Muhammad_Nd

After the ordeal of On Stranger Tides comes a sequel that sets sails in a truly amazing and beautiful fashion.

First off the film is a great send up compared to the weakest link in the series, On Stranger Tides. The cast, effects, and story line are great. The film as a whole is amazing.

Once again we get Johnny Depp as the ever funny and intoxicated Captain Jack Sparrow. His performance is hilariously outrageous. He is very good and funny within the film. Unlike his performance in Stranger Tides his acting a characterization of the titular captain seems to have great passion and not the feeling of a called in performance.

Again my personal favorite character returns to the 5th film is Geoffrey Rush as the amazingly interesting Captain Hector Barbossa. Within the Hector still rides high as the captain at the helm of the Queen Ann's Revenge. When we meet up with him in the film he has become very wealthy and rich from trade and knocking off ships. He then joins a false alliance with the films hardcore villain, Captain Salazar. Rush's performance as the titular captain is great and very touching. A sad note for many including me is that this is barbossa's last appearance in the series. He dies towards the end of the film, in a very courageous and brave manor, trying to save his long lost daughter Carina Smith, played by Kaya Scodelario.

Next We get are new villain, Captain Salazar, played by Javier Bardem. Bardem's performance as the tortured Captain Salazar is one for the ages. His performance is gut renchingly creepy and at the same time sympathetic in a dark sort of way. His story goes like this, he was a might Spanish general who hunted and killed thousands of pirates across the sea. During one of his showdowns he was confronted by a very young (Thanks to great CGI) Jack Sparrow. He is then tricked by Jack and his ship is sent into the Devil's Triangle where he and his crew are cursed to stay forever, or at least until Jack screws up and let's them free.

Will Turner and Elizabeth Swan return for a very brief time span in this entry but their presence is very well known. Keira Knightly and Orlando Bloom return as their titular characters from the previous installments. Will, now five years after 16 years after he became the captain of the Flying Dutchman is covered in barnacles and coral, still not as bad as old fish face, Davy Jones. Keira Knightley shows up towards the climax of the movie where here and will can finally reunite again after the trident of Poseidon is broken and all of the curses in the see are destroyed. Though they are in the film for a very brief time frame their presence is quite uplifting and good, a true treat would be to see them have bigger roles in up incoming installments.

Are new characters are Brenton Thwaites and of course Kaya Scodelario as the two young leads of the film. Thwaite's plays Henry Turner, the son of Will and Elizabeth, who in the film is sixteen. Within the film, he wants to free his father from the dreaded curse of being bound to the Dutchman. In doing so he needs the trident of Poseidon. Thwaite's plays Henry in a very natural way. He seems in place in the film and does a very good job. Then we have Kaya Scodelario as Carina Smith. Smith is a women of science. She believes in the simple and factual way of life. Later in the film we learn that she is the daughter of Barbossa, who had her at a very young age along time ago. Their relationship, Geoffrey Rush's and Kaya Scodelario's is very sweet and subtle. through the film you can feel Barbossa's pain of knowing who his daughter is and her not knowing who her father is. Scodelario plays Carina superbly and is one the new standout performances.

On a minor charter level we have a new British antagonist, General Scarfeild played by the brilliant and underrated Australian actor David Whenham. Though in the film for a short period, Scarfeild is an interesting charter and chews the scenes he is in. Another new charter is the films new voodoo witch played by Golihifteh Farahani. In the film she is the friend of Barbossa and give him valuable information. She is creepy and interesting as her character.

From a film making stand point, the film looks great. The colors in the film are magnificent, the ships and sea faring parts are extraordinary, and the special effects are freaking amazing, Salazar and his crew are beautiful in a creepy dead rotted pirate way. The two new directors did a very good job, way better then Rob Marshall directing On Stranger Tides.

On an overall look, Pirate of the Caribbean 5: Dead Men Tell No Tales is an amazing film. The acting is spectacular. The Visuals are splendid and the story is very impressive. I loved the film, my one complaint would be that Barbossa Dies. He was my favorite character in the series. Well, anyways, the film was a great fun-filled ride and i personally can't wait until the next one.

Rest in Peace Captain Barbossa, until we meet again!

Two-Peg legs up!

For starters, one can never go in, expecting the level of perfection the original had. In 1991 we were given heaven in the shape of some of the most magical lyrics written​ anywhere. The animation wasn't spectacular, but the film was special and had plenty of soul. It was a great picture. The newest entry has new songs, which are decent but nowhere near as spectacular as the original score. However, the new entry does really well in most instances.

