Brave 2012

I love PIXAR, those three words just say it all. Since their first big leap to the big screen with the beloved TOY STORY in 1996, I haven't doubted for a second that PIXAR produces quality, and only quality work of the highest callibre. Having highly anticipated BRAVE from the day it was announced, and being a genuine lover of all PIXAR films, I entered with extremely high expectations, I was anything but disappointed.

BRAVE centers around Princess Merida, a teenager determined to make her own path in life, defies a custom that brings chaos to her kingdom. Granted one wish, Merida must rely on her bravery and her archery skills to undo a beastly curse.

Yet another outstanding, excellent and absolutely beautiful release from PIXAR, BRAVE exceeds in every aspect imaginable. Each character is lovingly crafted with depth, vividness, heart and sheer fun, while it's cast is unique, skilled and overly qualified in every way. Kelly Macdonald does a superb job with Merida's voice work, capturing the sense of teen youthfulness perfectly, while giving an exceptionally heartbreaking performance near the end of the film. It's plot is highly inspired and original, if a bit Disney-fied, made interesting with an unexpected twist, that had me hooked from the film's opening.

Despite being early marketed as quite a dark film, BRAVE features hefty amounts of stellar humor and memorable gags that literally had me, and certainly my packed theater, in stitches. Much of this humor originates from the triplets, Merida's three little brothers, who often get up to mischief, and are the cutest animated humans I have ever seen in a PIXAR film. With slapstick to appeal to both the young and old, verbal humor that will keep the grown-ups on their toes, and on-screen gags that leave you breathless in laughter, BRAVE will give you as many laughs as any other comedy this year.

PIXAR doesn't fail to impress when it comes to visuals, and BRAVE is no exception. Beautifully animated are the plains of Scotland, the CG forests on the outskirts of the kingdom, the intensely vivid characters and even Merida's beautifully textured hair. So it goes without saying that BRAVE succeeds with it's almost magical visual style, contributing to an equally stunning and immersive 3D experience.

But most impressive of all, was the emotional punch that BRAVE managed to pack. We know that PIXAR has left us emotional wrecks, one time or another after viewing one of their films, TOY STORY 3 has always been one to reduce me to tears (BRAVE was no different), but BRAVE, above all, does so in such a magical way. The films really is about Merida's relationship with her mother, a relationship that is so easily relatable to me as an audience member, and really how having a strong relationship with your parent can change your fate/life. A lesson reminiscent in FINDING NEMO, told beautifully in more depth here in BRAVE.

So, easily said with an overly talented cast, spectacular visuals and beautiful animation, fully immersive 3D experience, comedy just as golden in every sense, characters with heart, and a plot+moral with soul, BRAVE is a purely magical animated treat by the wizards of PIXAR, and definitely the best of the year so far.

21 Jump Street

 
When I first came to know that (yet) another old TV show is dusted off for a big-screen adaptation, I wasn't that excited at all. After all, that show happens to be the once-popular 21 Jump Street which starred then-young Johnny Depp who became a star here before he gradually earned his distinctive reputation in the Hollywood cinema. Back then, the story about an undercover police unit composed of young-looking officers specializing in youth crime is refreshingly new. But now, it's seriously a worn-out cliché. Then there's the casting of Jonah Hill and Channing Tatum -- oh, wait -- Channing Tatum does a comedy? I smell an immediate recipe for disaster here, but directors Chris Miller and Phil Lord's (2009's CLOUDY WITH A CHANCE OF MEATBALLS) live-action debut here seriously caught me by surprise . For all those naysayers out there, this big-screen version of 21 JUMP STREET is surprisingly funny and very entertaining as well.

Like the TV show, the movie revolves around Schmidt (Jonah Hill) and Jenko (Channing Tatum), two young-looking cops who both transferred to the 21 Jump Street division where they will be going undercover posing as students to infiltrate the drugs-dealing business that has been going on at a local high school. Both of them go by their names of Doug and Brad, and once there, they must find way to investigate the rampant use of a dangerous hallucinogenic called H.F.S. Their first lead is a dealer and classmate Eric (Dave Franco), whom they are trying to get close with, in hope that one day he will lead them to the mysterious supplier.

Story-wise, Michael Bacall and Jonah Hill's screenplay is actually nothing new at all. But what makes it refreshingly different than most like-minded script out there is the way how the execution is played out in such a hilarious manner. While there are times the script is trying too hard to be funny, rest assured most of the scenes never fail to elicit some genuine laughs. Thanks to the hard R-rating, Bacall and Jonah Hill let the story rip with all those colorful profanities like nobody's business. Added to that, is some of the worthwhile self-parody gags throughout the movie, especially the highway car chase scene involving the theory of exploding vehicles.

Directors Phil Lord and Chris Miller knows well how to keep the pace as entertaining as possible, while the cast here are no doubt the main star attraction here. Jonah Hill proves once again he's one of the genuine comic talents working today, but it was Channing Tatum who totally hits the ballpark with his surprisingly hilarious performance. Personally, I always thought Tatum's acting skill is always wooden at any given genre he's been involving so far (action, drama, romance) but he's finally proved himself as an excellent performer. In fact, both he and Jonah Hill are terrific together. And that's not all -- the rest of the supporting cast are equally playful and memorable as well, including Brie Larson as love interest Molly and Ice Cube at his profane best as Captain Dickson.

