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Da Couch Tomato Podcast Season 2 Episode 1, discussing Denis Villeneuve's film adaptation of Dune, why the earlier film adaptations don't matter, and how Dune has influenced the science fiction genre.

Sting Lacson's rating: 9.1/10
Rachel's rating: 8.9/10
Final ating: 9/10

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Frankly, I'm not at all excited about any upcoming Marvel Studios release... with the exception of The Infinity Gauntlet. Allow me to explain.

The film version better be this colourful.

HBO via DCT

This season’s major film: Smokejumpers. Or that screenplay written by Lukas Haas and Giovanni Ribisi. The writers are just one problem, though. The bigger problem is getting Vincent Chase in the movie and he finds out the hard way that because he didn’t do Aquaman 2, he pissed off studio head Alan Gray, and now he can’t be a firefighter on Smokejumpers. And when I say “the hard way”, I mean with the help of magic mushrooms from Eric Roberts.

HBO
Joshua Tree. I don't see any trees, though.

Not the kind of dragon art style I imagined as her tat.

I think most, if not all, "Americanized" films—remakes of foreign films, translated into English (with or without accents from the country the story originally hailed from) and with big-time actors—are a waste of money and time, most especially when the original film was brilliantly done. Now you know where by biases lie. But then again, there are some good points to this version.

Just a taste of a big plus reason to watch this film

Title card/opening credits. To post a snapshot would not give justice to this sort of music video that clearly sets the mood of the entire film: dark and disturbing. The music added more bang for your buck there. One thing that was consistent in both film versions is the treatment and gravity of the subject.

Needless to say; it's graphic.

Rooney Mara as Lisbeth Salander is great and she deserves the noms, but I can't help comparing her to Noomi Rapace, who really awesomely rocked the part before her. Touch-move, Rapace was first. But it's all good—even with Daniel Craig, Christopher Plummer, Stellan Skarsgård, and their Swedish-accented English.

"I am insane(-ly great)!" Nod!

Style. The overall look of the film is a welcome improvement: more sophisticated outfits, a really nice newspaper office, and comfy home interiors. Black, white, and subdued colors and lights work. It's noticeable maybe because of the two-year age gap. Swedish style circa 2009 wasn't bad, but I guess Hollywood owns this aspect.

A big contrast to the film's theme and tone—and it looks comfy, too.

A different take. Basically, this version made research into the past more engaging as opposed to the original Swedish version that made the whodunit search a real thrill to watch. It's probably a good thing since I already knew who did it; no more suspense there. The film also focused more on the characters and relationships.

Are you going to stare or are you going to fuck—or cuddle?!

I don't want to rant about the liberal changes this version had taken, but there are a few I feel strongly about: an easy clue to solve the number mystery of the past, their version of Lisbeth and her relationship with Mikhael, and the ending. It also seemed that this film opted to spoon-feed interpretations of character relationships when I didn't have a problem discovering them on my own while watching the original version. See now why I'm biased to the Swedish film?

In the end, it's a good watch—more so, if you haven't seen the original (or read the book)—and we have David Fincher primarily to thank for that.

I've already seen the next two films of the Swedish trilogy. (Yes, I should read the books.) If there are Hollywood remakes of those in the works, let's see then if they can even the score.

Round 1: Swedish Original, 1. Hollywood version, 0.5.


The Girl With The Dragon Tattoo gets a seven out of ten, for being a rather tasteful remake of an already brilliant Swedish film adaptation of the Stieg Larsson bestselling novel.



*GIF by me; screencaps courtesy of VLC




You may also want to read the review for original Swedish version of The Girl With The Dragon Tattoo and other book/movie reviews of The Millenium Trilogy.

For those who love Norse mythology, you're probably familiar with the words Asgard, Midgard, and Skarsgård. Kaboom. Just had to get that joke out of the way.

"Meh. My name's got that A with the circle on top."
Dear Viewer,


For those who don't know who I am, I have two Oscars for Best Director, for the films One Flew Over the Cuckoo's Nest and Amadeus. Still don't know who I am? Google me.

Anyway, the costumes in this movie are as rich as that in Amadeus. That's because I love period films, but I hate letting actors speak in foreign tongues.

I definitely want Javier Bardem in this picture. Well first I wanted Jeffrey Dean Morgan, but due to scheduling conflicts, have decided to settle for Señor Bardem, because they look alike anyway. Plus, Javier Bardem's creepy voice is the best thing in the movie.

I also want someone big to play Goya. "Big" as in a big, A-lister famous name. But no one seems to be interested in playing a painter who turns deaf later on, and who has no kissing or sex scene. So I settled for "big" like towering height. That's why I got Stellan Skarsgård instead. But I would've avoided him if I can, because I have a really difficult time typing that special character in his name.

