pip-7 Reviews

Star Wars: The Clone Wars (2008–2020)

Not bad for a Star Wars 3D cartoon show!

[10/10 · 6 October 2008]

Being a great fan of George Lucas's epic space opera series, it's been a great experience to watch the entire saga (yes, including the often-problematic but substantially rich prequel trilogy), understanding how it all comes to be and learning more of the universe that he, the creator has invested for the last 30 years. However, when it comes to the Expanded Universe, I'm not nearly as enthusiastic as its big brothers though there are lots of action-packed and character-driven stories to be found in between. In this case, The Clone Wars (not to be confused with Genndy Tartakovsky's brilliant 2D Clone Wars microseries) chronicles not only the major war itself but rather the journey of all the characters, both minor and major which Lucas hasn't had time to develop in the movies.

When it comes to the recent abomination that is the Clone Wars animated series (it's basically three pilot episodes combined into one), there's a greater fear that George has once again mangled with things he shouldn't have thought of: many fans will believe that it would set a bad impression on the upcoming TV series in terms of how awful and upsetting the movie has been during its run at multiplexes (of course, I haven't watched it but I have the impression that it'll be just as notorious as the Holiday Special). So, now that the new series, under the steady hands of Avatar director Dave Filoni, has made its TV debut a few days ago: what's my verdict for the first two episodes? Surprisingly, despite some minor quibbles, they turn out to be much better and more polished than expected, thanks to good (if not spectacular) storytelling and light-hearted (sometimes serious) tone of the show.

Animation wise, the characters are inspired by the models from Thunderbirds, so there's no doubt they look like stiff puppets without strings. However, there are some compliments to be made from the animators at Singapore to make them slightly more believable in terms of facial expressions (maybe not as realistic as Pixar's but hey, it's just a TV show and for me, it's already pretty darned impressive), further enhanced by brilliant voice acting, oddly ou-of-place but beautifully orchestrated soundtrack (a good thing since I've been extremely tired of synthesized music these days) and the usual Star Wars-esquire sound effects. Perhaps one of the show's most astonishing features is characterization: here, we dwell deeper into the actual heart of characters (which I admit is missing in the prequels): for example, each clone trooper has distinct thoughts and personalities which make them much more as individuals as reflected by the Jedi Masters, rather than just mere tools. It's a touching quality that will eventually place an emotional weight on the movie series, especially Revenge of the Sith. Best of all, some of the elements from the much beloved classic trilogy are implemented in this series, probably to attract purists who have longed to recapture their magic moments, even if it may not entirely succeed in certain levels.

Like every show on television, The Clone Wars is not without its flaws: part of the initial concepts of the TV series can be a little childish, considering that it is specially made for kids and the Battle Droids can get a little bit irritating, especially in the first episode where they are mostly portrayed as dim-witted cannon fodders: a major complaint amongst older viewers and stuff. But then again, if you can pass over that feeling of throwing yourself out of the window after hearing 'Roger, roger' for a hundredth time, you will surely enjoy what George and Filoni deliver for the next, um, hundred episodes!

Samurai 7 (2004)

Time changes. But its thematic essence isn't.

[9/10 · 24 June 2006]

Based on the old samurai film made by Japan's legendary filmmaker Akira Kurosawa, Samurai 7 is probably the first remake ever to be fully approved by the Kurosawa Estate after years of being 'unofficially' spawned into several versions by other international filmmakers.

This animated TV series tells the story of a maiden and her friends who seeks for the seven warriors who are willing to protect the rice fields in a faraway village from the bandits (basically, the premise is almost the same as the original, albeit with different arrangements and settings). Despite the fact that the show's anachronistic nature (humans and robots roam in this industrialized-world of feudal Japan) seems to be ripped off from a Final Fantasy game, it still retains the crucial themes and its dramatic storytelling that make the original Seven Samurai a legend among film buffs. It's an entirely new realm, everyone may admit, but hey, it's still worth the price of its complete DVD collection.

Let's start off with the animation flow: generally, it's really good but no, it's no Miyazaki (and it's not even up to the par with the giants like Cowboy Bebop and Evangelion) but its butt-kicking action scenes are undoubtedly impressive anyway. The only thing that ticks me off is the 3D robot designs and stuff: they seem to be way too obvious and easily distract viewers from enjoying the story in its entirety. If only they were designed as they were on any Gundam shows (and hey, some of the giant mecha samurai DO resemble of Gundams, only stiffer) Characters develop nicely throughout the show, with some valuable info slowly coming out into the light, revealing the main reasons behind the feudalistic atmosphere and yes, there are some hidden pasts behind each of the characters that will augment only the story's thematic plot.

There are so many reasons why Samurai 7 is both loved and hated by not only fans of Mr. Kurosawa but also anime buffs as well. But I'll leave this up to you. For me, it's one of the best stuff everyone can expect in terms of its visual feast and enticing storyline.

Mobile Suit Gundam SEED Destiny (2004–2005)

Destiny Redeemed

[8/10 · 24 June 2006]

Well, I did make a critical comment on Seed Destiny on IMDb prior to this (and yeah, I still don't like the first Seed) but after watching it on later episodes, something tells me that Destiny really seems to capture the core essence of this mighty mecha-based franchise, and it all shows in some of the most intense battle sequences ever made on TV. So it's pretty fair for me to pull back those crude words I uttered for the sake of all Gundam fans.

Though there are so many changes since the first show (truthfully, you'll be stuck in the woods if you don't follow its trail), it's still pretty much about the conflict between ZAFT (for dummies, space guys) and the forces of Earth, just like its predecessors. OK, I really miss lots of episodes in Seed (cause I don't really like it at all), so I have no idea the whole premise here but there's one thing I know about its characters: not one single person wants to prove to be heroic nor evil in this show because they are just doing what is right in their own eyes. And makers of the Gundam shows get smarter these days.

Despite its melodramatic nature, frequent uses of flashbacks (doggone these stuff) and the fact that the 'save our country from the enemy' conversations can become really annoying, the major highlight (and the main reason I watch Destiny) is the grand mecha battles: every single Gundam, including the famous one-eyed bots, make their appearances on (this time) both sides of the battlefield. Unless you know the show well, viewers will be virtually confused with their affiliations. Aside from improved 3D effects (and they blend really nicely) and character animation, one of the greatest thing that I realize recently is that most anime have 3D robots these days: the Gundam series, like Mr. Miyazaki himself, instead defy them by using the old-school methods (hand-drawn, that's for sure) and the result is impressive. In fact, I think these hand-drawn mechas look more versatile and exciting (nostalgia is the perfect word) compared to the rest of the 3D robots, which is a wonder why most recent mecha shows suck.

Like all anime stuff, there are some J-Pop songs specially produced for Destiny: mostly are varied in quality, ranged from awesome and memorable to the state that makes you think 'WTF?'. Just check them up, listen and you'll see what I mean.

And here is my analyst of the later episodes of Gundam Seed Destiny and yes, I admit it's really good. If you don't like its convoluted storyline, you'll be still enticed by Destiny's mecha battles, and they're all worthy of its parent name.

X-Men: The Last Stand (2006)

Truly X-ceptional

[9/10 · 27 May 2006]

I've always have been a fan of the X-Men stuff (though not a fanatical comic collector but rather a big kid who was and still is an avid fan of the cartoon show) because of the diversity of its characters, mature storytelling and the sophisticated themes of discrimination and relationships between humans and mutants. I've also recently collected the first two chapters of the X-Men DVD movies (both directed by Bryan Singer) and really enjoyed seeing how Bryan tackles them by implementing some new and clever ideas and taking necessary liberties while maintaining the spirit of the comic books. Now that Bryan's gone to help out the Superman franchise, it's up to Brett Ratner and some of his new crew to complete the final act of the symphony, which definitely seems a little frightening a first, since it usually has a higher chance of changing the mood and the quality of the show entirely. Even recently mixed receptions strengthen its case, so I honestly don't know if X3 would worth a ticket price, so I just hope in with my mom and just try to enjoy.

