend Matt Damon in 1997's "Good Will Hunting," Affleck followed his success by starring in films directed by…Michael Bay. Not exactly a smart move and his career took a sizable hit when 2003's "Gigli" flopped at the box office. Considered to be one of the worst films ever made, the studio released a heavily revised version to capitalize on the romance between Affleck and Jennifer Lopez. 2007 marked a major turning point when he made a career comeback with his directorial debut "Gone Baby Gone." His third feature film, "Argo" crackles with energy and suspense thanks to Affleck's taut pacing and vivid attention to historical detail, with the last twenty minutes providing a truly heart-pounding conclusion. 

The year is 1979 and Iran is in a state of crisis, with Shah Mohammad Reza Pahlavi recently overthrown and replaced with Ayatollah Ruhollah Khomeini. Diagnosed with terminal cancer, the Shah is granted asylum in the United States and undergoes treatment, prompting a violent response in Iran as protestors storm the U.S. Embassy in Tehran on November 4. The employees scramble to shred all the classified documents they have on-hand while Consular Officer Robert Anders (Tate Donovan) convinces five others: Cora and Mark Lijek (Clea DuVall and Christopher Denham), Kathy and Joe Stafford (Kerry Bishé and Scoot McNairy), and Henry Lee Schatz (Rory Cochrane), to escape the embassy with him through a backdoor. The remaining 52 employees are held hostage by the Iranians while the six escapees are taken in by Canadian ambassador Ken Taylor (Victor Garber) and his wife Pat (Page Leong). The State Department consults with the CIA to explore options of exfiltrating the six but specialist Antonio 'Tony' Mendez (Ben Affleck) points out that all their proposals are terrible because they were designed for other regions or depend on seasonal cover stories. Mendez is unable to offer a suitable alternative until he receives a moment of inspiration while watching "Battle for the Planet of the Apes" with his son. Presenting his idea to his boss Jack O'Donnell (Bryan Cranston), he proposes a cover story where the six are Canadian filmmakers who are in Iran to scout for 'exotic,' Middle Eastern locations for a science fiction film. Enlisting the aid of famed Hollywood make-up artist John Chambers (John Goodman) and producer Lester Siegel (Alan Arkin), Mendez flies out to Tehran and puts his life on the line to rescue the six diplomats. 

Like any film based on a true story, "Argo" does take a few liberties for the sake of dramatic license but it still feels real and grounded. Affleck directs with confident precision, moving the film between moments of comedy and suspense with ease, his focus always on the rescue of the six 'houseguests' and the extreme danger that it entails. This doesn't leave much room for character development but there are a few scattered scenes that establish Mendez as a family man who's estranged from his wife and son due to his job. One element that stands out is the emphasis on historical accuracy and it goes beyond just the hair and clothes. Even the grainy film stock and the use of Saul Bass' Warner Brothers logo invoke a 1970's vibe. A brief prologue that cleverly mixes archival footage with animated storyboards quickly bring audiences up to the speed on the events that led to the hostage crisis and there's a certain eeriness in watching the Iranians storm the embassy because it's recreated so well, almost as if it were unfolding now. Affleck's verisimilitude extends to the various news broadcasts lifted from that era, where a young Walter Cronkite and Ted Koppel earned their stripes by reporting on the crisis every night from old-fashioned CRT television sets. Moving at a brisk pace, the middle act tracks Mendez's progress to establish the plan's credibility, with Affleck employing some black comedy that pokes fun at Hollywood's excesses. In order to not arouse any suspicion, the fake film had to be sold to the public as real, leading to a lavish event at the Hilton in which various actors dressed in garish costumes (including a Blue Chewbacca!) perform a reading of the script. Press releases, posters (dubbed with the cheesy tagline 'A Cosmic Conflagration'), and even storyboards were commissioned to make sure that nothing was left to chance. The inherent craziness of Mendez's plan is often humorously brought up by Chambers and Siegel even as six American lives hang in the balance. "Argo" is at its most suspenseful once it moves the action to Iran (actually Istanbul, Turkey), keeping audiences on their toes even though we already know how it all ends. The last twenty minutes literally left me at the edge of my seat with my heart pounding in my chest as Mendez leads the group through each checkpoint at the airport, the danger of whether they'll be caught almost unbearable. When a film immerses you this much, you know it's good and the technical craft that Affleck displays make "Argo" one of this year's best. 