The new cast shines providing much of the reality and magic to the living furniture. They, after all, are human. Emma Thompson is strong and sweet. The rest of the cast does a decent job. And there is Belle who in spite of not being a professional singer manages to handle the songs nicely. No superb singing, but she's not a singer, she's alternate misfit. Unlike recent musicals, this is one is touching and fill of memorable and deep interpretations. There's plenty to him along even in the new songs.

I like what they added to the story. Tiny bits that give you some insight about many of the main characters. The prince is not just a beast, but a product of his upbringing. Belle is more complicated and with much going on in her heart and mind.

The musical adaptation is fantastic. The village opening number will leave breathless and the people behind the art direction, sets, and costumes deserve the highest praise. Gowns look glorious and the sets made me believe we were in the middle of an opulent setting. Great job.

Simply, adaptation great films is problematic from the start, yet no misfires here. Condon tops his precious musical entries and manages to keep that soul intact, making us believe in an intelligent romance.

Chris Pratt and Jennifer Lawrence, a pair made in heaven--two actors with enough chemistry and charm to burn pull this off. "Passengers" gives us the premise that it's possible to make it through years of solitude or spending the rest of your life with another person without causing body harm to each other, or killing your audience with a trite and boring script. The audience makes it safely to the end of the story, and it's an exciting and imaginative ride.

Pratt and Lawrence are the main stars here, carrying 90% of the film. Nevertheless, they get some help from two solid actors Michael Sheen and Lawrence Fishbourne. Their roles are small but key to the main twists. It's always a pleasure to see good actors do good work.

Because of unexpected complications, Pratt is awakened from hibernation way too early on his route to the colonization of a new planet. A consequence of this event is that he must now endure 90 years of solitude and will probably die alone on route. Being a flawed human, he reaches the point when he considers ending this problem, but he's charmed by a vision of the perfect mate, and matters become even more complicated as she awakens, too.

We need a complication to make the plot more dramatic, and Lawrence soon realizes that there might be more to her hibernation ending. Simultaneously, electrical and computer functions begin to be affected by some unknown failure. It soon becomes clear that the trip might be cut short for all of the people on the ship, and it's up to our heroes to make things right.

Much of the action is relegated to the end of the film, and it works. There are some tributes to films like "Gravity" and "2001", whether intentional or accidental, it doesn't matter. Maybe it shows just how visionary both of those films were. This genre is also benefiting from the more sophisticated special effects that can be added to create new and incredible settings for this type of story.

None of this would work without the fine acting by Lawrence. She doesn't disappoint at all, bringing a complex character to life. She's a dreamer, a person who has managed to see herself as successful, who knows she has the skills to do it, but she is also a human being with needs and a past that can now make all the difference. She's resourceful and self-reliant; however she knows when it's time to ask for help, and all of this is beautifully demonstrated in her acting, which demands both emotional and physical dedication.

Pratt is growing as an actor and hold his own against Lawrence. As I said before, their chemistry is palpable, and it doesn't hurt that both are very good looking and look amazing running around the ship or getting dressed up for a date.

"Passengers" might not change the history of cinema; still it shows there's still room for many new entries in Science Fiction, as long as they are done with care and skill. There's hope for the future.

My initial reaction was this trailer looks incredible, and after seeing the film, I couldn't have been more impressed by what I saw, an adventure story with plenty of action, heart, and fun. The actors gave incredible vocal performances, and here was a world fashioned from scratch, using CGI to render creatures that look absolutely real, and when coupled with the fantastic acting by some of the best actors in the world, we are in for a treat.

It's a children's story, so well written, developed, and acted, full of visual wonders and terrific action pieces. There's great chemistry between the different characters, and all of actors involved cement their reputation as some of the best in the business, treating each character with respect and giving them their best. The only "real" performer is a surprise because he worked with green screens and other technology to create this piece, so along with Favreau and his team, they have created a gem.

Also, the 3D in this film is breathtaking and doesn't feel like a gimmick.You will most likely be dodging an animal that appears to be coming at you, but it's unexpected, and it feels natural. Some of the settings are enhanced by the technology. Overall, I couldn't be having a better time.

One final note is the outstanding work by Johansson as the malevolent serpent, another incredible performance by this talented actress. Stick around to hear her beautiful singing, another one of the unexpected surprises in this film.

***** out *****

"Guardians of the Galaxy" is easily the most exciting and pleasant surprise of the year. Personally, I was hooked the minute I saw the preview which gave us hints of the fun coming our way. Fighting over a walkman, mocking the superhero's name, and that irreverent raccoon. Of course, there's no way to dislike anything Zoe Saldana does, and there is much, much more to love here.