Believe it or not, X-Men 3: The Last Stand, no matter what many critics say, turns out to be a really awesome movie! From the prologue that takes place 20 years ago to a grand climatic battle, the movie succeeds in fulfilling the promises of the first two while extending the trilogy's capability to the fullest. Though Brett could have polished the flow of the story (the sub-plots seem incoherent and cluttered), he really nails it by creating many of the most memorable and emotional pivotal scenes that even the great Bryan can't seem to muster. And if you think all of the emotions have been replaced by special effects and explosions, the critics must have been blind. Indeed, some of the characters DO SHOW THEM IN IMPORTANT CIRCUMSTANCES, even if it's mildly executed! SFX does not only make eye-candy visuals, instead, it helps to strengthen the emotions they express through their powers while at the same time creates metaphors to allow viewers to make their own interpretations.

As for acting, like its mood and setting, so far it remains consistent to the previous ones. Expected some fine performances from Patrick Stewart, Halle Barry Kelsay Grammar and the ever magnificent Sir Ian McKellen (Magneto Rules!) but eventually, Hugh Jackman steals the show with some of his finest portrayal of the lone wolf Logan/Wolverine. Sure, we all wish every mutant got a crucial role in the movie but hey, sometimes you can't do everything to make it workable (if you are a filmmaker, what'd you have felt?).

Despite its inevitable shortcomings and its lack of Bryan's brilliant input, X3 still proves to be a satisfying conclusion to the series, making way for more possible spin-offs such as Wolverine and Magneto and even possibly X4. Don't be tempted by the critical consensus by the major critics (they are so dead wrong); sometimes it's best to listen to your heart and decide.

W.I.T.C.H. (2004–2006)

You know what, this magic show sucks...

[1/10 · 19 May 2006]

And it is! Anime is everywhere these days, even some of our most beloved American cartoon/comic characters have been revamped into something that are no longer recognizable and are adopting strange features that they are not supposed to have! In this case, Disney too now focuses on that genre, disregarding their natural talents and hire an animation company called Jetix (the same company that creates the truly awful Super-Monkey-Robot-Yada-Yada-Wha? show) to produce another abomination that is sure to attract fans of the kids magazine called W.I.T.C.H (obviously initials for the characters' names, which you can see on its opening title. How lame and cumbersome).

Basically, I have no idea what the main story is about, but it's a bit like Harry Potter (since the first movie, everyone begins to imitate J.K. Rowling's success, but nevertheless fails to generate everlasting appeal) and a dot of Winxclub (which seems of plagiarize the former, plus lots more from other original anime preferences), which results in a badly mixed barf bag which older audiences have to consume to imagine its horrible taste (think of one event in Fear Factor where contestants are required to pick up garbage from the road and eat it!). First of all, animation is, well, what do you expect from conventional studios these days, Americanized Anime. Only more yucky. The character designs are equally generic and stiff as well (probably the most uninspiring is that little goblin who is obviously derived from Gollum/Dobbie). The costumes for the so-called Guardians are the worst I've seen in recent memories; with dull colors, poor choice of design and dreadful little wings, my interest begins to wane too quickly. I mean, c'mon, even little 'trick-or-treat' Halloween kids have better appearances than these 'pixies'! Plotwise, it's just like any other teen shows you have seen ranging from Sabrina to Ginger, so there's nothing to explain here. Basic magical elements such as water, fire, water... erg ... I just wonder if the writers of the show are capable of extracting their own bits of creativity instead of referring to the text books...

No matter what the 'fans' say about the show in this section, true lovers of animation like me may agree with some of my statements, so please I beg you all to STEER AWAY FROM THEIR MAGICAL INFLUENCES!

Charlie's Angels: Full Throttle (2003)

Classic Movies + Charlie's Angel Movie = Complete Barf!

[4/10 · 16 April 2006]

You all may be wondering how many kitsch movies you have watched in your entire life, not to mention how much hair you have pulled after cringing in every scene from the day you realized that popcorn movies are a mere imitation of a great (or two or more combined) classic movies which are MEANT not just to revolutionize the movie industry but to capture the hearts of the audience as well. But for those who just don't give a darn about quality and just slip in to watch it for guilty pleasure, just forget it.

But for those who have admired legendary directors for forging classics like Raiders of the Lost Ark, The Matrix, The Sound of Music, etc, perhaps you should take a look at this piece of crap specially made for unfortunate audience who have no knowledge in SFX and elemental context whatsoever. Best (or worst, either way, you choose) of all, Charlie's Angel 2: Full Throttle (the sequel to the first movie starring Drew Barrymore, Lucy Liu and Cameron Diaz) is essentially a five, six movies in one package, completely wrecked during the delivery and all you get is a messy experience.

It's as if director McG invited several Hollywood directors such as Steven Spielberg, the Wachowski Brothers, Tim Burton, James Cameron, Christopher Nolan etc. to shoot separate shots for him without even knowing what the heck is going on. As a result, the structure of the story seems incoherent and disjointed and it feels like a really bad music video (or perhaps a collection of professionally bad music videos), which serves no other purposes other than giving male viewers some wet dreams. Even the bad guys get progressively weirder like the crazy Irish dude who looks like Robbie Williams on a bad hair day and the Gothic, hair-obsessing vampire who seems to jump out of Tim Burton's mind and is completely off the plot. The only good stuff here (aside from fancy stunts and SFX, still I consider them kitsch) is the role of seductive criminal and former Angel Madison Lee, played by Demi Moore, in a classic rendition of the original TV series who uses GUNS instead of Woo-Ping's famous stylish patterns (which in fact has alienated the fans of the original in the first place). Too bad she is a bit of a Trinity rip-off, and it doesn't improve matters much later in the movie.

Those who adore Bill Murray's role as Bosley will likely be surprised that he 'undergoes' a strange transformation into . . . a BLACK MAN? What a minute! What's going on around here? Why on earth does Bosley need to reincarnate in Full Throttle, as Lois Lane would do to become a black woman? (If you think I'm kidding, check out in the Internet) Okay, I'm just kidding here; Murray's been merely replaced by Bernie Mac (Momma Bosley's relationship with the white guy? Either I don't listen to the conversation or it is that Mac REALLY undergoes a plastic surgery) just to add spice to the already trite formula but unlike the lovable Murray, poor Mac seems to do nothing more than performing really bad SNL sketches every time he is given a task to help the Angels reach their goal.

Once again, Full Throttle proves that, if you try to mangle the classic formula and modernize it to fit our generation's taste, you can only wish that you could endure hours and hours of pure brainwashing horror implied in thousand of kitsch movies before a REAL DARN GOOD AND ORIGINAL movie enters the scenery. . .

Star Wars: Episode III - Revenge of the Sith (2005)

Somehow, everything feels like Star Wars again...

