★ / ★★★★
When a family (Stephen Moyer, Mädchen Amick, Lily Collins) was attacked by hungry, eyeless vampires, Priest (Paul Bettany) disobeyed the church’s orders not to take action. The institution claimed that vampires were contained in the Wasteland and those who terrorized the family were not creatures of the night but simply lawless men. Hence, Priest should not concern himself. However, to Priest, the attack was personal because the girl in the family, Lucy, turned out to be his daughter. Based on the graphic novel by Min-Woo Hyung, “Priest,” written by Cory Goodman and directed by Scott Charles Stewart, was a humorless, uninspired video game. Like most role-playing video games, the main character started off on his own and teamed up with other warriors throughout his journey. One was Hicks (Cam Gigandet), a sheriff with a talent for throwing knives, who loved Lucy. The other was Priestess (Maggie Q), who was assigned to bring our protagonist, dead or alive, back to the church. But unlike an RPG game, the picture paid no focus to each character. We knew nothing about them except for the fact that they wanted to rescue the girl. Good intentions aside, the dialogue became redundant because their specific motivations lacked depth. But one of my main problems with the film was its universe being devoid of complexity. We knew someone was bad because they chopped off chickens’ heads; we knew someone was good if they had the slightest screen presence. The rest, like the buildings and people’s homes, looked grimy and one-dimensional. Humans cowered at the word “vampire.” Meanwhile, the vampires were somewhat interesting because they were portrayed as beasts. Other than Black Hat (Karl Urban), the leader who was half-human and half-vampire, the rest didn’t have the capability to speak. They were hungry and blood was what they were after. The CGI kept my lowest level of interest because of the way the ravenous vampires moved. They were bulky yet they moved quickly, eyeless but always seemed to know exactly where their target was located. But the CGI’s magic was transient. I wanted to know more about the war that was often referred to between the clergy and the vampires prior to the latter’s exile in the dreaded Wasteland. Due to a lack of background information, I didn’t understand why the Priests became rejects of society. After all, weren’t they the ones who protected mankind from becoming dinner? Sure, they were no longer useful after the vampires had been contained but, if you ask me, they should have given at least a glimmer of power and authority after the war. As a film, “Priest” lacked flow. If injected with key transitions and history, it would have been stronger. The action sequences were exciting but if we don’t feel the gravity of what they were fighting for, we just don’t care about the outcome.
★★ / ★★★★
When their daughter, Avery (Liana Liberato), snuck out to attend a posh teen party, Sarah (Nicole Kidman) and Kyle’s (Nicolas Cage) home was invaded by four thugs (Cam Gigandet, Ben Mendelsohn, Dash Mihok, Jordana Spiro). They knew Kyle’s business involved selling diamonds and they hoped that by forcing the husband to open a money vault, they would be that much richer by the end of the night. But Kyle wouldn’t open the depository even if his wife’s life was threatened. Written by Karl Gajdusek and directed by Joel Schumacher, “Trespass” could have been a lot of fun if it hadn’t taken itself too seriously. Once Sarah and Kyle were on the floor, screaming, begging, and arguing for their lives, they weren’t given very much to do. With such a high caliber actors, one would think that the filmmakers would take advantage of it, take some risks, even unnecessary ones, and really challenge its audiences in terms of what was normally expected in home invasion movies. Instead, the film was too safe. Aside from the shot when Sarah realized that one of the men wearing masks was someone she knew, there was no other scene that moved me, good or bad. The rest were just there as I passively watched the formula: the hostages waiting for an opportunity to run, finding a chance to get away for a couple of minutes because the thugs ended up on each other’s throats, and eventually getting caught because the backyard was so big, it was like running a marathon from Point A to Point B. Back to square one, nothing changed. To its credit, the formula wasn’t boring, per se. It was repetitive but I wanted the family to find an escape so badly to the point where I didn’t mind. I just wasn’t as involved as I felt I should have been. The characterization was obvious especially concerning the head of the family: Kyle was like a diamond. Despite the heat and pressure applied by the criminals, he just wouldn’t break. But there was nothing else to his character. Aside from Cage doing his crazy yelling in an outstanding (and borderline comical) manner, his character wasn’t very interesting. He was smart and sarcastic but he held so many secrets that, by the end, we ended up not really getting to know him. And then there was the criminals’ laughable decision to bring a druggie, Petal, the only woman in their group, as a helping hand. I thought it was unintentionally funny. She pranced around the house wearing other people’s clothes, admiring shoes, jewelry, purses and taking drugs. When she wasn’t doing the aforementioned activities, she went downstairs to whine about what was taking so long and wanting to slap around Sarah out of jealousy. It was like bringing an already ticking bomb to a supposedly controlled situation. For a group who went out of their way to gather so much information about Kyle and his family, stringing a loose cannon along just didn’t feel right. With all the things that happened, “Trespass” probably would have worked as a farce or a satire instead of a straight-faced suspense picture if the writing had been exaggerated and ironic. Since it settled with typicalities, it ended up blending in a haystack of mediocrity.
