'Halloween' Arranges a Suspenseful Laurie - Michael Myers Reunion

Jamie Lee Curtis as Laurie Strode | Photo Credit: United International Pictures

Forty years since the original Halloween, director David Gordon Green brings back Jamie Lee Curtis to her breakout role as Laurie Strode, who has dedicated decades of her life planning her retaliation against the iconic killer, Michael Myers.

Judy Greer joins the fun as Laurie's daughter Karen, who was taken away by child services after Laurie's post-traumatic stress took its toll in their family. Now that Karen has her own daughter Allyson (Andi Matichak), they struggle to bridge the rift as the two also clash with their differences.

Sequels tend to force additional storylines resulting to over-expanding their origins, but Green's Halloween did not fall into that. The additional familial conflict, in fact, brings new layers to the classic slasher film and it felt appropriate and sensible. It even gave Jamie Lee Curtis a good material, not only to revive her scream queen persona, but to showcase her acting chops as well. Here, she's bitingly old and white-haired, but her thirst to confront Michael Myers remains strong. And now with a family to protect, she must juggle that along with her thirst to put the masked killer to an end.

Certainly, there is no Halloween without Jamie Lee Curtis. But Halloween wouldn't also be Halloween without Michael Myers. They both are the true stars of this classic and writers Danny McBride and Jeff Fradley made sure that no one will be ignored. They crafted a plot that paves way from the original story and it's commendable how they blurred the line on who's the predator and who's the prey.

Michael Myers | Photo Credit: United International Pictures

Michael Myers introduction in this sequel is quite powerful. From the get go, we learn that he still reeks of evil, in an enigmatic kind of way. And as the movie goes on, we find out that he's still as unbelievably strong as before, ruthless and hungry despite his old age.

This sequel overall is entertaining. It brings back classic slasher film feels and builds it up from there. It's not a slasher film just for the sake of slash, or a slasher sequel just for the sake of sequel. It actually links this new Halloween from its true essence. It's also not devoid of family values.

Most of the time though, we watch slasher films for its exciting horror. And this might not be the best at that. For an R-16 film, the killing spree is a bit gentle in its gore, and the jump scares are mild in its scare factor. The additional laughs from the writers make it fun for sure.

The climax on the other hand, which happened in Laurie's trapped-filled house, was delightful to watch. While short, it never failed to surprise and excite. And it's not only Jamie Curtis Smith and Michael Myers that shined. Judy Greer also added her fair share in her Emily Bluntesque in A Quiet Place gun skills right in the center of the climax.

The ending was satisfying, until a turn of event made it clear that it's still not final. The ending makes the whole thing a bit futile, and the end a bit anti-climactic. The additional layers made this film worthwhile, but at the end of it all, this might just be another sequel for the cold cash. Still, this is a suspenseful Laurie-Michael reunion that original fans might like. One thing's for sure, the hunt for Michael Myers (or Laurie) continues.

Forget About Gravity, 'First Man' Pulls the Emotions

Photo Credits: United International Pictures

When one thinks about astronauts, images of grandeur--space and planets--come to mind. Often correlated with cool white jumpsuits and spaceships, it is considered a glamorous job. You'll never think of it the same way after watching First Man.

Only two years after the six-time Academy Award winning film La La Land, Damien Chazelle and Ryan Gosling reteam to tell the story behind one of the greatest triumphs of mankind--the first moon landing. Told from the perspective of Neil Armstrong, first man on the moon himself, the film explores the sacrifices and difficulties in achieving this mission, and whether or not it is worthy at all cost.

Portraying the strong and independent wife of Neil is Claire Foy as Janet Armstrong whose aspiration is to live a normal married life. But with her husband's risky predisposition in his career, Janet deals with the sacrifices to make everything possible for Neil and their children. The mission is never easy. The never-ending worry is equally tough for the people left behind.

Photo Credits: United International Pictures

Right away, we see Neil as a test pilot corked into the claustrophobic section of the Gemini capsule flying in space, bouncing off the atmosphere, feeling and hearing the metallic rumbles of his machine as if it's going to explode while he tries hard to make his way back to Earth. Matched with Linus Sandgren's appropriately shaky cinematography, an outstanding sound design, and fast-paced editing, this first scene instantly becomes an immersive, panic-prompting experience.