The cast is a mixture of recognizable and not-so-recognizable faces but every one of them brings their A-game, no matter how small a role they have. In addition to directing, Affleck portrays Tony Mendez in a performance that might come across as dull at first glance but the reserved manner of the character works to his advantage because this is a person who has to keep his cool in situations like this. His reunion with his wife is tacked on but I understand the need for emotional closure. Much of the drama is derived from the six diplomats, played by Tate Donovan, Clea DuVall, Christopher Denham, Kerry Bishé, Scoot McNairy, and Rory Cochrane. The fear and doubt etched on their faces is palpable, with McNairy being the standout as he voices his lack of faith in Mendez's plan and almost derails it when he refuses to participate. Bryan Cranston has a minor role but lends a sense of gravitas despite spending much of the film behind a desk or on the phone. Providing some much-needed levity is John Goodman and the ever-dependable Alan Arkin, who's 'Argo f*ck yourself' line drew laughs from the audience. Rounding out this dynamic cast is Victor Garber as Canadian ambassador Ken Taylor, although the Canadians' involvement in the rescue is somewhat marginalized. 

"Argo" was released on October 12, 2012 to rave reviews with 95% on Rotten Tomatoes. Critics hailed it as 'tense, exciting, and often darkly comic, [the film] recreates a historical event with vivid attention to detail and finely wrought characters.' It was not able to unseat "Taken 2" from the top spot during its opening weekend but the positive word-of-mouth propelled "Argo" from second to first place in its third week of release. With a modest production budget of $44.5 million, it has already grossed $89.2 million worldwide and is even generating some Oscar buzz. With a distinct lack of shootouts and explosions, "Argo" is an atypical thriller fine-tuned to perfection. Not only is it entertaining, it also presents an important moment in history that should not be forgotten given the volatile world we live in today.

Final Rating: 4.5 out of 5

"This is the best bad idea we have, sir, by far."

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Silent Hill: Revelation 3D Review

Rated R (Violence and Disturbing Images, Some Language and Brief Nudity)

Running Time: 1 Hour & 34 Minutes

Cast-

Adelaide Clemens-Heather Mason/Sharon Da Silva/Dark Alessa

Kit Harington-Vincent Cooper

Sean Bean-Harry Mason/Christopher Da Silva

Carrie-Anne Moss-Claudia Wolf

Malcolm McDowell-Leonard Wolf

Martin Donovan-Douglas Cartland

Deborah Kara Unger-Dahlia Gillespie

Radha Mitchell-Rose Da Silva

Erin Pitt-Young Sharon Da Silva/Alessa Gillespie

Heather Marks-Suki

Peter Outerbridge-Travis Grady

Roberto Campanella-Pyramid Head

Directed by Michael J. Bassett

Not even Adelaide Clemens' cute looks can save the mess that is "Silent Hill: Revelation."

You should always strike while the iron is hot when it comes to sequels. Although largely panned by critics when it was released in 2006, Christophe Gans' "Silent Hill," based on the survival horror series of the same name published by Konami, is one of the few film adaptations of a video game that's actually good thanks to its macabre visuals and atmosphere. However, that's not exactly high praise given how low the bar is set for such films. A sequel was always intended but production stalled when Gans suddenly pulled out in order to focus on his own projects and writer Roger Avary was sent to jail for vehicular manslaughter. "Solomon Kane" director Michael J. Bassett was eventually chosen to replace Gans and Avary. Six years later, "Silent Hill: Revelation" finally arrives in theaters with little to no fanfare. Such a gap is an eternity for the horror genre since audiences aren't known to have the longest of attention spans. Given how faithful the original film was to the source material, I was genuinely excited to see this long-belated sequel and Bassett's enthusiasm at New York Comic Con seemed to promise a worthy follow-up. How wrong I was. Bassett manages to create some creepy and bizarre visuals despite the reduced production budget but "Silent Hill: Revelation" is ultimately a disappointing sequel, undone by its weak characters and sloppy storytelling. 