[10/10 · 23 May 2005]

Once upon a time in a land far, far away, there was once a great 'knight' who stood up from his anonymity, learnt everything he saw and conquered all that were then deemed impossible to reach by many. But like any great legends, he too was scarred by the very bitter past that marred his status as a fighter, forcing him to step down and never to come back. However, his sense of determination and enthusiasm was beginning to mend, and like a little child who begins to learn to pick up a stick, he tries to regain his former self, only to stumble several times along his path to redeem himself. At long last, the struggling 'knight' had achieved his goal to become what he used to be many years ago. If you wonder who this 'knight' is, his name is George Lucas, famed director and creator of the popular sci-fi fantasy epic Star Wars, whose 30-year journey has recently ended with a bang with Episode III: Revenge of the Sith. As a treat to fans of the original, they will be delighted that many of the elements that make the original trilogy a classic have returned to this installment to bring a fitting conclusion to one of the most beloved movie sagas in history. That's right, expect the Wookies to make their appearances here, so do the X-Wing/Tie Fighter-like starfighters, Governor Tarkin, the clone troopers that now bear their resemblance to stormtroopers, the blockade runner, Darth Vader, the Death Star, etc. Wow.

The movie opens with an incredible space battle over Coruscant (possibly the best I've ever seen so far), followed by series of unexpected fighting sequences and last-minute decisive actions which help build up the anticipation of Sith's overall theme. And if you think these jaw-dropping sequences aren't enough, George has provided some of his greatest tricks yet to be seen. As the Clone Wars reaches its zenith, the Jedi Council senses a far greater threat that originates from the core of the Republic but is unable to determine who the real culprit is. Anakin's relationship with Palpatine has become much closer as the Supreme Chancellor tells many of the Sith's unique qualities to his about-to-be apprentice. This further complicates the Council's worsened matters. Elsewhere, Padme begins to get worried about his beloved Anakin who seems to be troubled by the pressure of the Council itself (he is furious when he is not granted the rank of Master) and the political and corrupted principals of the Senate. These dilemmas eventually lead to a climatic showdown filled with emotional depths, unexpected concussions and terrible consequences so powerful, thought-provoking and satisfying that many fans will definitely change their perspective on the original trilogy (no wonder George twitches some details in the original trilogy DVD set) as well as the first two. And it tends to get better as we move along...

Like the previous five, George once again proves his SFX mastery to create compelling worlds and creatures (which in fact look far more realistic this time around), thanks to the talented artists at ILM. Also, the classic John William score remains the significant highlights of Sith with similar tracks from Episodes I, II and IV. Aside from good storyline (we know that already), expect additional improvements including better script, characterizations and acting (thank goodness!). Hayden Christensen, whose portrayal of whining Anakin in Episode II horrifies some fans, finally gets his role right as he manages to express his hatred towards anything that stands in his way. Kudos to Ewan McGregor (Obi-Wan Kenobi) and Natalie Portman (Padme) who seem to feel comfortable with their characters as well. And let's not forget the truly delicious Ian McDiarmid as Darth Sidious/Palpatine (you'll never see anything like that before!). Truthfully, this movie will forever be remembered for its switching montages between Padme and Anakin at the end sequences; in fact, they are really the central pieces of the entire movie, whose inevitable destinies separate them on a sad and melancholic note, making way for a new revelation for Episode IV: A New Hope (thanks to its creative smooth editing). Of course, Revenge of the Sith still suffers from the limitations of the prequel trilogy that plagues the first two but the flow of the movie is so compelling and energetic you will tend to forgive and forget its shortcomings.

Due to its political resemblance to the events of 9/11, many viewers wonder if George intends to relate it to the Bush Administration (in which he eventually declines, countering with the fact that democracy usually turns into dictatorship for the sake of power and history tends to repeat itself all over again). Funnily enough, Ronald Reagan once adopted the name Star Wars for promises of peace, so I guess it's a fair exchange.

To sum it up, like Darth Vader at the end of Return of the Jedi, George has finally redeemed himself from the critical mistakes he made in the previous two episodes, producing a true masterpiece that is so worthy it eclipses everything the previous Star Wars movies have provided so far (sorry, Sith, The Empire Strikes Back still remains unmatched). Now that the saga is complete, we all leave the cinema with wide smiles all over our faces. I'm sure George will be pleased by the end results.

Spirited Away (2001)

A Movie Where Many Childhood Dreams Are Reborn...

[10/10 · 3 May 2005]

It is so ironically tragic that many great movies such as Hayao Miyazaki's Spirited Away are often overlooked by the public, suggesting that commercialism is the way of reflecting the possibility of achieving blockbuster status in the box-office, even as if most of these recycled products receive poor reviews (remember Shark Tale? It's horribly cliché but millions of viewers still watch it). Is it because of technology that drives its influence to the public without providing any necessity that is its substance? Or is it because Spirited Away is considered another ordinary 2D cartoon that should be suitable for little children and not the rest of us? Sadly, this is reality and we all see as it is right now (providing that we live in a topsy-turvy world with unfair paradoxes) but it doesn't mean that Miyazaki's masterpiece has a chance to change our reflections on life. In fact, there are doses of good reasons on why this movie is so special to us, aside from its family-friendly context.

Hayao Miyazaki, who has directed many of the most acclaimed animated movies in animation history (under the banner of Studio Ghibli), has stated that Spirited Away is 'for the people who used to be ten years old and the people who are going to be ten years old'. Perhaps, he really knows how children see things in their own eyes, as he might use to face during his childhood times (that's why most of his movies feature flying ships/creatures, tons of imaginative elements derived from Asian/Western cultures, some preferences from classic fairy tales, etc.) Most importantly, Mr. Miyazaki uses this tagline as an essential plot device to show the innocence, the bizarre, the horror and the wondrous revelation that the main protagonist (Chihiro) sees, feels and experiences throughout her spiritual journey, a path that we all had crossed as children before the madness of the world overwhelms our innocence. Fortunately, movies like Spirited Away succeeds in regaining our former consciousness, pulling us into his imaginative world where our childhood memories have never died; they are merely hidden inside our hearts and Mr. Miyazaki is enable to reshape them with everything this movie has to offer.

Instead of the cliché-ridden plots that mar state-of-the-art-animated films of today, Mr. Miyazaki refers to his personal experience in Japan as another plot device while maintaining the classic storytelling technique to create an entirely refreshing concept based on real-life situations. If you think Spirited Away features some of the most incomprehensibly bizarre characters you've never seen, fear not! Like all good movies, despite their oddity, they all are no different from us in terms of how they adapt to life and their functions to keep the company going. That also leads to the fact that Spirited Away is really not a good vs. evil show (like Star Wars); despite its scary images, powerful spells and evil-looking monsters, they are all surprisingly ordinary with mere characteristics of maids, bosses and customers. So don't expect a Darth Vader-like antagonist to cover the whole world with darkness while unleashing a large army of robotic troopers to destroy everything in their sights.

The overall animation is simply breathtaking. Even as they are all hand-drawn, the characters' expressions and body postures are all wonderfully done in a very natural way, the same applies to these beautiful background settings painted painstakingly by some of Ghibli's most talented artists in Japan. Speaking of animation, when watching it up close and personal, it does bear some resemblance to Disney's Snow White as well as his classic movies (unlike the new, recycled Disney movies of the early 2000s) in terms of its cel-shaded look and the way most characters move and interact (strangely, though, Mr. Miyazaki is not a big fan of Disney. Ironically, Disney is the only company that understands his movies' significance to moviegoers around the world, so it serves as a distributor to Ghibli's animated movies in North America.). Unlike most current anime that requires CGI to excite the audience, Mr. Miyazaki fortunately decides not to rely much on fancy digital applications (there are some subtle CGI effects, which are cleverly implemented on certain parts of the movie).

