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Da Couch Tomato Podcast Season 2 Episode 12, discussing Fantastic Beasts: The Secrets of Dumbledore. Pinag-usapan namin kung ano ba talaga ang franchise arc nito. Also, phoenix nga ba ang spirit animal ng Dumbledore family? Sana all. And finally, bakit ba kapag nagpalit ng actor, hindi nila tinutuloy ang itsura nito? Kasi dapat puti rin sana ang buhok ni Mads Mikkelsen. Oh well.

Sting Lacson's rating : 7.4/10
Rachel's rating: 6.9/10
Final rating: 7.15/10

Help our podcast and get up to 80% off on Lazada if you shop using this link: https://bit.ly/3p4Ur5K

"Thanos? Bring it."

•First of all, I've only seen this once, and I came out of the theatre with very little to take home with me. This is one of those very rare films which I practically forgot as soon as I exited the cinema. Is it because I may have been a bit sleepy? Maybe. But again, that's very rare. Even Brie Larson's pretty mug was forgettable.

•As a "girl power" film, it of course makes sense that this film was released to coincide with International Women's Day, which is on the 8th of March. I guess you could classify Captain Marvel as a feminist movie, and an enjoyable one at that. Although DC beat Marvel to the punch with the critically-acclaimed Wonder Woman, this film is a step in the right direction. So, good job, Marvel, and may you release more films about superheroines.

•The songs used were great, of course, especially for kids who grew up in the 90s. However, I am of the opinion that the music used was great on its own, but not as a soundtrack. The way the music was used in Captain Marvel was a far cry from how James Gunn used his 80s soundtrack in Guardians of the Galaxy (both Volumes I and II), which was more cinematic. The Guardians of the Galaxy music not only set the time the films were set in, but they also set the mood, and were somehow connected to Star-Lord's journey. Captain Marvel's song catalogue, on the other hand, felt like it was just there to set the milieu.

•I've been more of a Marvel fan than a DC one, and that was since grade school. Sadly, I was not a fan of Captain Marvel as a character. The only thing I remember was that Captain Marvel in the comics was a male. I'm basing my memory off a Marvel trading card, and I have to admit, my memory may be hazy. Anyway, whether or not Captain Marvel was originally a male or female is moot: the fact that Marvel Studios decided that the superhero who bears the studio's name, and the superhero rumoured to be the only one who can whoop Thanos's ass, would be female, that's a big step in the fight for gender equality in Hollywood.

•Honestly, I found the plot a bit confusing. But then again, I've only seen it once, and I was a bit sleepy. Anyway, the film was set in the 90s, right? But then Carol Danvers was having flashbacks of a different life, which kind of looked like it was a life in the 90s. So what is it, really? I think I need to watch this again, at least before Avengers: Endgame hits the theatres.

•Now let's talk about Samuel L. Jackson. The modern-day Nick Fury is a bad-ass, and he even looks the part, with his eyepatch and slightly toned down Pulp Fiction swagger. Then we find out how he got the scar. Scratched by a cat. I guess people just assumed he got it fighting some super villain, then he just kept silent and let people go on thinking that.

•And speaking of cats, that ginger feline kind of stole the show. The name Goose, I think, is a Top Gun reference, because of the whole fighter pilot vibe they got going. And the whole tentacle-shooting-from-the-mouth thing makes the cat look like it came straight out of Men In Black. Anyway, I think Goose is more than just comic relief. He may have a bigger part to play in Avengers: Endgame. Wouldn't it be cool if it was actually Goose that defeats Thanos?

•Yes, we know this movie is about girl power, but is there also a queer angle to it? I've heard opinions that Carol Danvers and her Air Force BFF Maria, played by Lashana Lynch, are lesbian lovers. Honestly, I didn't get that vibe, although my gaydar has never been accurate. If the lesbian angle was intentional, it wasn't obvious. And if it was obvious, it doesn't really matter. They're close friends, and whether or not they're lovers doesn't matter.