Nine years ago, Rose Da Silva (Radha Mitchell) took her adopted daughter Sharon (Erin Pitt) to Silent Hill but the two became trapped in the fog-shrouded, reality-shifting ghost town after defeating the religiously fanatical cult that resides there. She manages to contact her husband Christopher (Sean Bean) through a mirror and sends Sharon back to the real world using a special amulet known as the Seal of Metatron. Led by Claudia Wolf (Carrie-Anne Moss), the Order of Valtiel sends its members to find and bring Sharon back to Silent Hill, forcing Christopher and his daughter (who has no memory of the town) to adopt new aliases and go on the run. An eighteen-year-old Sharon, now known as Heather Mason (Adelaide Clemens), suffers from reoccurring nightmares where she is burned alive by Dark Alessa. Her father, going under the name of Harry, reassures her that they are just dreams that will pass in time and reminds her to be careful when she leaves for school. During class, she meets fellow new student Vincent Cooper (Kit Harington), who is immediately smitten with her despite her insistence that she is not interested in making new friends due to being constantly on the move. After school, Heather runs into a private investigator named Douglas Cartland (Martin Donovan), who warns her that the cult knows where she is because he told them. She rushes home to find the house ransacked, her father missing, and a bloody message telling her to come to Silent Hill. Enlisting Vincent's aid, Heather returns to the damned ghost town not just to save her father, but herself as well. 

For some strange reason, horror films love to use the subtitle "Revelation," even when said film doesn't actually have anything to reveal. "Silent Hill: Revelation" is a loose adaptation of Konami's Silent Hill 3, with several details from the game altered to fit into the continuity of the previous film. Unfortunately, the numerous retcons enacted by writer/director Michael J. Bassett results in a completely nonsensical story chock full of plot holes. Apparently, anyone can just up and leave Silent Hill, which begs the question: why doesn't the cult just leave instead of having their ranks slowly thinned out by the town's hellish denizens. Much of the dialogue is meaningless, consisting of long scenes of exposition explaining the purposes of the Seal of Metatron and the Order of Valtiel, which will leave audiences unfamiliar with the games baffled. Bassett believes that by throwing as many references to the games as much as possible, he's being faithful to the source material but Silent Hill has always been about characters confronting their own sins. However, the characters in the film lack any sort of personality and it soon descends into a melodramatic soap opera once Vincent declares that he loves Heather, even though they've only known each other for a day. While there are some interesting visuals, the reduced production budget clearly shows as much of what happens in the film takes place in cramped corridors with minimal lighting. The monsters that the games are famous for are reverently recreated but they appear only to provide some cheap thrills rather than serve as symbols of a guilty conscious. Gans' expertly crafted atmosphere from the original film is entirely absent here, although there are some memorable moments such as a disturbing hallucination of children feasting on flesh and a deadly confrontation with a group of Nurses, who moan in a sexual manner as they slash at their victims. "Silent Hill" ended in a fountain of blood and barbed wire; "Revelation" ends with a lame battle between Pyramid Head and a "Hellraiser"-reject known as the Missionary. At every turn, "Silent Hill: Revelation" fails to muster up any excitement or scares and it's a damn shame because Bassett clearly knows what makes a creepy visual. With a bigger budget and an extensive script polish, it could've been at least enjoyable but instead it's just another bad adaptation of a beloved video game. As for the 3D, it's competent if gimmicky—with severed fingers flying at the screen but the effect is at its best when Heather encounters a spider-like entity known as the Mannequin, the only CG monster in the film. Despite shooting in native 3D using the RED Epic camera, dialogue scenes are essentially 2D yet the environments has enough depth to them so that the effect doesn't feel wasted. Whichever version you choose, it won't exactly make or break the experience but I'd suggest avoiding the film altogether. 

The performances fail to engage and can be shockingly bad at times. Adelaide Clemens (who is a dead ringer for Michelle Williams) fares the best as Heather Mason, even if her character tends to devolve into a screaming mess. Sean Bean is likable while Kit Harington looks completely disinterested. Why he even bothered to sign on even though he stars in a critically-acclaimed television series is head-scratching. Carrie-Ann Moss and Malcolm McDowell are just god-awful, more laughable than intimidating. Old faces like Radha Mitchell and Deborah Kara Unger also pop up in what amounts to glorified cameos, adding little to what is already a terrible film. 

