Sucker Punch Review: Good or bad? In between, really.

I saw “Sucker Punch” in the theaters over the weekend on its release.

It’s not a bad movie. It’s not a great movie either. But there are some real stunning imagery worked into the film that boasts of al lively imagination. A gallery of visuals strike with a feast of special effects circling around several very beautiful women. How can it possible go wrong?

It’s the story that bogs you down after a while.

The final verdict, along with many critics, is the visual department is well done. Shame about the story.

It is a messy storyline which centers on a woman who is brought to the Lennox House for the Mentally Insane where it is run by a sadistic warden and the woman often escapes the terrible world of the asylum to cope with it. But it is really a brothel.

The central girl Baby Brown (aptly played by the always watchable Emily Browning) devises a plan to get out of the nuthouse: get five items being the map, knife, fire and key. The fifth element is supposed to be a “mystery” which she will learn herself.

The most challenging aspect of the film is the intercutting between reality and imagination in which Baby Doll uses when she dances. Her thoughts, ambitions and dreams are tossed into a very high-powered women fantasy where they are stronger and faster than mean. And they kick a lot of butt too.

But is it that good a story? No. It doesn’t make sense until the very last threads of the story comes into focus at the very end of the film. By then, you’re bogged down by the confusion of it all. But the music is pretty good for an action flick like this. It’s like watching a very expensive music video.

You’ll get to see rather towering samurai figures in Baby Doll’s initial fantasies. Which strikes a heap of similarities between this film and Terry Gilliam’s film “Brazil.”

It’s almost a rip-off.

I think Gilliam should look into the possible matter of suing the crap out of director Zach Snyder who gave us enough loud, bombastic movies. Excuse me, Mr. Synder, can you tell me where did you get the idea of those massive samurai men using large swords? That sounds a bit… er… like my movie.

But I’m not going to get into that.

I did have some issues with one of the initial reviews of Richard Roeper who clearly didn’t understand anything about the movie.

He gave the film a D which is fine. I’m not going to say it’s a brilliant film though there are portions I liked in it. But he starts saying the film " confusing house-of-horrors story with busty women…”

Number one, I didn’t think any of the major women were busty in the film. Some of them like Jamie Chung looked well endowed and lovely, but wouldn’t fit Roeper’s description. I don’t know why he would go on with a remark like this. He compares them to the Girl Next Door which is a low blow.

But he calls Baby Doll’s an “imagination a fantasy and reality and alternate reality and alternate fantasy-reality.” He doesn’t seem to understand that it’s just her imagination, not an alternative universe. He seems to be confused between the subject matters. This isn’t about an alternative universe. It’s about a woman who goes to the very corner of her mind which is the safest from the harsh world she found herself.

But he is right about one thing.

It is a confused mess.

But what was Zach Snyder thinking when doing this movie? Was he trying to make a schlock exploitation film with beautiful woman or was he making an action film with a psychological story? Maybe both? He does describe it as Alice in Wonderland with machine guns. Okay. I sorta get it now.

Is Synder going to be the next Terry Gilliam in movies? He’s got a long way to go.

He’ll need to start making a clean slate when it comes to scripts. And try to make more sense out of them. I love all the women actresses in it and did like the idea of the film. But it wasn’t executed very well. What is wrong with that guy?

And what was wrong for me for seeing a movie like this? I guess I really was sucker punched.

Mega Funny

Megamind was a fun movie.

More than that, the story was an intelligent spoof which takes up the best of comic book themes and turn it into something different. Most people in the audience would enjoy this film even if they didn't follow the comic books.

Don't be afraid to admit it's the comedy that holds up well.

It's not hard to see that much of it is inspired by the old Superman comic books of yesteryear... the lone survivor of an alien planet and an outsider to the human race.

The film “Megamind” pokes fun at everything. And I do mean everything. Even the names of the characters like Megamind, Metro Man and Titan all have their roots in the comic books. Many comic books of old always did have rather theatrical names that were larger than life. The Iron Man issues created a super-villain named Obsidian Stane. That sounded like a dasterdly name. It's the name that's bound to be villainous. What about names like Mr. Fantastic from the old Marvel comics which suggested something heroic?

So the people who created the film “Megamind” really knew their stuff. They loved their comic books and brought to life a spoof with a good heart to it.

Will Ferrel is always a great actor in comedies and manges to make every movie shine brightly in funny with his presence. Ferrel is a funny guy. He plays the biggest bad guy Megamind who is bent on defeating the super good guy wonderfully voiced by Brad Pitt. Their voices were perfect harmony with the story itself. Ferrel manages to bring a spot of humanity to a madman egomaniac who could have easily been buffoonish. But he seems adorable instead. Ferrel pulled it off well.