This movie appears to be paying homage to a few science fiction classics, particularly the original freshness and humor that made "Star Wars" such a legendary title. Star Lord joins forces with some impulsive characters and try to stop the evil forces from grabbing this magical and powerful sphere that can alter the universe.

It's hard to describe the film. It suffices to say that it's an exciting ride from beginning to end because it has action, some sensational special effects, killer funny lines, introduces terrific characters that come across as sensitive, human, and heroic. There are beautiful spaceships, and everyone is literally and figuratively having a blast.

You will laugh, be moved, root for the various heroes, never get tired of the "one-line" tree man. The voice work by Bradley Cooper is as good as Robin Williams' deranged Genie in "Aladdin", and can anyone complain about having Glenn Close and John C. Reiley in the same movie? And to be top everything there is the terrific scene at the end of the credits.

Quentin Tarantino is a man who knows how to put together a good yarn. He can bring originality to what from the surface seems to have been done a million times. Unlike that other unbelievable tale set in the frozen forests, this one has a collection of despicable human beings who might or not be who they claim to be. For three hours he treats us to biting exchanges, full of sarcasm, insight, clever lines, and some situations that because of their ugliness shouldn't be funny, but we can't help laughing at human flaws.

Helped by a brilliant cast, including Jackson, Roth, Jason-Leigh, Madsen, and more, he keeps us glued to the screen, not wanting to miss any of the "chapters", the clues, the red herrings, the constant barrage of insults, and of course, the twist at the end, and a visual feast that will surprise even those who are accustomed to his usual display of violence.

One prisoner is being taken to Red Rock where she will be tried and hung. Along the way people join that party, and they eventually find their way to an outpost where things are to become more complicated. Set right after the Civil War, we find people are still affected by the political and civil wounds of the country. Jackson is a man who has never held back, and what is truly enjoyable in this tale is that there are no weak links, no matter how small the part is. There is no doubt: everyone is dangerous and not to be trusted. Unlike "Force" we don't stop to think whether it was the casting that ruined the part, or if the part was written that way. There is no ambiguity here. There are bad people, and there are really rotten ones. There are those who will stop at nothing to get what they want, and there are still plenty of surprises in a story that shines for its unity and consistency. Even moments of unspeakable beauty while horses pull their carriages speak of coming danger. It's pretty, but it's not safe. With the help of expert cinematographer Robert Richardson, and a killer score by the always sublime Morricone, everything in this film just works marvelously.

No moment in its three hours is wasted. We fear the cold, the dark corner in the room, and we later find out that no spot is safe here. No metaphysics here, no unbelievable shots of super strength, just damaged goods from the beginning. People come up with the more twisted reasons for doing what they need or want. However, there is also the need to survive, to learn, and hopefully to move forward. We don't get long takes for us to know how miserable the surroundings are in and outside any dwellings. We see fully developed human beings, who tell us their life stories with snappy dialog or a wink of an eye. Smiles, smirks, laughs all have meaning. People cry, shout, yell, slowly deliver a powerful message to their adversaries or to us. The film has acting, lines, and technical elements of first quality that impress us because they are good not because they might be hiding weak spots. The package is loaded with snakes, and you'd better watch your hands, your backs, or in some cases, your head.

This film ranks among Tarantino's best, and we are grateful that he continues to deliver some of the best cinema can offer. We can tell he loves movies, he loves writing movies, and we love him for that.

Nolan does it again. He gives us a thought-provoking adventure with basis on the past, present, and possible future of humankind. It makes us ponder about how we came about, where and why we are experiencing the current state of affairs, and the possible outcome. Who is responsible for humankind's future? Who do we relate to and why? Are there any "they" out there to guide, help, protect us, or send us to our ultimate fate.

"Interstellar" follows the journey of a man who is selected to find a possible solution to our dying environment. He stumbles upon a secret, scientific project that might take him to another galaxy where he can find a suitable answer to our problems. What he is told, what happens, and what the others do is what makes the tale so interesting and exciting. However, this is not "Star Wars" or "Close Encounters". It is a original idea that goes beyond what others have hinted at before. What if we dared crossed that border? What if we pushed ourselves a little more? Where does the spiritual and the scientific intersect? Of course, there will be questions about theology, though we hardly hear the characters make any direct references to such entities, but we have a wonderful score that certainly reminds us of what is not being said.

In order to get our interests, the outline is laid out, and Cooper (Matthew) is soon on his way to Saturn and the wormhole that will serve as a conduit to the other galaxy where there will be more choices and answers to our questions. Unfortunately, there might not be enough time to deal with the possibilities, and that is where the problem lies. On top of that, there are always surprises along the way, and both nature itself and human nature have a way of coming up with more variables than we care to deal with.