Disney, in its other matter, has done a good job in translating the movie's original Japanese context to its English counterpart without radically changing the flow and theme of its entire story, thanks to Pixar animator and executive producer John Lasseter (however, Disney's marketing power fails to attract more moviegoers). Despite the audience's varied reactions on English and Japanese tracks, in my opinion, I find both of them outstanding and seem to have a natural pattern to influence the mood of the movie. Once again, Joe Hisashi, the composer of many of Miyazaki's movies, has provided some of the finest and most memorable cues ever to bring grace to the screens (one of my personal favorite is a cue in which Haku finally remembers his original name, shedding its scales in the sky). Without these important audio elements, Spirited Away could have been another uninspiring, lifeless show.

It is no doubt that Spirited Away has indeed changed the way we look at animated movies, similar to the way the original Star Wars trilogy, the first two Godfather movies and films by Steven Spielberg did. It is also true that whatever I write in this review, a single picture tells a thousand words; you still need to watch it with your own eyes, feel it as you are still a child and you will understand a thousand reasons why this movie should receive an Oscar for Best Animated Feature. However, like many artistic filmmakers, Mr. Miyazaki is not interested in such glamorous spotlights and moneymaking propaganda, as he continues to inspire newer generations with his latest waves of masterpieces, starting with Howl's Moving Castle.

Thank you, Mr. Miyazaki for proving once again that childhood memories will forever endure within our hearts and souls until the end of time.

The Fairly OddParents (2001–2017)

Pure Horror...

[2 May 2005]

If I were to make a wish from a fairy, it would anything I want in my mind. Anything but clumsily-produced shows like 'The Fairy Oddparents'! (Bet you can't differentiate between the words 'Fairly' and 'Fairy'!)

Seriously, I don't really find the show funny or smart. In fact, the entire show is so clumsily edited as if it feels like some roller-coaster ride that often misses the mark (I have no idea what is going on in each episode, some stuff don't even make sense like Johnny Bravo in which irrelevant elements are included without a concrete reason). Even the artwork is way too radical that I can't suggest if they are happy, angry or sad. Plus, the colors are way too BRIGHT, so bright they often hurt my eyes (e.g. Danny Phantom which features too much green stuff!)!

I can't think anything else to bash this show, so just try to steer away whenever you see a pair of goofy fairy (err, fairly) Oddparents flying inside your homes!

Star Wars: Clone Wars (2003–2005)

I Have A Good Feeling About This One...

[10/10 · 26 April 2005]

And if you think the way I'm thinking right now, you should be! Star Wars: Clone Wars is one of the most captivating cartoon shows I've seen in recent years, hence gracing the name that George Lucas has conceived almost three decades ago. In fact, I am not really a big fan of SW's Expanded Universe since its purpose is to explore the possibilities beyond the movies (which in turn ruins the rhythm of the saga's overall presentation). Clone Wars, also labeled as an Expanded Universe, otherwise proves the other way round. Due to the fact that this so-called Microseries sticks closer to the next two movies (Episodes II and III) than anything else, fans of the movies will be delighted to know that it remains true to the spirit of the Star Wars mythology despite additional sub-plots and newer characters.

Star Wars: Clone Wars chronicles the adventures of Anakin Skywalker, his mentor Obi-Wan Kenobi, the beloved droids Threepio and Artoo and the rest of the characters from the first two films (fortunately for Jar Jar Binks-haters, he is nowhere to be seen) during the events of the Clone Wars: full-scale battles between the mechanical Separatist and the Army of the Republic (clone troopers). In addition to its role as a bridge between Episodes II and III, the Microseries also visually succeeds in enlarging the scope of this universal war only mentioned briefly in Episode IV: A New Hope. Speaking of structure, Clone Wars is divided into two parts: Volume I (takes place some time after the Battle of Geonosis) and Volume II (Chapter 21 ultimately concludes the story arc of Attack of the Clones, the rest takes place some time before the events of Revenge of the Sith). If you (especially newcomers) are completely confused with the chronological storyline, it's best that you watch everything from the original trilogy and the first two episodes of the prequel trilogy before tackling with both the Microseries and the upcoming movie.

Anyway, back to the review.

For Vol. I, the animation is almost flawless. Most of the characters and background settings are painstakingly caricatured/reproduced from the first two movies despite their radical looks (which in fact giving a comic book feeling to the series, thanks to the truly talented Paul Rudish of Dial M For Monkey fame, the short-lived segment of Dex's Lab that heavily inspires Clone Wars). Perhaps one of Clone Wars' major highlights is the lightsaber duels: they are all beautifully recreated from the movies while being spiced up with the 'Samurai Jack' trademarks that make the original a hit amongst viewers. Also, many fans will take a first glimpse on one of the most dangerous villains in the Star Wars universe: General Grievous. The only drawback of Vol. I is its length; each chapter only runs for 3 minutes, shorter than the usual running time for most conventional cartoon shows. The only way to satisfy your appetite is to watch the one-hour version, which crams 20 chapters altogether (although some may expect that the whole story feels too disjointed).

Vol. II, like the first one, is no different, except for its extended running time and some minor changes (Anakin's hair is now longer and he wears an outfit similar to Darth Vader's, the first appearances of Grievous' bodyguards, clone troopers now bear their resemblance to stormtroopers, etc.). While it maintains the quality of the previous 20 chapters, Vol. II feels slightly shorter in terms of its overall length and atmosphere due to the fact that most of the situations only take place in two worlds (one of them serves as a prologue to Revenge of the Sith as Supreme Chancellor Palpatine is kidnapped by Grievous). However, Vol. II succeeds in adding depth to the tragic character Anakin whose path to the Dark Side is almost inevitable. Personally, I really like the 'Ghost Hand' concept, in which Anakin's mechanical right hand can be related to the myth of a mysterious tribe, hence giving much legendary status to the Skywalker legacy.

Aside from its authentic license, Clone Wars is accompanied by the classic John William score as well as other additional score that is reminiscent to other cartoon shows you can think of. Perhaps the only thing that bugs me is its artificial synthesized music on certain parts of its entire run. It would have been a much greater experience if the whole score were fully orchestrated instead. The voice acting, while mostly provided by actors from the Star Wars video games (except for Anthony Daniels who reprises his role as Threepio), is pretty well done by any standards.

As a true Star Wars fan, I wish to thank the director of this amazingly revolutionary Microseries, Genndy Tartakovsky for proving once again that 2D animation can actually make a huge difference if we are willing to look at one thing in a completely different perspective. Kudos to George Lucas and the entire crews of Clone Wars as well!

Foster's Home for Imaginary Friends (2004–2009)

From The Creative Mind of PPG Comes Yet Another Masterpiece...

[9/10 · 25 April 2005]

It's great to see how animation studios start shifting their attention from traditional animation to Flash animation in this new millennium. However, I still personally feel that Flash is a relatively new technology, which means that most Flash cartoons still haven't matched up with even the best 2D cartoons in the market yet. Let's check out the latest wave of Flash toons now showing on Cartoon Network. Lucha Mucha! has some of the fanciest animation I've ever seen but I still feel that it pretty much suffers from episodic plot and over-the-top toilet humor. Elsewhere, I've high hopes for Atomic Betty (I saw its impressive promo clip via the Internet), which is unfortunately marred by its unoriginal plot and settings, sluggish editing and it's even ripping off Samurai Jack's cinematic ratio screen! I begin to lose faith in Flash when suddenly I hear of another Flash cartoon created by Craig McCracken who also helps create the ever-popular PPG! Despite this great news, some questions remain uncertain: will this new show be McCracken's next masterpiece? Will it be as funny and energetic as his previous works? Will it even surpass my expectations as it may surpass PPG when it debuts on CN?