At his home in Houston, he deals with his simple family along with his colleagues who are also part of their neighborhood wherein they create a solid companionship amidst several bad news they receive from their dangerous workplace. Worry is always looming at the back of their heads, but it also gives them commonality to relate with each other.

The film goes back-and-forth between Neil at work as he learns about their moon-landing mission, and Neil with his family as he juggles all the overwhelming feelings within. Josh Singer's script makes both environment a place of anxiety for Neil. Throughout, we see random glimpses of the moon from afar as if it's looking forward to face Neil, constantly reminding him of their union. To a degree, it's also the film's way of teasing a rewarding spectacle of the moon for the audience.

Photo Credits: United International Pictures

It did not disappoint. Damien Chazelle gives new meaning to 'shooting the moon' as he actually does the opposite and makes the moon landing scene a vivid possibility and perhaps, closest to reality. The whole scene is an out-of-this-world experience--complete with an intense buildup, a magnificent landscape reveal, an elegant score by Justin Hurwitz, and an emotional catharsis finalizing Neil's long and hard journey. In a way, it's a bit reminiscent of Maya's in Zero Dark Thirty wherein the ending provides an impassioned sigh-of-relief.

Ryan Gosling strengthens the whole thing with his earnest but heartfelt performance, satisfactorily supporting Chazelle's vision. Funny thing is, while the entirety of the moon scene is already magnificent as it is, it's Ryan Gosling's final moments on the moon that would take one's breath away. Claire Foy, on the other hand, shines bright minutes before the climax when Janet movingly commands Neil to confront their kids about the possibility of never seeing them ever again.

These scenes further prove that First Man isn't mainly about the mission, rather it's about the heroes--whether it's the people working their hardest at NASA knowing the dangerous nature of their work, or each of their families locking in their full support despite the non-stop wonder of going light-years to an unexplored place.

Photo Credits: United International Pictures

It's an elegant movie overall, and Damien Chazelle continues to find innovative ways to tell stories. JFK's We go to the Moon speech probably rings true to him, that he makes films not because they're easy, but because they're hard.  He demonstrates once again how to end an already great movie. If Mia and Sebastian's final act in La La Land gave us all the feels, Claire Foy and Ryan Gosling surpasses it with a simple but tender reunion scene, giving us a plethora of emotions to feel.

We often think of the moon landing as one of the greatest triumphs of mankind. But we never once or rarely think of the sacrifices done prior to these achievements. First Man changes our views about space flight, about these monumental missions, and most especially it changes the way we see these heroes. Our heroes.

Rowan Atkinson Keeps Slapstick Comedy Alive in 'Johnny English Strikes Again'

Sir Rowan Atkinson rarely comes out of the woods to do movies, and it's always exciting when he does. He's mostly known for his Bean series, but his Johnny English is also quickly becoming popular. This can be considered his version of the secret agent genre ala James Bond, Mission Impossible, etc.

Launched in 2003 alongside singer-actress Natalie Imbruglia, Johnny English becomes Britain's most confident yet half-witted spy who goes on to find the thief responsible for the missing crown jewels. Almost a decade after, he's back in Johnny English Reborn and goes up against assassins to protect the Chinese Premier.

Photo credits: United International Pictures

This year in Johnny English Strikes Again, English was tasked to inspect the sudden cyber attacks a week before the Prime Minister (Emma Thompson) meets with a Silicon Valley billionaire, Jason Volta (Jake Lacey), to create an agreement between G12 nations. A bit shady to Brexit, to be quite honest. But that's how comedy works.

Rowan Atkinson keeps slapstick comedy alive and I hope he keeps the fire going. What he does here, is what he already did before and that's okay because physical comedy is what he does best, and what people love him for. It's a testament to his legacy that he still looks and acts the same as the first time we saw him in the Johnny English role. There's little to no trace of aging, and he's still unbelievably agile--whether he is epically falling from the terrace of a ship, or dancing energetically on the dance floor all night, or driving a vintage car on the steep streets of Southern France. He's hilarious and there are no buts.

