Welcome back to where you've never been before

Unlike cats, this blog actually has had 9 lives -or more (except for Schrödinger's, that cat is seriously screwed). Today is one of those times when I get to promise myself (and my deluded readers) that I'll update this blog more often or that I will manage to make it a viable option for fringe-culture fans out there to find a place to discuss the ironies that this world has to offer. Indeed, I make this promise again, for the "N"th time.  Yet, I seriously hope I can maintain this promise and bring life back to this lonely bin of words. Just like movie franchises nowadays I'm rebooting this wasteland in hopes for a better tomorrow (or a better use of my spare time). In my mind, this newly-found post-apocalyptic reality offers the chance of being cool and letting my crazy words be out in the world. Do expect interesting references and convoluted plotting, for this blog is alive once more. Without further ado...

Welcome back, unknown reader!

I hope you find refuge in my meaningless words or at least I hope that you can have a good time while reading this.

Close the door after
you leave, please. And Let the Games Begin!
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Rise of the Planet of the Apes - A movie Review


Seldom has a movie achieved to be both invigorating and, at the same time, conscious of its own role within a common social topic. Planet of the Apes achieves this degree of elegance while sustaining in the only possible and believable way, a concept that on its own would never work without a solid story like the one this flick displayed.

Now, it is important to recognize that this is not a movie for self-discovery, catharsis or even to get a deeper insight on human kind. No, Rise of the Planet of the Apes is primarily, a relaunch of a cult science fiction saga based on the concept of a planet ruled by apes, a movie where you'll get to see superbly intelligent apes (no, not monkeys) beat the crap out of human kind after they have been given a superior cognitive function because of an Alzheimer medication trial. Leaving aside all the intellectual mumbo-jumbo one can come up with to make everyone who watches this movie feel uncultivated in the field of artistic filmmaking, it was an enjoyable flick. A guilty pleasure, if you wish.

Starting from the concept that the writers tried to develop: A film about a man who, in an attempt to desperately help his dad overcome Alzheimer's disease creates an experimental drug named ALZ-112 which, while tested on apes, revealed to improve and enhance cognitive function. Factor that leads to the birth of a superior being: an intelligent ape (capable of creative reasoning, self-recognition and complex and abstract thinking). An ape named Caesar, who will eventually lead the rebellion of apes against humankind, in a clear and blatant analogy to some rebellions that have rose throughout human history from oppressed societies.

Planet of the apes is primarily created in CGI and that's fully understandable, given that the images shown in the movie would make any Animal Welfare organization to shut down every single stage of, and what a nice display of Technological talent and mesmerizing art design it showed. The film captures subtle but nice panoramic shots that capture one's sight and makes for some very memorable moments and make CGI-created apes feel like real creatures one can identify with and even, if I dare to say, as tangible as humans. Special mention to the scenes or Caesar's growth, where the film flashforwards 5 years into the future after Caesar turns 3 years old. The film also enyoyed some very poetic and symbolic moments that emulate if not succeed over its 1970's predecessor (and makes Tim Burton's 2001 remake look like a joke).

In the acting department, James Franco delivers a slightly-above-average performance that improves his image as an actor but leaves the audience and mourning over Tobey Maguire's decision not to star in the movie. On the other hand, Andy Serkis' performance as Caesar makes the movie be worth the 66 pesos it costs: his performance as a lovely ape that slowly progresses into a leader of the 'Ape Army' shows a nice transition from light to dark, that makes Caesar a broken anti-hero for the Apes as a true and merciful leader.

On what Rise of the Planet of the Apes represents, in terms of the complex philosophical conundrum it tries to explore, an extreme fight that is extrapolated from what can be simply described as "the oppressed versus the dominant". It also explores some frights that humans have over other species acquire intellicence comparable or even superior to that of human beings. Why are humans so afraid of finding an intellectual match? Why are we afraid of not being the superior race? The problem with Apes is that is sense of purpose seems somewhat distorted. Is it an action movie that reflects on the repercussions of irresponsible science? Is it a movie about how nature will arise and fight against humankind as a punishment for their ill-considered actions against nature and the environment? Is it a movie that reflects on how societies should rise with a common leader against oppressors?

The movie, as simple as it might seem, has the potential of creating and postulating some very controversial and, maybe, unanswerable questions. As for the closing scenes that have the potential of creating a whole new saga, my answer is: Bring it on, if this level of quality is maintained.