Released on October 26, 2012, "Silent Hill: Revelation" has received overwhelmingly negative reviews with a 5% on Rotten Tomatoes. Critics derided the film as 'a mediocre effort even by the standards of video game adaptations.' Given the decreased relevancy of the games, "Revelation" flopped at the box office, debuting in fifth place with $8 million and effectively killing off any chance of a third "Silent Hill" film. Christophe Gans' adaptation wasn't remarkable from a film perspective but it served as proof that you can make a good film from a video game. "Silent Hill: Revelation" destroys all that goodwill and is a mess from start to finish. Great films can be made from comic books but video games are still treated like second-class citizens thanks to schlock like this.

Final Rating: 2 out of 5

"You should never have come back because now you have given the order that they could never have. Are we to destroy Alessa and you?"

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Silent Hill Blu-Ray Review

Rated R (Strong Horror Violence and Gore, Disturbing Images, and Some Language)

Running Time: 2 Hours and 5 Minutes

Cast-

Radha Mitchell-Rose Da Silva

Sean Bean-Christopher Da Silva

Jodelle Ferland-Sharon Da Silva\Alessa Gillespie\Dark Alessa

Laurie Holden-Cybil Bennett

Kim Coates-Officer Thomas Gucci

Deborah Kara Unger-Dahlia Gillespie

Alice Krige-Christabella

Tanya Allen-Anna

Roberto Campanella-Pyramid Head/Janitor/Colin

Directed by Christophe Gans

How come demons always turn out to be children?

Looking at Rotten Tomatoes, the highest-rated film adaptation based on a video game is 2001's "Final Fantasy: The Spirits Within" with 44%, followed by 2010's "Prince of Persia: The Sands of Time" with 35%. The latter was one of the biggest box office flops of the year as Disney assumed the brand-name alone would be enough to carry the film to success. Unfortunately, this was not the case and it barely made back its massive $200 million production budget (not including the substantial marketing costs) with $335 million worldwide, dashing the studio's hopes for another lucrative franchise. Video games is without question an art form but it's hard not to become jaded when you see one film adaptation after another fail due to some meddling studio executive or the source material being lost in translation. Racking up $893.5 million worldwide across five films, only the "Resident Evil" series can be called a success, although each installment resembles less and less to the video games it's inspired from. For me, the 'best' film adaptation of a video game is 2006's "Silent Hill." Developed and published by Konami, the original "Silent Hill" made its debut on the PlayStation in 1999 and was a pioneer in the survival horror genre. Sadly, I haven't played it since it was never released on PC (the later installments were). Emphasizing atmosphere over blood and gore, the game achieved critical acclaim, selling over two million copies but the franchise's glory days are long over as players eventually tired of the limited resources and cumbersome controls. The last two "Silent Hill" games, "Homecoming" and "Downpour," received middling reviews. What about the film adaptation? Directed by Christophe Gans, "Silent Hill" successfully transplants the game's disturbing visuals and atmosphere to film but stumbles with its clunky plot and overlong running time. 

Nine-year-old Sharon Da Silva (Jodelle Ferland) suffers from erratic sleepwalking episodes that leave her screaming the name Silent Hill whenever she wakes up. Against the wishes of her husband Christopher (Sean Bean), Rose (Radha Mitchell) decides to take her adopted daughter to the eponymous West Virginia ghost town in a desperate search for answers. While stopping to refill for gas, Rose draws the attention of Cybil Bennett (Laurie Holden), prompting the suspicious police officer to write down her license plate number. Rose is ordered to pull over by Bennett at the turnoff to Silent Hill but she makes a break for it instead. A child suddenly appears, causing Rose to swerve off the road and crash. Knocked unconscious, she wakes up hours later to find the car door open and Sharon missing. Searching for her daughter through the empty streets, Rose discovers Silent Hill blanketed by an ominous fog while ash falls from the sky like snowflakes. She later runs into Bennett, whose bike had crashed while in pursuit of her. Ignoring her pleas for help, Bennett places Rose under arrest but the two are forced to battle for their very survival when the town's shifting realities and hellish denizens places them in danger. 