As for the answers for all three questions above: YES! In fact, of all the Flash cartoons currently available on TV, Foster's Home For Imaginary Friends has the best of all worlds. Because Craig has gained experiences while working on Dex's Lab and PPG several years before, it's no doubt that Foster's Home manages to attract audience of all ages with its superbly balanced and original storyline, a strange mix of cute and bizarre characters and even some of the catchiest music I've ever heard from a particular cartoon show.

Like all good cartoon shows, many of the characters in Foster's Home have some unique features and personalities of their own (thanks to its incredibly tight yet funny voice acting). Bloo, the cute little blue blob, is Mac's imaginary friend who often looks for trouble, intentionally and unintentionally, even as if he admits that he does it for fun. Coco is a bird who can only mention its name (similar to Pokemon, I guess) but it also can lay eggs that, when hatched, reveal some really useful and sometimes unnecessary items based on Coco's thoughts. We also even have Eduardo the big bull monster who's afraid of everything; Wilt, the one-eyed, one-armed intelligent imaginary friend, the noble but irritating bunny man Mr. Herriman, hot chick Frankie who is neglected of Herriman's orders and is pretty much of a typical teenager, quiet Madame Foster who still acts like a little brat, etc. Despite their differences in appearances, accents and attitudes, they are all very funny, lovable and appealing.

I also wish to congratulate the background artists for making Foster's Home a truly strange and imaginative world. Most of the settings are beautifully designed, with inspirations from its predecessor (PPG) in addition to vibrant colors and the wackiness of its overall nature that suits the atmosphere of the entire show. Like I have mentioned above, the music is pretty catchy and truthfully one of the real highlights of the show, especially its opening theme which is a nice amalgamation of a classic piano tune which is often heard in most cowboy movies, a 'roller-coaster ride' song and even some really silly clown effects. As a bonus for finishing a particular episode, viewers will be treated with a simple yet absurd sequence at the end credits.

Each episode of Foster's Home, although still hasn't yet reached the insanity level that its predecessors had in their later years, is captivating and hilarious at best. The only complaint I have here is the fact that most episodes only run for 30 minutes each (some of them are actually two-in-one episodes which are true to the spirit of PPG/Dexter). I can't see why they are shown individually (like Samurai Jack) instead of the usual PPG structure. I bet everyone will think of something like, "GIVE ME MORE 'BLOO', PLEASE!"

Anyway, Foster's Home For Imaginary Friends has proved, even to Craig himself, that its simplistic concept can clearly make up for a truly classic cartoon show with the right ingredients given by chances and choices. Give it a try, you'll definitely love it!

My Life as a Teenage Robot (2002–2023)

The Sweetest Show To Grace The Small Screens!

[9/10 · 20 April 2005]

So far, Nick's current line-up is pure horror (The Fairy Oddparents, As Told By Ginger, All Grown Up) but only one of them makes an exception: enters the Blue Girl, XJ-9 from the future! (or should I say retro-future in this case!)

My Life As A Teenage Robot is a surprisingly good Nick Toon that tells the story of a girl robot who saves the day by fighting evil alien invaders and other menacing villains from all sides of the world and the universe (hey, that probably sounds like a Powerpuff Girl rip-off but Rob Renzetti, who creates this show, has also worked on several PPG episodes before, so I abide by that fact) while facing challenges as an ordinary teenager in real-life situations! And if you think the word 'teenager' will often lead to concussion that the show will feature head-banging rock songs and typical teenage punks, think again! TR's artwork and background designs are heavily inspired by classic cartoons of the 20s (think of it as an Oswald cartoon in its newer form), out-of-date anime and even classic buildings of the Golden Years while maintaining the very essence that makes every hit show (Samurai Jack, Foster's Home For Imaginary Friends, PPG) an instant classic.

But that's not all, folks! Every episode is as sweet as the rest, thanks to its inventive ideas, fluid animation (the best examples include Jenny's transformations and even in one scene where Jenny outfashions her rivals by revealing her fancy costumes, in which I personally think is the best I've seen in recent years), wonderful voice acting and colorful character personalities! The music is, unlike the usual pop songs that are often heard in teenage-themed shows like As Told By Ginger, surprisingly pleasant and is predominantly reminiscent to the ones heard in Tartakovsky/McCracken shows, in addition to the cool techno music.

To sum it up, MLAATR is cute, funny, unexpected and a real blast to watch from start to finish. It is hard to underestimate a Nick Toon like this one, especially when you have no idea what the Blue Girl has up her sleeves!

Johnny Bravo (1997–2004)

I Never Even Laugh At A Single Episode

[20 April 2005]

That's right, how can Johnny Bravo be a funny cartoon when that big baffoon alone is just all brawn and no brain? Surely he is an amalgamation of Elvis and Homer Simpson but that doesn't even make Johnny Bravo a classic cartoon character. All he does is doing his fancy poses in front of the chicks and getting his butt kicked all the time. It really doesn't matter if you miss a single episode because they are all pretty much the same, making the show repetitious and boring. What's worse, even most of the jokes in the show fail to pack a punch or in some cases, do not make any sense at all.

There are so many problems that actually hinder me from laughing out loud. Incoherent character designs, horrendous background visuals that are reminiscent to cheesy Hanna-Barbera shows (that applies to the earlier season, the later looks much better but still seems surprisingly inconsistent), typical dialogue and character personalities, etc.

Like the first generations of Cartoon Network (Cow and Chicken, I Am Weasel), Johnny Bravo is everything but funny, logic and creative. And unlike future generations of any networks (Samurai Jack, Clone Wars, My Life As A Teenage Robot, Justice League), Johnny Bravo is definitely out of date.

The Five People You Meet in Heaven (2004 TV Movie)

If you have watched Big Fish, you'll definitely love this one!

[10/10 · 17 April 2005]

Many people have always thought that they don't do anything significant to change the lives of other people. That's absolutely true, in our point of view but there is something that we may not expect during our entire lifetime; some uncertainties can actually lead to the fact that we DO make a difference, that's if you meet the people you may or may not recognize in heaven. This is the main theme of this truly powerful miniseries based on the book by Mitch Albom.

Even if you haven't read the book, you will be instantly enchanted by the show's believable characters, a story with unexpected twists, lavish settings and even some of the most emotional scenes to be shown on TV (that's really next to the equally powerful montage scenes from Frank Herbert's Children of Dune). Those who have watched Tim Burton's adaptation of Big Fish will also find some similarities in this show too, in terms of its whimsical, fairy tale-like narration.

Bravo to all the actors who work on Five People for bringing much joy, sadness, anger, melancholy and most importantly, everlasting love to grace the screens and should deserve much credit for such occasion. The settings differ from one scene to another as we travel through poor Eddie's spiritual journey in his entire lifetime while cleverly edited to convey each section's (in this case, five) theme and purpose despite the fact that all of them take place in completely different eras and realms. The music, too, is amazingly serene and moving, contributing much to the flow of the story as well. Perhaps, the most rewarding part of Five People is the revelations that we all feel in which Eddie finally attempts to redeem himself from the terrible things he has done and free himself from the limitation of being human. And all that can be done with only some simple but ultimately very 'human' deed without the need for fancy special effects or clumsy, cheesy pitfalls (one of the finest examples is the river scene in which Eddie washes the scars of the fifth person, the same person he burned with a flamethrower during WWII. All it requires is a tiny rock but that scene alone already captures the hearts of the audience, including mine!).

I highly recommend this not only to fans of Tim Burton or Terry Gilliam but also all the people who enjoy a really good story about an unlikely person who proves to be more special like all of us on this good old Earth.

Mobile Suit Gundam SEED (2002–2003)

The Weakest Gundam Show I've Ever Seen. Bleech!