Apart from a flair of comedy, Phil Lord and Chris Miller does show some genuine talents in term of delivering well-crafted action sequence. Case in point is the aforementioned highway car chase scene and the violent shootout finale. Overall, 21 JUMP STREET is one of the best action comedy movies really need to be checked out for. And while you're at it, there's a surprise cameo appearance (priceless, indeed) throughout the movie.

Starcraft 2: Wings of Liberty

I have recently started watching some SC2 streems, of plays and tournaments. And let me tell you, i cant wait for the game expansion to be released, (either this or D3).
For those who dont know in StarCraft II, it's still the Terrans, Zerg, and Protoss clashing against each other, and you're still mining minerals with SCVs, Drones, and Probes and pulling Vespene Gas from the ground to fuel production. It's a classic style of real-time strategy play, one old-school RTS gamers should be very familiar with. Compared to the changes Blizzard made between the traditional gameplay of Warcraft II: Tides of Darkness and the hero-based leveling elements of Warcraft III: Reign of Chaos, StarCraft II feels like a relatively safe play; a game designed to slide in and discreetly supplant its predecessor instead of ruffle the feathers of longtime StarCraft devotees and risk rejection. While it's not a revolutionary game, it is one of the most fully featured, expertly designed, and impressively refined real-time strategy experiences on the market.

Even though at its most basic level a lot of the game is familiar, much has been adjusted. In no area is this more apparent than in the single-player campaign. Blizzard's decision to split the overall story of StarCraft II into three parts sparked some controversy when it was first announced; basically that means you only get to play as the Terran faction (with a few exceptions) for the solo portion, and must wait until later for the Zerg and Protoss campaigns to be released to see the entirety of the story. While that affects some of the impact of the tale, it in no way means you'll be starved for content if all you're looking to do in StarCraft II is play alone. There's a huge campaign here that could easily take many hours to play through (depending on your style and level of difficulty). It's all exceedingly well presented, with a totally reworked narrative delivery system, a few instances of choice driving the story, and options for inter-mission upgrades that make it feel like more of an role-playing experience than a series of mission that exist solely to get you ready for the multiplayer.
Unlike the original game, this time around you won't be staring at the sparsely animated heads of major characters as they bicker and plot on video monitors between missions. Instead, Blizzard gives you a detailed world to play around in to give its fictional universe a greater sense of place and atmosphere. The action follows along with Jim Raynor, who begins the game as a gruff alcoholic in the process of rebelling against Arcturus Mengsk, the corrupt emperor of the Terran Dominion. If you've forgotten the StarCraft storyline or never got around to learning it, then it should be fairly easy to dig into this one, though you're going to miss a lot of references.

Regardless of your level of exposure to the fiction, it's difficult to ignore the eye-rolling cliches and talk of prophecies being fulfilled, and the overabundance of 1980s action movie-style macho posturing and cheesiness. It's all snugly wrapped around the missions though, which makes it easier to look beyond the standard sci-fi trappings and appreciate the detail that's gone into the creation of the character models, the smoothness of the animations, and the amount of character interaction packed into the experience. Since missions are bookended by cut-scenes, great voice acting, and rewards, it makes each feel important in its own way, and adds to your motivation to meet every challenge. It's something a lot of developers besides Blizzard have difficulty doing in this genre, with their missions often feeling like a string of meaningless, boring tasks.

Additional narrative is also provided through interactive environments between missions. You're able to explore various settings, from a dusty building at the campaign's outset to Raynor's starship, the Hyperion, and beyond as the action continues. Eventually the entirety of the game's options and locations are unlocked, letting you flip around to different areas of the ship to talk to major characters or purchase upgrades. On top of that, new units are unlocked depending on which mission you choose to take on next, which can be further modified in the upgrade center, adding significant bonuses to each like more effective healing for medics or boosted protection for Marines. Because the campaign isn't tied down by the strict rules of multiplayer balance, this also means you'll see a number of favorites return from the original. Firebats, Vultures, Goliaths and more can be unlocked and upgraded in the story mode, which is both a great nod to fans and adds more variety for new players. It's a system that's constantly giving you new things to play around with and ways to modify what's already available, making progressions more exciting.

As if that wasn't enough, even more options for army customization exist throughout the campaign, including a research system and mercenary units. These mercs can be hired by Raynor for a fee, and when deployed in battle serve as elite versions of existing units that are called in instantly. It can be great in a bind, and adds to the stable of available fighters when setting up a battle plan. Optional objectives in missions call for the collection of Protoss or Zerg research items, which can then be turned in between stages for even more upgrades. Along both Zerg and Protoss paths these upgrades exist in pairs - where selecting one locks out the other - meaning you'll have to make permanent decisions about things like whether you want to buff the armor of a Bunker or slap a gun turret on top. All these modification systems combined make for a highly customizable campaign experience that's consistently fun because it introduces a steady stream of new content and options, making sure there's always something to look forward to trying out for the first time.