Soon the pilot and scientists see themselves in worlds where both gravity, time, and energy take on different manifestations from what we are used to. Some storms are just much bigger and powerful than what we are accustomed to, and there is always hidden agendas, unexpected twists to the story, and our ability to try our hardest when things become really complicated.

I truly enjoyed the way some natural events and emotions are explained in very detailed scientific lingo, which might prove fresh to some and too challenging to other members of the audience. What strikes me, too is that though the film appears to slow down for some of these exchanges, it never becomes boring. There is always the lure of mystery, of knowledge, and how the mind is thirsty for some sort of stimulation, and in this film, knowledge is power and salvation, and I found it invigorating and hopeful that books are prominently displayed here.

We can see how technology allows Nolan to create a new series of visual and sound effects, which play an important part here, and it is very satisfying to see that space looks "real", and by the time we are taken through the wildest moments of the ride, we are not disappointed. In fact, the climax of the film is even more complex than expected because here is where technology, faith, and the will to survive blend quite nicely. Nolan keeps his characters real, even when it becomes more challenging to believe there is the possibility of another level to the way we understand the word "dimension".

All of the performers do excellent work here, with Jessica and Matthew leading the pack. Caine, Burstyn, Hathaway and Damon do very good supporting work, and each one does his/her best to make the story's difficult parts believable and relatable. There is not going to be anyone in the audience who will not believe the way the laws of physics and biology are pushed to the limit because the structure of the film is very intelligent, never going beyond what we understand, and if still a bit incomprehensible, at least it lays the foundations for what might be a more concrete possibility in the future.

"Interstellar" will have you thinking, believing, and loving every minute those people are on the screen. We have a little bit of everything, and the balances are just right because even a power emotion like love is somehow explained in a logical way that will have skeptics believing that it is as real anything that scientists can fabricate in a lab. "Interstellar" shows another side of Science Fiction, making it more tangible, more real, more heartfelt, and way different from what we have seen before.

When they announced that there was going to be a live-action adaptation of the "Cinderella" fairy tale, I was a bit concerned. There was something special about the Disney tale, simple, but magical, full of lovable characters and memorable tunes. Still, Disney and Pixar had been producing some very good animation lately, and with the excellent teasers, and the mention that Cate Blanchett would be in charge of bringing the wicked stepmother to life, I was hoping not be disappointed.

After having two hours of cinematic pleasure, I am glad to say that this is one of the best movies that Disney has ever released. With Branagh at the helm, and a very capable cast, excellent special effects, a clever script that adheres to the Disney cartoon text and has added a few philosophical touches to highlight the virtues of good versus evil, we're on for a great ride.

A few things change, but Cinderella is stuck with the family from hell, as the stepmother and her two stepsisters strive to make her existence a difficult one. The stepsisters are caricatures, but the stepmother is a character to treasure in the hands of Blanchett. She's grand, spectacular, bitter, and ready to do what is necessary to survive. She has evolved from an innocent girl to a woman who realizes that women don't have it easy in this particular world, and she uses whatever strategy is needed to get what she wants.

Most of the joy from the film is in the chemistry of the leads, and this is essential to keep the romantic and magical angles alive. It's perfectly obvious from the beginning that the princess and Ella will be together forever, happily ever after, and are a match made in Disney heaven. This film succeeds because it's not overdone, and it keeps matters simple (for the story), but when the visual magic is unleashed, we'd better hold on to our hats.

The transformation scene is absolute perfection as the fairy godmother delivers the goods and gets Cinderella to the ball, and as if this moment wasn't enough, things are truly spectacular in the ball. Cinderella makes a grand entrance, then she dances with her princess, and we're then taken to the palace gardens in a moment reminiscent of the Gazebo scenes in "The Sound of Music". It all fits beautifully, and then it builds on to the expected resolution, when the gorgeous slipper fits her foot perfectly.

Dante Ferreti, Patrick Boyle compliment each other with the superb work done in the production and music departments. Every detail is exquisite, and I will never be able to find a carriage more magnificent and delightful as Cinderella's ride. Then there the costumes, each fitting the personality of the women who wear them. Blanchett's are strong and seductive, powerful like her personality. Her daughters' bring out the confused personalities of each sister, and Cinderella's might appear simple but are truly elegant and beautiful. Nothing can prepare you for the flow of that blue gown, and jaws will drop when the bride's outfit is revealed.

And they say fairy tales don't exist?