[15 April 2005]

Honestly, the first time I saw this Gundam-themed show, I didn't really expect it to be better than the previous ones (only a few of them are worth noticing) and I was right. Unexpectedly, after watching several episodes, its major flaws seem to flow deeper than I can recall of. Or maybe my own senses are making a fool of my consciousness.

First of all, the story is pretty generic and old: the conflicts between the colonists and the so-called 'Earth' people have been explained a thousand times in this long-running series despite different settings and timeline. Gundam Seed, in this case, is no different from the earlier Gundam shows. I guess that the Gundam crews attempt to attract newer generations who have no idea of the series before. Veterans, however, may have to look elsewhere since there's nothing completely original in this latest incarnation.

Character designs are actually decent, if not really state-of-the-art. However, facial expressions are rarely shown on their faces as they are mostly drawn in a rather eye-catchy and yet sterile appearances, therefore they fail to convince the audience to feel anything from them (a few intense scenes do manage to pull that out, just not much). Character development and believability are mildly effective but not in its entirety, even if you try to make believe of it.

Animation, on the other hand, proves to be very disappointing and almost amateurish compared to other anime; jerky movements and some really, really dreadful frame continuity spoil the show's overall quality (in fact, that's the only obvious part of the whole production that bugs me a lot). Alas, that same goes to CGI as well! Also, is it a necessity to put some irritating, little flying balls (not a pun) whenever a princess-like character makes a appearance?!! I fail to see their main purpose, really...

Despite these drawbacks, the only saving grace is its double theme songs at both the beginning and the end of the show. They all sound phenomenal and awe-spiring (I only refer that to the earlier episodes, not the rest) but not even these can save this show from being monotonous and horribly bland.

Really, this has to be the weakest Gundam show I've seen so far (ok, I admit I'm not a big fan of Gundam and don't really care much of that but quality assurances are important if you want a particular show to be successful). Why some fans claim this to be the finest show in the entire series is beyond my comprehension. Maybe they are all influenced with anything anime or mecha-themed or whatever that no longer makes senses, I don't know. Anyway, if you seek for a completely different Gundam show with incredibly high originality, you won't find it here. Just wait for a few years and that will be a dream come true.

Samurai Jack (2001–2017)

A Truly Cinematic Cartoon

[10/10 · 19 January 2005]

A few years prior to this day, I had yet to take a single glimpse on Samurai Jack. For some time, I heard people raving about its outstanding animation techniques, never seen before fighting sequences and humor. Curiosity and anxiety surrounded my mind, wondering if it really reached or even surpassed the standards set by Dexter's Laboratory and The Powerpuff Girls. Incidentally, Genndy Tartakovsky, the creator of this new show, has worked on the previous two before and based on my knowledge, his vision upon the animation industry is pretty unlike anything any other animators have seen before.

Not long after its first run, I managed to witness an episode of Samurai Jack on Cartoon Network in my aunt's house. In fact, in my first viewpoint, the show really seemed a bit simplistic, focused more on battles and at some points, a sense of humor to keep the audience's interest. Yes, it bears similarity to other Genndy's older works. However, I'm just talking to one of the episodes shown on the channel. Initially, the similarity ended when I began to watch the rest of the episodes.

The plot itself is quite simple: Samurai Jack (his original Japanese name remains a mystery) lives in ancient Japan where his homeland is being ravaged by a mightily powerful but weird-looking, sometimes insipid demon named Aku. Jack used his mystical sword to fight him and eventually he defeats him after a few bouts. But before Jack manages to destroy the demon once and for all, Aku casts a spell that sends Jack into the future, a time when Aku reigns supreme. Now, it is up to Jack to find a way to go back into the past by wandering around the futuristic cities, barren wastelands and ancient ruins inhabited by aliens and other bizarre creatures you haven't seen before and most importantly, meeting allies and friends (like the crazed muscular Scotsman) to give our struggling hero spiritual hope and motivation to reach his destiny (the maturity of Jack can be seen throughout the seasons, as he seems to be more confident and has the right to call himself 'The Legendary Samurai'. Something like that). The character designs and the environments are extremely odd in Genndy's favor but perhaps these are the reasons why Samurai Jack is such an appealing show to watch at. Firstly, unlike the typical Saturday cartoons we usually see, it is almost an ambiguous cartoon with really abstract elements (specially when you watch a peculiar episode for the first time ever). You have absolutely no idea what is going on there: the creatures, the aliens, the bizarre skyscrapers, the contraptions. They are all refreshingly cubic and bizarre and yet have a reason for their existence. Despite its subtle and uneven premise, Samurai Jack is simply a straightforward action show with easily identifiable objects (toon experts will know that for sure) and characters (its basic concept is mostly derived from the Star Wars universe, in which Genndy also directs under the name Clone Wars). At one case, some of the elements of Samurai Jack are derived from Akira Kurosawa's movies, anime (both state-of-the-art or cliché) and on another point, famous American icons and world cultures. Some even serve as a precursor to Craig McCracken's Foster's Home for Imaginary Friends with bits and pieces from Dexter's Lab and PPG. Sure, most of the episodes don't capture the scope of full-length movies but the slowness of its nature allows the audience to accept the fact that it almost feels like a movie, in a shorter form at least. If you ask whether the show's appropriate for kids, well, Samurai Jack is a surprisingly violent cartoon (that's beyond the boundary of Dex and PPG) but that otherwise proves that Genndy's skills to handle a particular context has matured.

What really fascinate me are Genndy's abilities to master the essential film-making techniques such as pace, flow, mise-en-scene and mood, smooth animation and most importantly, character appeal such as Samurai Jack himself. Some sequences are even squeezed in to a particular ratio aspect to provide a cinematic point of view as well as to increase the tension of a situation. Creative editing techniques also helps to build anticipation, fasten the pace of the action sequences (mostly beautifully choreographed despite the fact that they are just frames of drawings!) and create decisive matters as Jack faces frequent pandemonium. The artwork of the show is equally impressive albeit a bit kiddy oriented. That essentially leads to one of Genndy's strongest trademarks and principles: simplistic designs tend to have greater impact compared to realistic models (of 2D and 3D) by conveying constant exaggeration, ridiculous laws of physic and common sense and doses of good slapstick humor while maintaining its 'logical sense' without losing direction. The show's crystal clear colors and tones also manage to reflect the overall mood of a particular environment, whether you can feel the serenity of ancient Japan or the unknown danger of the dark and barren wasteland.

If it weren't for Genndy, cartoons cannot evolve into newer forms. If Gene Deitch gave birth to 'limited animation' via Gerald McBoing Boing, we all could say that, in my opinion, Genndy Tartakovsky gave birth to 'cinematic limited cartoons' or simply, 'Cinematic Toons'. I know these terms don't sound right to some people but through Samurai Jack, he has created something that proves to be revolutionary since the era of the Renaissance (Batman, DuckTales and Tiny Toons). Since then, Genndy Tartakovsky is now regarded as one of my most favorite 'heroes' of our time!

Danny Phantom (2003–2007)

An Ill-Conceived Cartoon That Is Actually Not Funny

[19 December 2004]

Hey, look what we have here: an inept Nick Toon which tries to be another Ghostbuster clone. Unlike the original (and still the best) Ghostbuster cartoon, Danny Phantom is just plain unfunny and boring.