Perhaps, the biggest quibble one would say about the film is although it progresses swiftly, it doesn't develop into something bigger. It's just a series of misadventures, and inadvertent successes that are funny and moronic but a bit repetitive and wouldn't knock anyone's socks off. Spy comedies often go big in the third act, but Johnny English Strikes Again is the opposite. The third act where the G12 nations gather in a Scottish island cannot hold a candle to the chase scene in the beginning and the uproarious VR scene in the middle of the film.

Photo Credits: United International Pictures

It's biggest crime though is how it underutilized Emma Thompson as Britain's no-nonsense Prime Minister. She's fantastic, as usual, but she had no standout scene. For a prime minister, her role could easily be considered thankless. Same with Jake Lacy whose film career is starting to be questionable. 

Needless to say, Rowan Atkinson is still the one and only star of the film. With a little help from Ben Miller's Bough and this sequel's muse Olga Kurylenko, they make a fun team.

'A Star is Born' Soars High Through Its Unforgettable Music and Stars

Bradley Cooper, a well-known actor, and Lady Gaga, a well-known pop star put their stamp together on the classic and timeless tale about fame, human feelings and failings, mixed with today's diverse world of music A Star is Born, and it's incredible. It's also Cooper's directorial debut, and it's Lady Gaga's first ever film leading role and that makes this even more impressive and unforgettable. The two stars portray seasoned musician Jackson Maine and a struggling artist Ally. She has given up on her dream to become a successful artist, until she meets Jack, who immediately sees her natural talent.

The film begins with a knockout concert performance by Jack. We learn about his loneliness and drug and alcohol addiction right away after he immediately goes to his private car with his driver, head down, guzzling a bottle of alcohol. Cut to Ally who's asked to throw a bag of trash from the restaurant she's working on while she hurries to get to the local bar filled with drag queen artists where she's allowed to perform. Walking out of the resto, the film instantly pays a Judy Garland homage. She sings a soulful rendition of Somewhere Over the Rainbow and as the introductory title 'A Star is Born' quietly appears on screen while she's in the center, it makes a signal that this is the start of something wonderful.

Photo Credits: Warner Bros. Pictures

Then they meet in the bar, and with Lady Gaga impressively belting Edith Piaf's La Vie en Rose, the love story of Jack and Ally rises and flows harmoniously. It's the first half of the film that doubtlessly could capture a moviegoer. We are smitten with them--from the moment Ally looks at Jack in the bar, to them eventually falling in love after sharing that whole night together in a local supermarket to a peaceful outdoor parking lot, Jack discovering Ally's songwriting talent where we first hear a few lines of Ally singing Shallow. The whole intimate moments of Ally and Jack together are magical to watch, and a penetrating lens captures each look and every touch. Bradley Cooper, in particular, looks at Lady Gaga like she's the only girl in the world. And when Jack finally says the iconic, "I just want to take a lot at you" for the first time, with Lady Gaga doing the signature touch on the nose head-turn, the chemistry between the two becomes even more solid. I can already imagine the memes and spoofs it's going to make.

Both are extremely charismatic in their roles. Cooper gives such a sincere and emotional performance where most of the time, it's his eyes that do the effective expression of his role. Lady Gaga on the other hand, has never been this natural. She makes an already root-worthy Ally even more likable despite her imperfections. But it is whenever they perform, solo or duet, that makes this film soar higher. The powerful songs, which they wrote with a handful of artists, including Lukas Nelson, Jason Isbell and Mark Ronson, work wonders for the film. And all vocals for the movie were recorded live during filming, that it literally and no exaggeration, makes you want to go 'applause, applause, applause', every time they perform those songs along with a huge audience. Their duet of Shallow is incredibly chilling. Always Remember Us This Way perfectly captures the great turning point of the film from Ally's dreams of being famous to it being a reality. Even the intimate ones are electrifying and heartfelt, and songs vary from different genres making it even more accessible to all audiences. Bradley Cooper makes the performances immersive and epic, often highlighting superb piano and guitar skills, to amazing voice ranges.

Photo Credits: Warner Bros. Pictures

The second half of the film is when it gets a little more serious, and dark. When Ally is finally a famous pop star and Jack's alcohol problem are both quickly becoming a problem in their complicated relationship. Here, we get to see the sad struggles of being famous where authenticity and marketability become an issue, and fame and loneliness mix up with each other. Both are fueled by their dreams, and yet it also caused their misunderstandings. A Star is Born completely confronts these dilemma and it's most likely the reason why there's a slight feeling of downward spiral at this point of the film, because the first half puts you on cloud nine.