Ridley Scott has given us some of the best films ever, tackling every genre from romance to Science Fiction. We will never be able to see Science Fiction the same way after "Alien", which blends horror, science, and drama so well that people are still studying the film. Hearts stopped as both technology and outer space biology gave us the best monsters of the 70's. He went on to improve on "2001" by taking the mind of artificial intelligence and have them play God. Here, he goes back to the resilience of humans, and with a bit of humour, plenty of heart, and a very intelligent marriage of old fashioned story telling and much respect for the promising future of space travel, he gives us a new cinematic gem.

"The Martian" creates a universe where a human learns to use his resources to overcome adversity and very unlucky night when he's left behind by his crew. He must find ways to survive, to let the rest of the universe, especially Earth, know that he's alive, but that also means that they must find a way to get him back and save face while dealing with politics, the limits of contemporary space science, and the ability to make a film that refrains from relying too much on special effects, but which has its feet strongly planted on common sense and realism.

Damon is wonderful as the man who keeps up his spirits and uses every bit of knowledge to keep going. His acting hasn't been this good since he gave us the dark leech in "Ripley". Here he has a heart, a brain, and plenty of courage as he faces every possible obstacle that he faces. Unlike other films out there where knives have suddenly become less lethal than before, this man is threatened by equipment that pierces his suit and his abdomen, which makes him cringe and shudder with pain and whose body shrivels as he is running out of food. There's a terrific scene where his eyes sink in despair as he is confronted with the loss of his garden, something that signifies his imminent death. He's no superman, just a regular human being who fights to keep both his body and spirit alive.

Almost as good as Damon are the rest of the supporting cast, which work each role to find options to bring him back to Earth. "Gravity" gave us plenty of thrills and emotions. Things are subdued most of the time here, but the climax is proof that people like Scott are able to use the best of what is available to them and give us quality film making. We are soon joining the rest of the human community, cheering, holding our breath, wringing our hands as we await for his success. "Argo" gave us a taste of what a good old fashioned crowd pleaser can do. "The Martian" takes it even higher because we get to bond and identify with this "Martian" who happens to be the best scientist on that planet.

Funny, exciting, rewarding, intelligent, and perfectly directed, just the way movies used to be, should be, and hopefully will be in the future.

Thanks Mr. Scott.

Just when you thought it was Marvel overkill, here comes a hero that is worth paying attention to because the premise is FUN, and there is probably not a better cast film this year. Paul Rudd perfectly embodies the newly minted hero, a scientific wonder who can switch between insect size (while retaining full-size super powers and speed), and at the same time working with a team of artificial swarms.

"Ant-Man" goes beyond the action and super-power to infuse the story with plenty of humanity and humour. We have the silly exchanges with the Michael Pena character (very funny performance), and it's fun to concentrate the villain back to one single character, with a defined malevolent goal, gleefully portrayed by Corey Stoll, who appears to have a good time while reaching for his ultimate goal to destroy his former mentor.

One of the highlights in "Ant-Man" involves the family relationships, shaded by affection and jealousy. Father and daughter relationships mirror each other. Douglas and Lilly are excellent in their dynamics of a flawed bond, and it's interesting to see how Rudd's character is bound for the same problems, unless he changes gears.

"Ant-Man" makes judicious use of special effects, which help the student move forward and keep the action full of energy. Here's a miniature universe, full of energy and believability, and we finally we see a villain mutate into a creation that is threatening and worth of our admiration. "Yellowjacket" might be gone here, but we sure hope he's brought back in some fashion.

This film doesn't leave me yearning for comic books or wondering why the technology went haywire, killing some of the originality and humanity of the special universe. I'm glad "Ant-Man" is now part of the Marvel Universe and will be joining the Avengers in whatever new enterprise is coming up, and I certainly celebrate Lilly's upcoming turn as the other insect superhero. It's time to celebrate.

When I saw they were coming up with a sequel for "Ted", I was, well, not exactly looking forward to more of the raunchiness and overblown use of expletives. Here, they keep things colorful but manage to infuse some deeper thoughts and emotions to give it a stronger heart, and the results are successful.

Opening with Ted's wedding and the absurdity behind such a relationship, MacFarlane throws in a magnificent reminder of what cinema can be, with a musical number that explodes with creativity and is a great tribute to some of cinema's golden days. Berkeley is back in full color, and it's a lot of fun. From that moment on, we know "Ted 2" si going beyond constant sexual references, and this time we will be dealing with the problems with being rejected, being an outsider, feeling disrespected, and most importantly, treated like an object.