There are so many reasons Nick should cancel this show:

1) It lacks some punchlines and clever jokes (e.g. Spongebob Squarepants - Always refreshingly hilarious from one episode to another)

2) Too much of these 'Teen-life' stuff which makes some people cringe

3) Not so creatively-designed enemies with awful one-liners

4) Episodic plot (bad ghost creates chaos in Danny's hometown, Danny and friends' plan to capture the ghost, dysfunctional family subplot, bla, bla, bla)

5) Not so inventive surprises and excitement (e.g. Invader Zim - Unexpected and Exhilarating, Ren and Stimpy - Ordinary stuff suddenly turns odd and outrageously gross)

6) And what's with Danny's garlic breath whenever there's a ghost nearby...

7) ... and even the show's choppy frame rate (which is obvious during its entire run)?

If you have seen so many of these tiring cartoons with cliché elements and actually longed for good Nick toons as mentioned in brackets, better steer away from Danny Phantom!

The Incredibles (2004)

A darn good show but not nearly as funny or emotional as 'The Iron Giant'

[10/10 · 22 November 2004]

Since watching Brad Bird's first animated film The Iron Giant, I am immensed with its surprisingly entertaining storyline and brilliant animation depicting the big robot as a child and the boy as his parent (yep, everything's done without irritating sing-along sequences and typical sidekicks). What gives this rare gem a powerful film is an unexpected and sometimes emotional 'twist' somewhere near the end which definitely lets the audience including myself to express our own emotions (hatred and even sympathy) towards the characters involved in this movie. Since then, I always consider this movie a real 'classic' of its own genre.

Now, it's been five years since The Iron Giant and Bird once again takes the world finally with The Incredibles, an action-packed family film about the life of a superhero whose recognition as a crime fighter is marred by the public. And so, he marries a woman with elastic powers (hmm, almost reminds me of the 'Fantastic Four') and starts his own family which unfortunately leads to his pathetic days as an ordinary social worker (which is funny because he isn't used to this normal lifestyle since he himself is 'abnormal'!). Unlike any Pixar films, The Incredibles' is more of a bizarre mix of drama and comedy (and lots of family issues too) which, for some people's POV, is a refreshing change from the typical CGI movie fare. Of course, I have nothing against Pixar's awesome animation technique: the character's posture, emotions and facial expressions, despite their cartoony looks, seem more real than the fake-looking Polar Express's 'real' characters. Also, expect some Bird's favorite trademarks (Mr. Incredible banging the malfunctioning car door, the robot invasion, the retro elements and even the ever lovable Frank and Ollie cameos!) which are delicately picked up from The Iron Giant.

However, despite the good stuff I have mentioned above, every good movies also need some criticism as well (sorry, adored fans of Pixar). The settings in the middle act are heavily (and obviously) borrowed from the X-Men movies by Bryan Singer (e.g. the futuristic ship, the backgrounds in the hidden base, the sky chase with missiles), ruining the movie's overall originality. Perhaps the sadder part of this sort of criticism is that, despite its incredible premises and technical wizardry Bird is trying to achieve, The Incredibles sadly doesn't capture the emotional and humorous tones of his previous outing The Iron Giant. It's quite surprising that I don't feel the same magical experiences that I earned in Iron Giant. Perhaps reviving the same old magic proves to be harder than expected but anyway, The Incredibles is still an enjoyable movie with great moments with Edna the cloth designer and even the most amazing chase and battle sequences ever created in animation history.

Although The Incredibles lacks originality, watching it for the second (third, fourth and so on, thanks to DVD) time only proves how wonderful this movie is (combined with great and sometimes humorous dialogue and brilliant mise-en-scene that reflects its Golden Era atmosphere). Realizing that I can't think of a better storyline on a particular sequence, I congratulate Brad Bird and his entire team at Pixar for making such a serious animated film, not only with 'flexible' and appealing animation, but also with a big heart.

Children of Dune (2003)

A Blessing From Shai-Hulud

[10/10 · 27 October 2004]

It's Shakespearean. It's Science Fiction. It's epic. And it's a beautiful story to be told. It's Frank Herbert's Children of Dune, the sequel to the worthy Dune miniseries helmed by John Harrison, who directs the first miniseries. Like its predecessor, it is faithful to the spirits of Herbert's books (despite radical changes) as Harrison has promised to many Dune fans. This time, however, many of the technical values that slightly plague the first one has been greatly improved.

In the second and third installments of the Dune Chronicles (both directed by Greg Yaitanes), Paul Atreides, who once led the Fremen Rebellion against the Corrino Emperor and the forces of Landsraad, now has become the new Emperor of the Whole Universe. However, his legacy lays a deep scar upon the universe: he becomes a god, a symbol of religion, alongside with her sister Alia, creating fanatics who will do anything to fulfill Paul's dreams. By sending his Fremen troopers to conquer every planet, many of the key foundations including the Bene Gesserit and the Tleilaxu (as well as the inhabitants of Dune themselves) begin to hatch a conspiracy that will end Paul's reign of terror once and for all. Despite Paul's struggles to create a better future, he fails to get things right as everything he envisions turns to ash ala King Midas, so his only salvation is his twin children, especially his son who will demystify Paul and create another future known as The Golden Path, the one path that will ensure the survival of humanity.

Before this miniseries' release, I already know that alterations are inevitable (9-year-old twins suddenly face an abrupt puberty, hence becoming teens) and fear that it might turn out to be equally bizarre as the first miniseries. However, the final product is simply satisfying and is a reminiscent of any classic Hallmark show based on famous fairy tales you can recall of. First of all, the cast is outstanding. Alec Newman, who doesn't fit or seem right as the young Paul in the first outing, finally fits and seems right as the struggling Emperor; even his alter ego performance of The Preacher is equally inspiring as well. Some of the old favorites such as Barbora Kodetova and Julie Cox reprise their roles and show both maturity and improvement. The newcomers prove to be interesting as well: James McAvoy and Jessica Brooks play beautifully as the Atreides twins (in this point, I REALLY call it a blessing from Shai-Hulud), Daniela Amavia proves her allure and ferocity as Alia, the psychotic regent of Arrakis and Edward Atterton deserves special attention for his noble role as Duncan Idaho. Personally, I always thought that Alice Krige has done many of her finest moments as Lady Jessica. Sarah Sarandon's Wensicia, on the other hand, looks and sounds a bit dry but it's the raspy quality that makes her the Wicked Witch of COD.

Lavish production values add some touches to the already acclaimed miniseries: digital backgrounds are now used to convey realism and to blend the surroundings well with the indoor structures (although I personally think the world of COD looks a bit narrower, Storaro's Trans-light concept really makes the first Dune world a larger fantasy scape despite its fakeness), the special effects are exhilarating (e.g. the Guild ship's attempt to capture a sand worm to break monopoly on Spice) and most importantly, the wonderfully composed soundtrack by Brian Tyler which, unlike the first miniseries and the David Lynch version, ables to capture the inner soul of Herbert's works accurately.

Overall, Children of Dune is a major improvement over the original and is so far the best miniseries ever adapted from a Herbert novel. Be warned though that the plot may confuse those who haven't read or watched the first Dune. Afterall, you will definitely be absorbed and spell binded by the and richness and splendor of this magnificent fairy tale.

Ultimately, the spice must flow.

A Legendary Love (2004)

Now, That's What I Call A 'Movie'!

[8/10 · 27 October 2004]

For the first time in my life, I really have to admit that Puteri Gunung Ledang is so far the first Malaysian movie that contains all the right ingredients for a good and watchable movie. Truthfully, I have never liked any Malaysian-made movies before PGL, thinking that either the filmmakers here never actually bother for quality for the sake of money or perhaps, obviously, that they don't know the proper principles of film-making after all. When I decided to watch PGL a few weeks ago, I kept asking myself if this money was worth the ticket price. Fortunately, it was. Thanks to Teong Hin Saw's brilliant direction, PGL gives a refreshingly new perspective to the casual viewers and also fans of World History.