Overall grade: B- (3 stars)
Rotten Tomatoes: 83%
Metacritic: 68
On a "don't see it" to "must see" scale: WOULDN'T HURT TO WATCH IT

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Harry Potter and the Deathly Hallows - Part 2: Movie Review


MEXICO CITY - After the pre-opening showing of the eighth and last film in the Harry Potter series, first impression is that Harry Potter and the Deathly Hallows Part 2 is a very impressive, tangible, exciting and heart-touching film that succeeds both at an artistic and visual level having a bizarre balance between dark imagery and fast-moving shots whilst maintaining itself fairly close to the source material.

In Part 2 Harry, Ron and Hermione face the impossible task of finding the remaining horcruxes that allow Lord Voldemort to maintain his immortal status. When the moment comes, the trio must come back to Hogwarts to finish up what they have been waiting for: Finish off Lord Voldemort, once and for all. But the price and the consequences of such impossible task challenge Harry in a way that he never expected before.

It is important to point out that this is the best film directed by former-TV-director David Yates, who offers this as his fourth Harry Potter movie. It has been a long way from his earlier works on the series that, whilst succeeding at creating a darker world and a more mature and visceral tone for the HP movies, it had many problems at a technical level. That being said, this is probably one of the best, if not the best editing work I've had the honor of witnessing in a Harry Potter movie before. Focusing on the essentials, David Yates and Mark Day (the film's editor) create a piece with an accelerated pace that managed to maintain itself interesting and exciting even in its slowest moments. With a rather elegant mixture of slow shots focused on character exposition and rapid action sequences, the result is a piece that feels cohesive and logical, something that HP movies lacked before Deathly Hallows - Part 1.

With the aid of Eduardo Serra's cinematographic grandeur, Director David Yates manages to create a film that is visually stunning and attractive. Its color palette, though somewhat dark and foggy at times, helps to create an atmospheric picture that contributes to the film's darker topics when compared to previous more children-oriented entries. However, unlike Part 1, Part 2 spends less time in impressive CGI-enhanced landscapes and more time in making the scenes of a destroyed Hogwarts and a magical-massacre a far deeper experience for the viewer: the filmmakers manage to humanize all the dark drama and promote a somewhat cathartic war-movie experience that would have been improved had the mood of the score (composed by Alexandre Desplat, repeating from Part 1) been more carefully mixed with the sequences of the film.

Speaking of which, Desplat's musical score improved on many different levels from Part 1. Whilst less iconic than the exemplary Obliviate (the main theme for Part 1), it did manage to incorporate John William's Hedwig's Theme and the opening of Half-Blood Prince in a powerful mix that gave us some of the best stand-alone musical pieces of the entire series: Statues and Lily's theme. As mentioned above, the use of the score to support the imagery could have been better, making some potentially powerful moments feel weaker than what the image originally suggested.

As for the acting, it is with no doubt the best part of the film. If one thing can be said about the Harry Potter films, especially after Half-Blood Prince, is that its highlight are their actors, whose on-screen commitment bring up the real magic, a kind of magic that not even CGI can match. Special mention to Alan Rickman, with his memorable portrayal of Severus Snape in the sequence that illustrated "The Prince's story", which is arguably one of the book's most poignant moments and it shines even more in the film adaptation. The main trio composed by Rupert Grint, Emma Watson and Daniel Radcliffe delivers its best performance to date and it serves as a cinematographic testimony of their remarkable improvement in their individual performances. Also worth mentioning are Ralph Fiennes, whit his chilling portrayal of Lord Voldemort in one of the film's most amazing representations. Kudos also to Maggie Smith, who finally gave her character the representation she deserved.

All in all, a very cohesive and impressively made film in both an artistic and a technical level. An outstanding closing chapter for the Harry Potter series that, in my opinion, even outshines the book, whose somewhat slower and expository tone left some fans underwhelmed and even upset. Harry Potter and the Deathly Hallows Part 2 is one of those rare films that match or even improve the story from their base material and that will leave more then one satisfied about how impressive the shaky plotting of the final sequences of the book look in film.

Grade for Part 2: A+ (The Epilogue gets a solid B+)
Grade for Deathly Hallows (Parts 1 & 2): A- due to some slow sequences and some missed opportunities that were also due to problems with the source material
Rotten Tomatoes gives the film: 97% aproval (100% among Top Critis)
Metacritic assigns: 89 out of 100 or "Universal acclaim"
In comparison, Part 1 gets: A- from me, 79% in Rotten Tomatoes (72% top critics) Metracritic gives it a 67 out of 100 or "Generally Positive reviews".

Who says that people don't save best for last? :D
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