•And of course, no Marvel movie is complete without special effects. Marvel has been setting the standard for popcorn flicks even before the MCU was introduced. With these kinds of storytelling, world-building is crucial, and with world-building comes believability, because what good is an alternate world if it's not believable?

Men do not generally give up their seats to powerful women.



Captain Marvel. USA. 2019.



Original rating: 6.6/10
Gemma Chan: +0.2
Gemma Chan in blue makeup: -0.1
Unrecognisable Ben Mendelsohn: +0.1
Unrecognisable Lee Pace: +0.1
Recognisable Djimon Hounsou: -0.1
Jude Law plot twist: -0.1
Annette Bening: +0.1
Clark Gregg: +0.2
Final rating: 7/10
DreamWorks

This, in my opinion, is the best computer-animated film I have seen so far. But why was it not nominated for an Academy Award, when this could clearly have given Pixar a run for its money?

DreamWorks
Jack Frost. No relation to Robert Frost.


For this review, Da Couch Tomato was fortunate enough to interview the director and a few cast members of the Sherlock Holmes sequel, A Game of Shadows. Here is a transcript of that interview.


**NOTE: Not really an interview**


DCT: First off, congratulations, Mr. Guy Ritchie, on a nice film.

GUY RITCHIE: Nice?

DCT: Yeah, a nice film.

RITCHIE: That's all you have to say? "Nice"? Not great, or awesome?

DCT: Well, I just saw the second episode of BBC's Sherlock season 2. Now that was awesome. This was just... nice.

(Guy Ritchie gets up and leaves)

This is another one of those films which I watched without having any idea about it whatsoever. Any preliminary impressions I might have had came from the title alone.

This film was also produced by Image Nation, which is a company based in Abu Dhabi. So I believe we can expect Arab wealth to find its way into Hollywood in the near future.

So anyway, my first thought was, "Contagion? Sounds like some sort of virus. Maybe it's a zombie movie or something." Because that's typically how zombie movies start. There's some sort of killer virus in the beginning, then it begins to mutate and spread, then brat-tat-tat-tat, you get machine gun fire, then blood and gore, and before you know it, it's a full-blown zombie apocalypse.

But not this film.

Yes, this one's about a virus, and a killer virus at that. Except this one centers on the human drama. Well, not just centers, but more of focuses entirely on the human drama. What happens when a killer virus strikes? How does humanity react? And this chronicles humanity's reaction on all levels. The plot absolutely does not take a zombie apocalypse direction.

What makes this film work as a drama is the extremely talented ensemble. This is like a Dream Team for the acting department. Here are the starters (in alphabetical order), who all have Acadamy Award trophies which they can use to bash your head in.

Marion Cotillard
She is so beautiful, she looks great
in any hairstyle.

Matt Damon
(who by the way does not have an acting Oscar)
"I don't care."

Gwyneth Paltrow
"Asdajijcapemajapinc"

and
Kate Winslet
"Hmm?"


Next we have two reserves, who have no Oscar trophies, but who have been nominated at some point in their lives.

Laurence Fishburne
Morpheus can whoop your ass
while drinking coffee.

and
Jude Law
"I was nominted twice."

By the time the film ended, which was when everyone had the cure injected up their nasal cavity, I thought "Well, this is a pretty decent film. It's quite good, actually." And then the end credits flash.


Okay. That explains everything.

And on a final note: Jennifer Ehle has a very pretty face.

"I know, right?"


Contagion. USA/UAE. 2011.


Rating: Seven point nine out of ten.




*some info from IMDb

Before even entering the cinema, you must first accept that it's a Terry Gilliam film. Because if you have no idea how a Terry Gilliam film would play, you might get lost.

