The film’s strong points as a commercial cinematic offer is that it combines religious, scientific, political, art, historical, and academic issues in one package; thus, making it an entertaining blend capturing many kinds of moviegoers.
Darker, a little more mature, and a little less magical, “Harry Potter and the Goblet of Fire” primarily deals with rejection and hormones as Harry and his friends struggle through transition from childhood to young adulthood. This motion picture focuses on the Hogwarts students in the seemingly awkward stage of their youth. The film’s look is less ostentatious than the previous installments. This time, things are more intimate and real. With the exceptions of a Quidditch stadium and some dragons and mermaids, it tones down on special effects. Yet, it enchants and satisfies its followers and its now grown-up fans. Some familiarity with
"The Legend of Zorro" tones down a bit by fronting the more human issues about family relationships in its storytelling, as compared to the visually purist, action-filled premise driving the storyline for such an action genre offering. Yet, this follow-up to “The Mask of Zorro” doesn't lose its own touch of valuable action and playful camera work. The pompous stunts, grand production design, and outstanding cinematography often keep the spectators' eyes nailed to what happens next. The film captures the audience right from the opening billboard as it boasts a splendid play of fire and horse shots: marking the very presence of
"Transporter 2" maintains the typical formula: the good guy chasing the bad guys. Its B-movie plot twists are like an assemblage of action-sequel clichés carefully endorsing the car brand Audi. Frank Martin's (Jason Statham) monosyllabic intensity as the usual understated hero effectively moves around in fierce car chases and impossible martial arts sequences. This doesn't stop the movie from being absurdly pleasurable. It suspends disbelief for a one-and-a-half hour escapist action ride. The opening scene plays like an Audi commercial. It takes full advantage of the all-wheel drive to survive countless incredible stunts. The car is so sturdy that after crashing and
Following the footsteps of a number of successful Asian horror offerings, Regal Films revives "Bahay ni Lola" with the attempt to further break into the horror genre trend. This sequel targets those who prefer getting some creepy chills while inside the dark and cold moviehouse. Unfortunately, it isn't very scary. In fact, its comic side becomes a more appealing aspect of the presentation. For this second installment in the “Bahay ni Lola” franchise, everything turns out so contrived and way too predictable. The attempt to scare doesn't really work. This mainstream fare offers nothing new or interesting for the general audience. Even in its