There were plenty other voices which elevated the story to comedic heights such as J.K. Simmons as the warden and Tina Fey from Saturday Night Live who plays the female lead. But one of the brightest spots is Ben Stiller who also co-produced the film He plays an intellectual dweeb in the film which Roxanne falls for. Stiller plays it straight which is always his best... Stiller is never funny in his comedies, but when he's playing the straight man he's brilliant. Kudos to Stiller's great contribution to the film.

There are other fun stuff in the film with Megamind's turn of bad English when he is unable to pronounce certain words and comes off with an exaggerated accent.

The music is always a perfect cue in the film. And it does help with the comic effect in the film. The choice of the songs actually makes sense in the film such as “Bad to the Bone” by George Thoroughgood, “Bad” by Michael Jackson and “Mr. Blue Sky” by ELO. Those are really good choices made and they got one or two songs by AC/DC in it. You can never go wrong with AC/DC.

It is the comic element that remains strong. Sometimes some comedies run out of steam or stick around far too long. But this 90 minute movie is the right fit for the comedy. It tells the story of a good and bad guy and gives it an ample twist. Perhaps the message is this: being a bad guy isn't always a bad thing?

It's a mind warp.

But they were able to do it. They were able to make a villain who seems capable of some sliver of good. Megamind is able to put right the wrong he's done when he realizes it. So he was able to admit to his mistakes and fix them.

Not a lot of people can do that. Admit they're wrong.

The entire story is like a comic spoof of Superman versus Lex Luthor with a bundle of fun gift-wrapped around it. How can you not like the movie “Megamind”? And you have to ask yourself it's okay to root for the bad guy. Sure, it's okay. Three cheers for the bad guy. You're on the right side this time.

Dragon Age 2 is a Personal Quest

The fighting cleaves through the battle as effortlessly as a kitchen knife cuts through butter. Such movements are more fluent as my sorceress character carves a path of destruction through the dark spawn.

And that's just the first hour of the game.

This is just a mere glimpse of what is more to come. But the design and controls for the new Dragon Age game marks new territory for exact game playing. It already hit the shelves this week.

It is everything one has been waiting for from the production of Bioware? Yes. It is worth the wait to satisfy the hungers of game playing fanatics? Oh, yes. A big yes.

This is coming from someone who isn't much of a game player. Most games I buy are from certain companies who I know will put out a good product. I ignore everything else stocking up on the shelf. Game playing doesn't interest me that much.

If it’s got the name Bioware on the product, I’m their customer.

Dragon Age 2 is better than just any sequel. It's part of a grander scheme of things as it unfolds into a very satisfying world: you become the author of the game as you dictate what will happen. Your champion influences the events around it. This becomes a chapter of an ongoing saga that feels bigger and better.

For example, my wizard character saves a Magistrate’s ill-stricken son from killing any more elves in the ruins. But the Magistrate has political ambitions when my character threatens to take his son to a court of law where he faces charges. The Magistrate said: “I have great influence in the city of Kirkwall. I will make it very difficult for you to live here.” You better believe it.

I used to become obscenely upset, if childishly angry over popular games such as the Prince of Persia or Resident Evil for their insane control designs. It felt too sluggish and I couldn't get wind of the game without figuring out the control layout. I used to hate these games because of their sucky save spots.

You don't worry about that here in Dragon Age 2. As with its predecessors, you can save whenever the hell you feel like. Not only that, sometimes the game makes an auto-save for you. How nice.

However, the best is yet to come. I always was interested in playing the Mage characters. I've enjoyed the fantasy elements of magic in comic books such as the adult-oriented Hellblazer series starring a street smart, chronic smoking Mage. There's also Marvel's comic sorcerer Dr. Strange or DC's latest addition to sorcery: the Las Vegas styled entertainer and powerful woman magician Zatanna. With fishnet stockings.

Yes, I have a thing for magicians.

So it makes sense for me to play one here. But Dragon Age 2 does one better than the previous. The Mage characters have much better fighting abilities. Not only is the staff used as a source of magic, but the magician can wield it like a weapon. Some of staffs have knife-like edges which can slice an attacking foe in half.

I'm not kidding you.

The Mages kick some real ass this time around.

But it’s the story that's once again the big draw for me. Such complexities is like opening up a long novel from the Lord of the Rings series and digging into it. And you keep peeling away through the plot threads. I've played only through Act one so far and it's laden with great side stories along with major plot points.

The story revolves around a lone survivor and his/her family from the first wave of destruction in the first Dragon Age game. That survivor is Hawke. But here's another clincher in the story: the story unfolds over a ten year period starting from humble beginnings before turning into a champion who makes decision that can alter a war.