The Imaginarium of Doctor Parnassus, from the title alone, will already tell you more or less what the movie is about. I can only describe it as the cinematic equivalent of a Pink Floyd album, or a Salvador Dalí painting. Well, you can also compare it to the animated classic Yellow Submarine, only a little loonier. And like I said, it's Terry Gilliam. If you have no idea what I'm talking about, I suggest watching the old Monty Python shows. The animated segments there were all done by Gilliam. And this movie has a lot of those (quoting my friend Myka) where-did-that-come-from? moments. So it's basically Gilliam's Python sketches in live-action and CGI. That'll give you an idea how much of a head trip this is.

This film also plays on the level of mythology. An old man, doomed to immortality, and a brash young newcomer -- that's just some of the archetypes the story uses. It has that timelessness to it, sort of like a legend, and if Verne Troyer hadn't mentioned the word "telephone", you wouldn't even be able to date the film.

Anyway, I shall force myself to say something about the actors.

Heath Ledger, you were so good, that ten minutes after you first appeared, I already forgot you were Heath Ledger.

Christopher Plummer, you were great, but the last time I saw you onscreen was in The Sound of Music.

Johnny Depp, do I even have to say anything?

Jude Law, I appreciated your acting after Sherlock Holmes, so you're safe now.

Colin Farrell, okay, you didn't talk much, so I wasn't able to hear if you used your indecipherable Irish accent.

And Verne Troyer, I'm sorry. You will always play roles like that. Such is the curse of Hollywood midgets.


*some info from IMDb
pic from sceneunseenpodcast.com


The Imaginarium of Doctor Parnassus. UK. 2009.


Rating: Eight out of ten.
By Mary Quite Contrary
9 Jul 2010, 14:27

Everyone loves a good mystery.

I wanted to watch Sherlock Holmes as soon as it was released on the big screen, which was last January 8, 2010 in the Philippines. That was six months ago. I’ve also been asking myself why I don’t review films anymore. Before, time was the issue and how there isn’t enough to watch all the films I wanted, much less to write about each one. Now you ask, “Why are you writing this now?” Being a film student, it was required by every major subject. As a film graduate, ideally, I should make time for it. Easier said than done, but I want to try. Talk, about a film as with any creative work, is as important as the watching. You can’t just let it rot in your brain. Something must always come out of the taking. Hopefully that something adds to what’s already out there.

Also, I’m in the mood.

Truth is, I haven’t read Sherlock Holmes. The closest thing to a detective novel I had my hands on (Harry Potter aside) was Nancy Drew from our grade school library, so I won’t be having a comparison on the points of variation from Sir Arthur Conan Doyle. In any case, I don’t know how many times I’ve said this to fans of “the book version is always better than the film”: Different media have different strengths and limitations; you can’t expect every favorite detail in a novel to come out in the film. Doy.

This film by Guy Ritchie came out in good time. Amidst every comic book superhero to be reborn on the big screen, Sherlock Holmes stands out like the Batman of the industrial revolution. Cinematography and special effects dolled up the movie just like a Marvel adaptation, but I like the creepy vignette in the OBB and again in flashbacks on clues, smoothly using a blinding flash similar to that of 19th Century photography. The music spells out “mystery” in all kinds of tingly sensations that it scored so high in my book.

Like Batman, Sherlock Holmes (Robert Downey Jr.) is full of gadgets, likes chemistry, has inside connections with the police, knows his city like the back of his hand, doesn’t have super powers but is amazing at street fighting, has a faithful sidekick John Watson (Jude Law), and loves a good mystery.

I don’t know much about the real lives of superheroes but I do know that most sidekicks throughout cinematic history are beneath the hero in social class and intellect for slapstick purposes. I’m pleased with this treatment of the sidekick where Watson is assertive and independent from Holmes. By independent, I mean having his own career and on the same social class, offering a more challenging dynamic of wit and power between the two. Not to mention the hot slab of bromance!