Roommate, The (2011)
★ / ★★★★
Sara (Minka Kelly), a freshman in college, moved into her dorm but her roommate hadn’t move in yet so she decided to go to a frat party with the fun-loving Tracy (Alyson Michalka). When she got back, Rebecca (Leighton Meester) was waiting for her in the dark. A couple of days later, Rebecca began to get clingy. She went through her unsuspecting roommate’s possessions when she was alone in the room, waited for hours on end until Sara got back, and even answered Sara’s private calls. When Sara wanted to hang out with other people, Rebecca would mope about. She just wanted to be Sara’s only friend. Directed by Christian E. Christiansen, what “The Roommate” needed was inspiration and a spark of originality. It was stuck in tried-and-true formula of roommate from hell pictures and I was far from impressed. I was surprised that it didn’t take advantage of social networking websites, like Facebook and Twitter or even a blog, when Rebecca wanted to know more about Sara. I found it unbelievable that every time the psycho roommate wanted to know more about her prey, she would just ask in person. Sara, supposedly an aspiring designer, someone who could think outside the box, almost made it too easy for someone to be obsessed with her. It wasn’t creepy and so the momentum failed to build in a steady manner. The picture had many distractions but the one that tested my patience was Sara’s relationship with a frat boy by day/drummer by night boyfriend named Stephen (Cam Gigandet). There were too many make-out sessions and moments when they would look into each other’s eyes and smiled. It felt like some moldy, cheesy, unfunny romantic comedy. I expected them to be partners in researching what was wrong with Rebecca when Sara began to suspect that perhaps there was something seriously wrong with her roommate. Only toward the end did I feel like Sara was truly in danger and that, too, was disappointing because of the way the final confrontation was shot. Not only was it dark, the camera shook relentlessly and it was difficult to see who was throwing a punch. It didn’t help that Kelly and Meester looked very similar. Naturally, the two girls tried to fight over a gun. I didn’t care who would grab it first; I was too pre-occupied with disbelief that Sonny Mallhi, the writer, couldn’t come up with a better weapon for the two women to fight over. I got the impression that the filmmakers didn’t even attempt to give us something new and that upset me because I felt insulted. “The Roommate” was unabashedly lackadaisical and it was a rather empty experience.
★ / ★★★★
If I were to describe “Pandorum” in one word, it would be “convoluted.” When Ben Foster finds himself in a space ship waking up from an extended hypersleep, he had no memory of where he was and what he was doing there. Upon further exploration of the ship, he found Dennis Quaid as the lieutenant who was supposed to be in charge during their cycle. He, too, just woke up from hypersleep. They then decided to help each other find a way to a nuclear reactor to reset the failing power of the ship and then take control it. The catch was that the ship was teeming with aliens that are hungry for human flesh. I really like science fiction films because it often begs the question of “what if?” Unfortunately, although this picture was set hundreds of years into the future, it just didn’t feel futuristic. The characters talked like people living today, cursing from left and right included, and for people who are supposed to be smart, they didn’t act that way. The overall look of the picture didn’t look futuristic at all. In fact, it looked grimy and uninspired–like something that one could easily see in a video game. Speaking of video games, the action sequences were subpar. Half of the time, I couldn’t see a thing because not only was the environment really dark, the camera would shake uncontrollably to match the dizzying movements of the characters. None of it worked for me and I grew tired of it after thirty minutes. However, I did like the idea of “pandorum.” It’s a psychological term when a person in space goes through a mental break for unknown reason. Two major symptoms include paranoia and bodily sensations that aren’t there yet the person believes otherwise. That concept somewhat came into focus when Cam Gigandet appeared on screen. Unfortunately, the writers couldn’t help themselves and had to write in a riduculous twist that completely took me out of the experience. This movie was not without potential. If there were no aliens and therefore no annoying action sequences, the film might have had a chance to really explore the silence and isolation that the characters were going through. With such an interesting concept, the aliens were just too literal for my liking. It was too literal to the point where unintentional laughs were unavoidable because what was happening on screen was so ludicrous. And I’m not even going into the very typical one-liners. I say skip “Pandorum” and rewatch “Alien,” “Aliens” or “2001: A Space Odyssey” if you’re looking for an unforgettable space adventure.
★★ / ★★★★
I never read the series written by Stephenie Meyer so I won’t compare the film to the novel. However, I must say that I was pleasantly surprised that I liked this film, in parts, because of all the negative reviews from both fans and non-fans of the book. Kristen Stewart stars as Bella Swan, a girl that recently moves in Fork, Washington and eventually befriends a vampire played by Robert Pattinson. It’s only a matter of time until they fall for each other and problems regarding the collision of their different worlds start to arise. I mentioned that I liked this movie in parts. I really enjoyed “Twilight” up until Stewart finally realized that Pattinson was a vampire. The way that Catherine Hardwicke, the director, framed the awkwardness and stupidity of high school students was really good. (I really do mean that as a compliment.) I wasn’t that surprised because she directed admirable pictures like “Thirteen” and “Lords of Dogtown.” What didn’t work for me was when the romantic aspect was being explored. I felt like Bella’s IQ dropped twenty points when she finally figured out Pattinson’s nature. She knows he’s dangerous but she doesn’t put in any effort to stay away; she also becomes a typical damsel-in-distress which was a completely different main character during the movie’s first few minutes. I thought Bella was going to be consistently tough, edgy, not to mention having a mind of her own. I felt like she needed a man in order to feel safe and that’s not a good message to girls and women. While I didn’t mind the whole teenager-dating-a-hundred-year-old-guy aspect of it because I was a fan of “Buffy the Vampire Slayer” (the Buffy-Angel relationship, not the Buffy-Spike ridiculousness), I felt like the movie would’ve been more interesting if it consistently explored why these vampires are dangerous, their histories, and more importantly, their varying abilities. It was nice that the vampires in this movie could walk around in daylight, have reflections and have certain abilities that others do not have. I thought “Twilight” recovered its focus during the baseball scene: James (Cam Gigandet) was a convincing threat to Bella so I was engaged. But then the movie dropped the ball again during the last few scenes. I expected that not all my questions will be answered because this was only the first of the series. I particularly wanted to know more about Jacob Black (Taylor Lautner) and how he’s different than Edward Cullen. I felt like this movie had an equal amount of positives and negatives so I’m going to give this a mediocre rating. It’s not as bad as I thought it would be (granted, my expectations were really quite low) and hopefully, it gets better as the series progresses.