There are references to contemporary issues all the times, and the fun thing in the movie is that challenges the audience to use both their brains and their hearts, without forgetting whose dialogue is used to convey these ideas. Ted and company are not delicate, and they love booze, drugs, and trashy comebacks. It's that this time, they're not the spotlight. It's not a cute transformation, just a softer incarnation of what the characters have been. Yes, there is stupidity, but it's not overwhelming like it was in the original. Instead it is used in layers, and within references to other classic films, characters, and important political issues. Yes, there are offensive words, but there is a stronger heart here.

We have attorneys of all types, and we see how each kind is well, not perfect, and that makes the movie fun, and even a reference to Freeman's voice reminds us how wonderful an asset to cinema for the last 30 years. We can also see some stabs at pop culture, throughout their visit to the comic convention which reminds us of how fickle a civilization is, and how we take so much for granted.

Ted might be stuffed animal that came to life through love, and though he learned some subversive and impolite manners along the way, he has a strong bond to those he loves and respects. He's more of a human than some of the characters in the audience, and this time his message is mirroring contemporary situations, and some people might not be comfortable with the idea. It's funny how love, even with Ted's perspective, can conquer it all and still wink at us while it happens.

It's not a perfect movie, but a sure improvement over the original. I'm still amazed at how real his expressions are. I have seen Oscar winning actors who can't even come close to showing emotions the way this bear did.

Gyllenhall is a reliable performer. We can count on him giving his best. This means both the emotional and physical make up of his characters. This is what makes a film like "Nightcrawler" rise beyond its simple premise. He shone in several films before, but his turn in "Southpaw" has set up new marks, even for him.

The film follows a powerful boxing world champion who continues undefeated. His main source of support is his tough and beautiful wife, played convincingly by McAdams. He survives and succeeds as long as she's around because she's his emotional source of support, as well as a great manager who knows and understands his mercurial nature.

Unfortunately, a tragic turn of events leaves him widowed, and because of his temper he neglects himself and exposes his daughter to drugs and violence. This will place new demands on him. The question remains whether he will be able to conquer those challenges and regain control of his personal and professional career.

"Southpaw" introduces us to a tortured man whose life has been shaped by the worst of circumstances, who rises to the top, loses his ways, and finds new opportunities to fly again. Forrest Whitaker comes him to provide him with training and insight. He's a steady source of support; however, he has his own problems, and these might affect his dedication because both men are driven and sometimes unable to look around for circumstances that might affect the achievement of their goals.

Let it be said that most people in the audience will be pleased by the way the film unfolds as we see some exciting boxing pieces, realistic rather than stylized. Every punch is felt, every potential knock out takes our breath, and watching the winner take the prize is indeed an exhilarating experience. Add to that, strong emotional lines, and another great performance by Jake, and we have a fantastic film.

One of the problems with the earliest Mission Impossible movies was that they appear to be too smart for their own good, and even when we liked the gimmicks and the car chases, we felt like we left out of the party. It was like they were just too good to let us in. When we watch thrillers, part of the excitement is that we sometimes know a crucial piece of information that the hero doesn't know, and we wish we could be there to help him out. "Mission Impossible" pushes the set up even further when we are part of the thrills, riding along, enjoying every turn, guessing like the heroes, wondering who or what is real? Where is the next double crossing coming from? It's so good that we welcome the most overused trick in the series when it finally shows up because the ride has been amazing so far, and in order to make this entry work, we need to recharge Ethan's batteries, and we have to give him a suitable new partner who is as challenging as enticing, and why not put everyone in jeopardy with a villain who is not afraid to dispose of anyone whether they are being useful or not, if the situation requires.

Once again, our favorite group of spies or agents are out loose and without much of the support they need, exposed to the enemy and classified as unwanted by their own boss. Things become even more convoluted when a group known as The Syndicate makes an appearance, and the question is whether this association is a real or a rumor. There is however, no time to waste because if the group is real, the consequences will be enormous.

In comes a lethal new female agent whose loyalties are not clear at the beginning, as she as alluring as cobra with the complication that she also is able to cast quite a spell on Ethan and the audience. We want to see more of her regardless of who she's working with, and the part demands an actress who is beautiful, attractive, capable of doing some complicated physical work, and who can project intelligence to the point that we know she is at the top of her game in addition giving her character enough mystery to make us wonder what her game really is.

So we follow both friend and foe, and our mystery lady throughout the world, with some incredible action pieces in London, Morocco, Vienna, and more. We never really know how things will turn out, but we get the full package, as Ethan has to endure some precarious turns inside a water tank, one very deathly motorcycle race, and a rather devious challenge in the last scenes of the film. To keep things even more interesting, there's an element of fun, and we see the different agents wink at us, or just give us a quick glance to suggest things could go just about every possible way, except the one we usually are dealt in this type of films.