In the movie, their relationship is at a turning point of Watson leaving the duo for Mary Morstan (Kelly Reilly), to which he is (in the beginning) engaged to, but without a ring. Holmes, bordering on needy, is reluctant to believe that Watson is serious with settling down, at the risk of losing a sidekick to his adventures whom he can “thoroughly rely on.” Watson, on the other hand, remains unwavering in his decision that “this is happening” with or without Sherlock's consent. Throughout the film, this conflict is milked in all its glorious—but subtle—gay humor. With Robert Downey Jr.'s crazed acting and Jude Law being… himself, who can possibly resist? Some straight guys I know also got excited.

As Holmes laughs at Watson’s plans of marriage, so does Watson at Holmes’ taste in women. Irene Adler (Rachel McAdams), a thief of men’s hearts and money around the world, is the only woman who’s ever outwitted Sherlock. If Batman has Catwoman, Holmes has Irene, who gets past his security system and turns all his screws loose. The coy playfulness between lovers-turned-enemies-turned-comrades-in-arms to fight a greater evil than each other is a win for the casting of Robert Downey Jr. and Rachel McAdams. Watson's fiancée Mary is initially suspected by the detective to have it in for the doctor’s stature, to which she throws her drink to his face and doesn’t help him out of jail later on. Sherlock’s rash judgment may have been caused by his previous divorce with Irene. The two leading ladies may seem to be opposites of each other at first glance: one secretive and the other prim. We eventually discover that both are rightly proper and rightly devious in their own respect. And so are their leading men: Holmes is useless to society without a case to solve; Watson is as reserved as any good doctor. The lure of mystery and the thrill of the chase are what binds them. Holmes becomes order, calculating beyond imagination, and Watson turns to chaos, seeking out danger, saving each other's necks every time.

Again, apt for my superhero comparison is this classic problem of world domination. Lord Blackwood is sentenced to death only to rise from the grave, causing a wave of panic and the ugly dread of dark magic. He can only give us a vague reason of England’s weak and corrupt government for his own pompous greed and ambition. Sad, I know, though I really didn’t expect much politics in this eye-candy. Wait, it gets better. The plot may be character-driven but the good vs. evil blah serves only as a backdrop against the much stronger pull of the curious mind, the characters’ desire to reveal a mystery and hopefully get to live to tell the tale. Spotlight is on whether logic can master the mystic.

“There’s nothing more stimulating than a case where nothing goes your way.” – Sherlock Holmes


*screencaps from IMDb


(Read more on Sherlock Holmes after the jump.)
So as not to anger the true Holmes fans, it has been made clear from the onset that this film is not based on the canon. Sort of like fan fiction for movies.



Anyway, it's Sherlock Holmes. It's Robert Downey, Jr. It's Jude Law. It's Guy Ritchie. Who cares about Rachel McAdams?

*video from mottey2501 at YouTube



You may also want to check out the other Sherlock Holmes reviews from Sting Lacson and Mary Quite Contrary and Cholo Mercado

What can you do with just two actors?

Apparently, a lot, especially if both actors are as talented as Michael Caine and Jude Law.

Now, a feature-length movie with only two actors will immediately come off as an art film, like it or not. People are just not used to having two characters in a narrative.

The storytelling is clear, without the need for a third character to add dimension to the story. Apparently, the script has been well-planned to the last detail, so that no additional character was necessary.

What is amusing is the exchange between Michael Caine and Jude Law, showing us the depth of their acting skills. Most of the time, you can sense how effortless this is for both actors, who are engaged in an acting joust for basically the whole duration of the film, neither one breaking a sweat. Talk about talent.

Anyway, movies like this are not really known for making big draws at the box office, but they go down in the filmmakers's list of favorite art films. Who can define what an art film is anyway? It's just a term coined to refer to films that are too high-brow for the average intellect. But Sleuth isn't trying to be intellectual at all. The only problem is that the simplicity of it all, using only two actors and one location, will sometimes make the audience think that there's something more that they're probably not getting.

Michael Caine plus Jude Law equals one heck of an acting challenge. And these two were able to pull it off beautifully.


Rating: Four stars.
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