The climax leaves a feeling of quiet sadness, in which Cooper chooses to let the audience (and the cute dog) feel the slow but intense buildup, to the actual tragedy of Jack's struggle to live as a famous artist. There was no scene of Ally learning about it. Instead, we see her devastated by the love she's lost. It's beautiful and dramatic without being over-the-top and again, both stars shine portraying the final moments of the film. With Lady Gaga, solidifying her outstanding performance with a heartfelt number of I'll Never Love Again.

A Star is Born is tragic and unforgettable. Movies sporadically captures this kind of relationship, and when they do, it's enduring. Jack and Ally's raw and passionate tale will continue to resonate throughout the years as it already does since the previous remakes. Thanks to Bradley Cooper for making a modern version and introducing this to our generation! Credits to the ensemble for making it memorable.

'Venom' is an Acting Playground for Tom Hardy

When Spiderman 3 was released in 2007, it pretty much put a period on Maguire's career. It did not receive good reviews compared to the first two and it was considered a misfire. But to me, it's actually still at par with Spiderman 1 and 2. In it, we were introduced with the symbiote organism that darkened Spiderman's suit and persona. And while it didn't suit Maguire's usual goody goody character, it gave us a good villain in Topher Grace as Eddie Brock.

Photo Credits: Columbia Pictures

This year, Eddie Brock slash Venom is back in the body of Tom Hardy. The symbiote, or what he refers to as alien, is still very much alive and kicking. But Hardy's Eddie Brock is way different. Still the journalist that we know him for, but way more likable and less like a douche.

In Venom, the Marvel's antihero takes the center stage as Eddie Brock, a persistent journalist who's been trying to take down the notorious genius founder of Life Foundation, Carlton Drake (Riz Ahmed) where his obsession for it ruined both his career, and his relationship with his girlfriend, Anne (Michelle Williams). He tries to win Anne back, but when a scientist (Jenny Slate) called him to show the evil happenings behind Carlton's Drake laboratory, a symbiote accidentally merges with Eddie's body and becomes its powerful host, turning him into a monster like the chasing demon monkey from Temple Run--spooky white eyes, a mouth full of razor-sharp teeth, and a long, slimy, muscular tongue.

Photo Credits: Columbia Pictures

With these features, 'Venom', both the character and the film, become an acting playground for Hardy, who is fully into the crazy and dark fun side of the whole thing, very much committed, up to the challenge, and impressively hilarious to boot. Most especially the moments after the symbiote takes charge of his body, and he tries to fight it. His antics are very reminiscent of Leonardo DiCaprio's iconic high scene in The Wolf of Wall Street. His chemistry with Michelle Williams is also commendable, and Williams as Anne looks enthusiastic and ready to portray the craziness of the movie.

Can't say the same on the whole movie, though. While extremely fun and entertaining, the story is very much slight. It has all the formula of a Marvel superhero movie, but the abundance of its silly humor is a bit too much, that it's difficult to take it seriously. It doesn't help that the CGI Venom suit doesn't look believable at all, and the overall visual effects is weak. Even the Venom character turned from scary to sentimental and cheesy. It went from serious, to funny, to goofy and it would probably work if it's the other way around.

Photo Credits: Columbia Pictures

It also tries to put a romcom vibe whenever Michelle Williams is on screen, and while a change in scene is always welcome, it doesn't fit the supposed bleakness of Venom. To further push Eddie and Anne's love story, it made it feel like there are hearts are all over the crooked streets of San Francisco, where most often we see Hardy and Williams sharing a lovely scene in a cutesy frontyard of a pretty house, with Venom playing the unlikely cupid.

Then again, we go back to how fun it actually is, where the highlight involves Venom finally capturing Eddie's body amidst an exhilarating motorcycle chase scene in the busy San Francisco streets. The final showdown between Ahmed and Hardy, however, is a slight letdown, with both looking like they're fighting as slimy grimers.

Still, this is a highly entertaining movie. Thanks to Tom Hardy's full commitment who most definitely upped the standard of acting in the Marvel cinematic universe. Other actors better keep up!