As I said before, no one will be disappointed by any of the action, and the actors are certainly in fine shape here, but the glue that holds everything together is the very clever script that keeps the action flowing non-stop, and adds much intelligence to a film that is about intelligence because in order to survive in this universe, you need to have courage and brains, and the ability to use your talents both with some careful planning, and being able to see the immediate and the whole picture.

The film definitely pumps much needed energy back into a franchise that could have ended with the last film. It raises the expectations of the audience which makes the next challenge something to look forward to. Whatever happens, here is the formula, so study it, admire it, and most certainly, enjoy it.

Movies are made to entertain us, and "World" does a very good job. It brings back the park, enhances it with new rides, and giving us state- of-the-art special effects. Twenty years ago, the illusions were breathtaking because they were fresh, and the technological advances keep raising the bar, and like one of the protagonists in the film said it: audiences keep demanding bigger and better.

There is something winning about seeing those mythical creatures come back to life and teach us the error of our ways. One shouldn't wander into their territories and expect no consequences, and we should have learned by now that playing God is a recipe for trouble. We have seen the T-Rex in action, and the devious raptors cause plenty of chaos. Why would anyone want to bring them back after all the havoc they caused in the last three films? Because we have audiences that are hungry for their adventures.

Scientists have gone completely crazy now as they use genetic engineering to come up with a more terrifying looking beast that unfortunately combines many of the species used to produce its distinctive look and qualities and as a certain scientist tells us that you can't have something that looks scary without other behavioral traits.

The new dinosaur is bigger, meaner, and more psychotic than its other relatives. It manages to trick the park security and before we learn how to say its name correctly, he goes on a killing rampage, having a definite taste for targeting humans. In an interesting twist, raptors are back and can be trained to work as "security". The idea is interesting and laughable since we have already forgotten these creatures aren't exactly docile.

Here comes Chris Pratt, with his matinée idol presence, being a bit of a "raptor charmer", or maybe he's just a very good teacher. He has taught them well and earned somewhat their trust; he just doesn't know that these raptors might soon discover they have an unexpected alliance with some of the park's other residents, and it doesn't involve being friendly to humans.

There is plenty of spectacle as children are being chased, nannies and other security personnel become dinosaur chow, and the park manager can fashionable wield an automatic weapon and run even faster than some of the other people in five-inch heels. Howard has plenty of fun playing a female Indiana Jones and is Pratt's match. She's also quite an aunt to those nephews she neglects and almost feeds to her new park attraction.

Lastly, one mustn't forget this is like a park ride. There is not much to think about, just get on it and enjoy the new offerings, the thrills, the looks, and the scares. Otherwise, stay home and read a book because this is not food for thought but a thrill for the audience.

Here comes the "Rock" avoiding all types of obstacles and dangers. Before this film is over, he has confronted every possible element on Earth, and somehow, there's hardly a scratch on him or any of his relatives. This is quite remarkable when you recall that he has flown through fire, falling debris, somehow managed to avoid being crushed by one titanic tsunami, and that doesn't include the final part of the film when he's trapped underwater. If anyone's the star of "San Andreas", it's not the spectacular special effects, but the endurance of this human being who will go through anything to save his relatives.

Of course, his is not the typical family. He has previous trauma and tragedies of his own, before the big "ones" hit. Because of some personal loss and lack of communication, he is faced with divorce, but his his ties are still strong, and there's somehow room for hope in the middle of all these disasters.

To start, we meet a couple of Cal Tech Scientists, who have finally figured out a way to predict the arrival of a big earthquake. They test this device near Las Vegas, only to find out the device works, very well, as the first monster earthquake strikes Hoover Dam, giving us a preview of what a multi-million dollar production can give you when armed with the latest CGI technology and some terrific sound effects. Not having enough time to catch out breath, and we have already lost a human life and some impressive modern engineering landmarks.

Soon, the remaining scientist realizes that the tremor in Nevada is just a precursor of what could be one of the worst earthquakes in history.If his calculations are correct, a huge portion of California will go through drastic changes.

Once the big one hits, we see entire sections of Los Angeles crumbling, disintegrating, exploding, being enveloped by fire, etc., etc. This is all backdrop for the personal drama the "Rock" and his family are going through. His wife is trapped in a fancy restaurant at the top of a Los Angeles building. His daughter has gone through San Francisco and will soon face some spectacular problems herself, as this other metropolis will, if it's possible endure an even worse series of catastrophes than Los Angeles, including one monster tsunami and quakes that will probably be felt in the Eastern seaboard.