There are many controversial decisions you can make in the game. Your companions on the team can either side with your or oppose. They can hate or love you. The choices you make can affect the rest of the game. You are in total control of the game. And that's a personal touch.

It's nice that you’re allowed design your own character, thus lending another personal touch to the game. The story is how you interpret it. I've chosen to create a female Mage with dark, flowing hair and a moonlit pale face who remains a force of good.

However you choose the path of the story is entirely at your own discretion. You can play a rotting, heartless bastard or a gentle warden for good. Whatever you want to play... as a Mage, a rogue or a knight, it's up to you. What matters is how the story evolves and you are taking part of something greater.

It's a huge world in Dragon Age 2. Elves, dwarfs and dragons everywhere. And it's a delight to see that it unfolds with all the right blend of fantasy and sorcery. So lift the red-spilled sword in your hand and run into battle while imagining yourself as the greatest hero Dragon Age has known. It’s a personal journey. And it's quite an blood-letting experience.

Horror Show for Doctor Who

In less than two years the entire Doctor Who series will be finally brought to the DVD world.

There are still a few titles left in the series to get the digital treatment. This week on March 8 will see the much belated release of “Seeds of Doom.” I wish they would have released this one a long time ago. But I suppose it’s better late than never.

But this is one of the quintessential episodes of the series that brings all the best elements of the series to the foreground which is a sturdy reminder as to why the Tom Baker period remains the best of the old shows.

Why is that?

The gothic tenure of the series comes to a culmination at the end of the thirteenth season with “Seeds of Doom” delivering horror elements along with some of the most horrific images ever devised for the series. A children’s show? I think not.

This is Tom Baker’s second go-round as the Doctor, an alien being who comes from an ultimate advanced race as a harbinger of good to the human race. In a way, he’s like a god. But he brings with him the best weapon of all: science. And this is what saves the day in the end. He’s the best Doctor in the old days. Along for the ride is Elizabeth Sladen who once again plays the role of Sarah Jane Smith, a journalist turned companion for the time-traveling misfit.

There is much to go for here. The isolationism and the air of atmosphere in the first one hour of the show is a jarring kick-back to the story “Who goes There?” The mountains of snow cuts off the small Antarctica facility. The feeling of being in the middle of nowhere becomes rather forceful.

The music here is well done with the composure opting to use nerve-wracking motifs that could otherwise be used in old Hammer Horror pictures. You get the feeling of discomfort when you listen to the music in the background. It soaks with a great measure of atmosphere.

However, it is the gothic mode that became the staple for the Tom Baker period here. The unfaltering shadows which leap into the scene. The constant use of dark alleys and small corners give you a sense of impending doom. Phillip Hinchcliffe, being the best producter for the old shows, knows how to bring the best out for the series. And Doctor Who was at its best when using horror motifs.

The show is divided up into two parts. The first section is set in the Antarctica while the later portion revolves around a plant loving madman bent on destroying humanity. How can you not like overblown villainy like this? It’s played well by the late actor Tony Beckley.

How can you forget the awful transformation of the man turned into a plant that could become a threat to the world? The English millionaire tree hugger, Harrison Chase, would not stop at anything in turning the world into a garden paradise for plants. He loves his plants. And it shows. His strange fascination while watching one of his lackeys turned into a plant is unsettling. Chase describes it as “beautiful” while the man shouts in agony.

Some people may criticize the “Seeds of Doom” to be too much like the Avengers episode with its espionage elements. I disagree. The story written by Robert Banks Stewart is fast paced and well thought-out action. It would feel to some in part like a spy movie. But it fits well with this story in an odd way.

Doctor Who achieves its crowning glory not with being tight-knit in its stories. But by offering horror in the most macabre sense. It’s a perfect setting of fear matched with Tom Baker’s excellent acting. In some ways, you can get a feeling that the episode is inspired by the many darker paintings of Francisco Goya who always glimpsed into the darker corner of humanity. Doctor Who does the same thing here.

The ending is one of the most remarkable especially for the shoe-string budget it was on. But the special effects with the growing seed creature engulfing the house where the Doctor, Sarah and others are can’t be easily forgotten. It holds in the best tradition of the Ray Harryhausen days.

Some of the imagery remains with me to this very day. I remember seeing this episode for the first time when I was a kid at my grandmother’s house in Marshfield. So gruesome it was that my grandmother wouldn’t watch it. But eventually she came around to seeing Doctor Who in a better light years later.

“The Seeds of Doom” still stands against the test of time. And it wins out. The story is placed with the gothic thread in the series. The old traditional elements of horror is mixed well with an interesting story about environmental safety. How long would it be before plants would decide to fight back the humans who have become too reckless with taking care of the world? This story gives an interesting example of such.

Give this one a try to find out why the Tom Baker years is fondly remembered.