"Silent Hill" is one spectacular-looking film and Christophe Gans' reverence for the games is evident in every frame. The amount of detail that went into the production design of the town is impressive, with many of the locales lifted straight from the source material itself. Dark and atmospheric, one of the highlights is when it transitions to the 'Otherworld,' where the dilapidated walls and floor flake off to reveal the rusted, bloodstained surface underneath. The many ghoulish monsters from the games are faithfully recreated, including the iconic 'Pyramid Head' and the knife-wielding, scantily-clad Nurses. I also appreciated the fact that the monsters were portrayed by real actors and made extensive use of prosthetics, with CG only used in post-production. This gives them a more tangible quality that just wouldn't be possible if it was rendered on a computer. Some of the fog effects aren't quite as seamless but Gans went above and beyond in ensuring that the look and feel of the games was faithfully recreated on-screen, even using Akira Yamaoka's score from the first four games (arranged by Jeff Danna) to add to the ambience. However, visuals and atmosphere can only carry a film so far and where it really counts is the story and characters. This is where many video game adaptations fail but "Silent Hill" manages to succeed despite the inane dialogue and superfluous subplots. Written by Roger Avary (who received an Academy Award for Best Original Screenplay with Quentin Tarantino for 1994's "Pulp Fiction"), the plot is basically a haunted house tale but instead of a house, it's the entire town that is haunted. Although it contains elements of Silent Hill 2 to 4: The Room, it is largely based on the first game but switches the protagonist from male to female to create a stronger sense of vulnerability. 

The problem is that there's not enough material here to really justify the 125 minute running time. When Rose first steps foot in Silent Hill, there's a lot of scenes of her running around screaming 'Sharon!' at the top of her lungs. Much of the film has her traveling from one location to the next in search of clues, which leaves precious little time for character development and reduces the dialogue to either exposition or to announce something we can plainly see on-screen. Some of that exposition almost derails the film, specifically at the end when 'the truth' is finally revealed, which only served to baffle those who haven't played the games. Christopher's subplot is completely extraneous and at times redundant because much of what he learns is revealed later on anyway. Excising it would've shaved off a good twenty minutes and helped with the pacing. Apparently, his character was added because the studio mandated a male presence. As for the scare factor, there are some tense moments but nothing that will make you jump. The game instilled a sense of dread every time the static on the radio went off, which is sadly not replicated here. Those who crave gore will get a kick out of the climax, which has a character getting sodomized by barbed wire. Maybe Gans was watching "Hellraiser" while playing the games! 

The cast is credible and commit to the script even when it does not provide much opportunity to give their characters a sense of depth. Radha Mitchell is relatable as a determined mother in search of her daughter, even though her reasoning to go to Silent Hill is mind-boggling to say the least. Laurie Holden (who's currently starring on AMC's "The Walking Dead") is suitably tough as Officer Cybil Bennett even though she's largely wasted here, as is Sean Bean and Deborah Kara Unger. Alice Krige makes for a compelling and sinister villain as the Order's fanatical leader Christabella. Her honeyed words recall the Borg Queen from 1996's "Star Trek: First Contact". However, it is Jodelle Ferland who makes the most memorable impression, playing dual roles as the innocent Sharon and the malevolent Dark Alessa. 

Released on Blu-Ray back in 2006, the video transfer in "Silent Hill" is amazing and features stunning clarity, sharpness and depth. The scenes taking place in the Otherworld can get murky at times due to the heavy use of shadows but this is a minor flaw and it's a testament to Gans' visionary skill as a director. With blaring sirens and screeching monsters, the audio is loud and aggressive, further immersing you into the world. The only drawback is that the dialogue can get muffled with all the sound effects. While the DVD version contains extras, none are included in this Blu-Ray release, sadly. 

"Silent Hill" was released on April 21, 2006 to largely negative reviews with 29% on Rotten Tomatoes. Critics noted that it was 'visually impressive, but as with many video game adaptations, it's plagued by inane dialogue, a muddled plot, and an overlong runtime.' This was a film made by a Silent Hill fan for Silent Hill fans, which limited it's audience since it only grossed a modest $97.6 million worldwide on a production budget of $50 million. A sequel was always intended but it didn't arrive until six years due to Roger Avary being sent to jail for vehicular manslaughter. Despite its harsh reviews, "Silent Hill" remains the sole bright spot in a sea of terrible video game-to-film adaptations thanks to its strong visuals and adherence to the source material.

Final Rating: 3.5 out of 5

"You burned in the fire that you started and nothing can save you because you're already damned!"

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