I also loved how I got to make the beautiful Natalie Portman look hideous. I mean, I fantasize having sex with Natalie Portman a lot. But ever since I saw how ugly she could become, I lost all libido. Bad for me. Good for my wife.

Also, hooray for Dennis Quaid. I mean Randy Quaid. He's funny as hell.

That's it. I didn't really say anything worthwhile. I apologize, and I leave you to whatever it is you're up to.


Sincerely,

Milos Forman (not my real name)


*some info from IMDb
pic from allmoviephoto.com


Goya's Ghosts. USA/Spain. 2006.


Rating: Six out of ten.
Angels and Demons (for those who read the book)

Watching a movie based on a book is always tricky. Going in, you already seem to think that the movie will probably be not up to par with the book. A lot also depends on whether you read the book or not beforehand and try as you might, you cannot change the fact that you did read the book and know the story already.

So I will not pretend as if I did not know the story or that even though I did read the book, I can totally disregard it. I can't. So I won't.

Angels and Demons was one of the most highly anticipated movies for me this summer. Everybody thought that The DaVinci Code didn't turn out as good as they expected and thought that this one could be an improvement. Is it?


In a way, yes. Angels and Demons is the book prequel to TDVC. Robert Langdon (Tom Hanks) runs around the Vatican trying to catch the elusive group Illuminati who is out to destroy the Catholic Church. It is a much more exciting story, pace-wise, than TDVC and it is a little less preachy than its predecessor, which sometimes felt like an indoctrination to a cult.

Acting remains excellent, especially by Ewan McGregor who played the Camerlengo. (By the way, Ewan McGregor and Paul Bettany could have exchanged roles in the two movies and it still would've worked). Stellan Skarsgård on the other hand acts as if he is a Tony award-winning actor stuck in a children's school play. I'm sure that's exactly how he felt.

Ayelet Zurer nails the part of a hottie smart girl which is really quite difficult if you look at all the failed examples in Hollywood (Denise Richards in that James Bond flick, Elisabeth Shue in The Saint). Hanks is always believable because he plays within range every time and never fails in a performance.

So was it good? Yes.

Did I like it? As a guy who read the book and was blown away by the key plot near the end?

No.

Like I said, translating a book into a movie is tricky. Understandably, there will be some elements that will be lost as things just may not fit the time constraints of a movie. For example, Tom Bombadil (if I'm right) completely got written off in Lord of the Rings. Was it okay? Yes, because he did not figure in prominently in the story. Characters can be lost if they are minor ones. Plots however should not be. Especially if it's the key plot of the entire story and it is what elevates the story beyond a regular suspense thriller.

That plot left out in the movie blew me away in the book. It was great, it was painful, it was jarring. I loved it. It was the part that I loved the most in the story and since they left it out of the movie, I now hate the latter.

Is it still a good movie? Yes. Just don't read the book before. Or after.


Six out of ten stars.
Contrary to popular belief, males who like musicals are not gay.

Musical films have experienced a resurgence recently, and I'm not sure what brought about their new rise in popularity, but it seems that they're here to stay. I think it's the fusion between Holly- and Bollywood.

Anyway, this film is based on the musical of the same name, and as the title suggests, it is scored with music from the Swedish band Abba (the two male members of Abba in fact also make cameo appearances in the film).

Surprisingly, this film has now become the highest-grossing film musical of all time (how could it ever beat The Sound of Music?) and yet I do not consider this film a personal favorite.

First of all, I find it problematic when writers try to craft a musical around a pop band's discography, like what they did with The Beatles in Across the Universe. I believe it limits the story that can be crafted out of it, and it would take a genius to pull it off perfectly. And for me, this film comes off as a bit forced. But Abba seems happy about it, so why bother?

Performance-wise, Meryl Streep delivers a great performance, and though she is getting older, she still has the vibrancy of youth. It's not something that can be altered by plastic surgery; I'm talking about the inner youth from within. Meryl Streep still has it in her. Amanda Seyfried's performance is okay, to put it bluntly. It didn't suck, but it didn't stand out either. But her three possible fathers in the film are another matter altogether.

Critics lamented the fact that three talented gentlemen not known for their singing abilities were cast in a musical of this caliber (this was actually produced by Tom Hanks and his wife Rita Wilson). I mean sure, Colin Firth knows a little guitar, and Stellan Skarsgård has some moves, but I pity Pierce Brosnan, whose singing has been compared to "a braying donkey" (ouch).

Production-wise, the film's setting limited the production, as everything took place on the Greek island of Kalokairi. So all the dancing and singing was confined to that location. And it is my opinion that Abba's songs are too colorful to be limited to such a small space.

Finally, when reviewing a musical, one cannot avoid comparing it with other musicals of its time. And my standard for modern musicals is still Hairspray. At least Hairspray had all original songs. Like I said, it is a very difficult task to construct a decent musical out of an existing band's discography, and this film is no exception.


Rating: Three stars.
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