The audience will witness falling glass, young stars being threatened by concrete blocks, electric cables, gaping holes, and every imaginable deadly possibility our screenwriters can come up with. It gets to the point when it just becomes a little too unbelievable. It's always fun to watch some creative special effects, but we need time to recover in between showcases, and "San Andreas" gives you very little time to breathe. Unlike the recent "Mad Max" entry, this one is a bit thin and scattered all over the place. It feels like the director is not really in control of his technology and his toys. Ridley Scott and George Miller seem to be handle both technology and drama together and separately. Here we might as well be watching a kid, as he records, the disaster, and it keeps being interrupted by the obligatory and obtrusive acting interludes.

One is bound to have a good time if one is willing to believe the rather impossible situations on the screen. Oh yes, we can see the impact and tragedies which occur during and after the disaster, but we also know that it couldn't all happen at the same time.

"Ultron" comes and delivers most of what the trailers promised: a darker, more complex vision of what the superheroes must confront in order to keep this planet going. Maybe it was too ambitious to begin with because after all, we have technology, mythology, and a dash of romance in there. If you care to make it more complicated, we can a bit of disfunctionality and the issue of artificial intelligence overriding the intent of its creators.

"Ultron" is more of what we got the last time out, but it might be a little more than we should have. There are big explosions, close calls, sacrifices, and the development of some very interesting relationships between humans, Gods, and machines. The fluidity of how can transform into another is one of the film's highlights, and rarely we get to see the flaws in these beings, and we see plenty here.

Of course, we see monumental displays of technological destruction, and Ultron is one of the best villains we have seen in a while, beautifully rendered by the latest wonders of CGI and perfectly brought to life by James Spader who can make wonders happen with in the unlikeliest of characters. He makes us admire and hate Ultron. He's after fighting for what humans want: a perfect life, and if this requires the destruction of those flawed humans, well, let it be.

I have seen a few negative comments here, and that might be because once again, we have been given food for thought, and that's a bit of task for those who just want to see mindless fun (another 2015 blockbuster) come to mind. There's plenty of admiration for Science Fiction/Fantasy that explores issues and situations which have a foothold in reality. I keep thinking about those communicators in "Star Trek", the allusions to soul, life, and artificial intelligence explored in "TNG".

Go and have a little fun, and dare to ponder along the way.

The Mask has got to be one of the best comedies ever, everything here smells originality. If you've seen a Jim Carrey movie you know his style, he tends to overdo a little sometimes but he manages to stay funny, a lot of people don't like him because of all the weird stuff he throws in while acting, but this movie can change some minds about Carrey. The Mask follows the story of Stanley Ipkins, an average guy who finds an ancient Scandinavian mask, it contains within the Norse god Loki banished and imprisoned, now whoever puts on the mask gets possesses by the joker spirit of the god gaining incredible powers and the will to cause problems.

In The Mask Carrey plays two characters, one is the more-than- regular Stanley Ipkins, who's a shy fan of cartoons and works at a bank, he's not good with the ladies and the world seems to conspire against him at all costs, luck sure doesn't seem to enjoy playing on the side of Ipkins at all. The other is when he puts on the mask and transforms himself into a green-masked party-boy maniac, ready to joke all around town, all his romantic repression is unleashed and he starts acting in a cartoony style much like the cartoons he enjoys so much seeing. There are funny scenes all around but the highlights are when Carrey puts on the mask, including dance scenes; one is particularly funny because it has a cover music track of Cuban Pete sang by Carrey himself, seems like the song was destined to be funny. The movie also features the debut of Cameron Diaz when she actually looked cute and not a super-sized barbie doll.

If you like Carrey you really should see this movie because it's one of the best stuff Carrey ever pulled. If you're not a fan, you can still enjoy it because he also plays a normal character that's actually normal, without the weird faces, with the crazy stuff being performed by his masked person, although the crazyness is probably boosted, it's easily understandable since he's indeed possessed. If you're still not convinced about Carrey maybe his comedies aren't for you, you can probably enjoy Eternal Sunshine of the Spotless Mind anyway.

I decided to write this review because I felt it's unfair for the movie from the negative comments and ratings it had.

First off, as other commenters said, this is a romantic comedy movie, I think this movie served this concept in a very well manner.

The idea is new, nicely presented, well written and directed.

It comes to many young men, or middle age men to be like the main character in the movie (Conner meed) Matthew McConaughey, to have many womens around, having only FUN with them, be successful and so on. and that is for sure what the new generation dreams of!, However this movie shows the consequences of such a life in a funny, simple and well presented way. It shows how important to have a constant partner with committed and respectful relationship, not only touch and go!

I like the story plot, the scenario and even the visual effects are really good and serves the movie.

Good work for all characters in the movie and the directing was very very good.