Basically, it is a love story between Hang Tuah, the legendary Malay Warrior of Malacca and the Javanese princess Gusti Putri (the title character) whose relationship arouses the tensions between two worlds: the Sultanate of Malacca and the Majapahit Empire. The plot may be a bit straightforward but its production values makes a major leap over the previous Malaysian outings; you can safely assume that PGL is definitely a work of a pro. Great cinematography (forget about the Cameron Highlands issue), exhilarating camera moves and editing, decent fighting sequences and quality SFX prove it all. Casting, on the other side, is a mixed bag: some perform extremely well, expressing their powerful gestures convincingly while the rest are surprisingly wooden, leaving lots of rooms for improvement.

It's true that PGL is not without flaws: the most obvious is the pacing of the entire movie and as a result, it is not a well balanced movie. The lack of any action sequence in the middle act makes the movie seem a bit draggy, filled with long (twisted for some viewers) conversations, tight focus upon the two lovers and other unnecessary slow-moving sequences. Unlike any international epic movies you have seen, PGL is rated 'G', suitable for the whole family, which basically means that it contains no forms of profanity or suggestive elements that may otherwise prove sensitive to some viewers. This only cheapens the maturity of this movie: for me, the whole movie, despite excellent production values, feels mild and unsatisfying as if I ate a half-baked cake.

PGL could have been a great contender in any film festival if a) it were a bit more sensual (ala Ang Lee's Crouching Tiger, Hidden Dragon), b) more violent (ala Peter Jackson's The Lord of the Rings trilogy), c) more thought-provoking and visually more disturbing (ala Ron Howard's A Beautiful Mind). Despite these inevitable drawbacks, the Malaysian film industry seems to be taking the right path and this is just the beginning. For now, PGL feels like a good movie. Not phenomenal, though.

Mistik (2003)

You Call This A 'Horror' Movie???

[1/10 · 27 October 2004]

Oh boy. This cheap horror flick is just plain bad. Real bad. And it's worse than any awful movies listed in the Bottom 100. Strangely, though, despite the genre itself, it's more of an unbearable comedy than what it supposes to be.

Mistik is definitely the Malaysian equivalent of Manos, the Hands of Fate: from the rather cheesy opening credits that introduce the main characters in unbelievably campy situations and the 'chicken' dialogue (that's what drives the audiences crazy) to the endless waves of screaming and laughable cheap thrills (you have to see this to believe it! For example, cat and leaves thrown at one of those unfortunate victims!). What surprises me, though, is that Mistik is supposed to be a horror movie but because the crews fear of the censorship, they decide to turn it into a family-friendly fare. Imagine watching a G-rated Exorcist or Psycho (or whatever famous horror movies you can name). For me, it's just plain absurd and ludicrous and it's possible that the whole world would laugh at Malaysia's ability to make movies such as Mistik. For me, this whole situation is quite embarrassing.

If you think I'm wrong, just watch it and you will get my point.

The Terminal (2004)

Simple but quite charming!

[8/10 · 23 October 2004]

Although I never expect The Terminal, directed by the all-time genius Steven Spielberg, to feature bombastic special effects and create major attraction amongst the audience, this little gem turns out to be surprisingly funny and heart-warming compared to most movies I have seen this year. The plot is slightly more of a parody of Robert Zemeckis' Cast Away: Tom Hanks was once stranded in an unknown island. In The Terminal, he's once again stranded, this time however, in an airport in New York City.

Viktor Navorski (the role that Tom plays) comes to America to accomplish one thing that his father has requested before he died but due to conflicts and government overthrow in Krakozhia, his visa and passport are no longer valid in the US, forcing him to stay put within the terminal. To make matters worse, Navorski's English proves to be a pain in the neck, often causing misinterpretations and confusion. But there lies the brilliance of Tom Hanks: every gesture and expression he made in each scene is naturally flawless and hilarious. As in any Spielberg film, the editing is smooth, the camera angles are creatively used in a rather dynamic way and of course, bits and pieces of clever gags to make sure that the audience don't get bored easily. If some speak of some miscast in this movie, well, that may be half true. Catherine Zeta Jones plays her role nicely, Stanley Tucci fits the role of the 'villain' extremely well and the rest manage to give The Terminal a sense of magic even if it isn't obviously there.

I just only hope if Mr. Spielberg spends more time with the romantic relationship between Tom and Catherine but the rest of the production is plain exceptional. Overall, The Terminal is a perfect choice for lovers out there, including those in the airport.

The Matrix Revolutions (2003)

A Crowning Achievement

[10/10 · 14 October 2004]

I fully understand that many critics and Matrix fans alike are disappointed by the outcome and quality of The Matrix Revolutions, the final chapter of the Matrix Trilogy. But while they just simply dismiss as a mindless, CGI action-packed thriller, what they don't know is that every weakness has a strength of its own and beyond. The Matrix Revolutions may be the weakest of the series, but it is also provides the most appealing, exhilarating, spiritual and energetic ride I've ever experienced. Also, Revolutions also has the most realistic uses of CGI ever created and the SFX guys really manage to pull this off (I always thought Revolutions would have snatched an Oscar instead of Return of the King. Due to bad press, it never came to fruition).

Where many see it as a failure, I see Revolutions as a worthy conclusion to the series. The main reason is that Revolutions is just a fragment of a bigger puzzle. The whole three movies connect and heavily rely on each other since each cannot qualify itself as a contender alone (The first Matrix is an exception but the Wachowski Bros. want to represent each with a theme: Birth, Life and Death, so I abide by it). The first Matrix is merely an introduction, infusing many philosophical 'techno-babbles' while witnessing the bizarre yet subtle effects of the Matrix. Reloaded is a mere extension of the first but with more surprises, balancing its weight between action sequences and mind-bending thoughts. It also serves as act two as the machines impatiently begin to dig down into the cities of Zion. Finally, Revolutions is act three: a grand finale as the Wachowski Bros. demonstrate the outcome of the first two, resulting in massacre and total destruction between the two races while all shrink into a final confrontation. All seem to blend nicely in the entire trilogy, assembled and paced in order like an orchestra. I also suggest to watch the Animatrix DVD, starting off with the two parter The Second Renaissance (you will soon learn the brilliance of the Brothers' storytelling technique).

Despite poor script and wooden acting (at least the actors have tried their best), it doesn't really matter. By the time you jack in, The Matrix Saga feels like a wild dream and ends with a bang as we begin to jack out, feeling satisfied with its final premise. I also hope that those who hate Revolutions will reconsider by watching the entire saga again.

Pirates of the Caribbean: The Curse of the Black Pearl (2003)

A Pretty Straightforward Movie

[7/10 · 14 October 2004]

And I really mean it! I have absolutely no idea how this pirate movie manages to enter the IMDb's Top 250 Movie List, but I guess most of you viewers love The Curse of the Black Pearl for some good reasons. However, I don't find it entirely revolutionizing in any sense.

First of all, the plot's simply too straightforward in my taste (the script is pretty cheesy and tiring as well) and like any typical Hollywood movies, expect lots of the same old swashbuckling stuff and highlighted special effects without being mesmerized by its overall b-movie context. Aside of these criticisms, Johnny Depp is brilliant as the goofy Jack Sparrow but the rest of the cast is just plain OK.

The Curse of the Black Pearl seems to be a no-brainer and doesn't hold my interest any longer now. If you want a quality pirate (or ship) movie, I highly recommend you to watch 'Master and Commander: The Far Side Of The World' instead. It's far better than this dire action movie, for my sake.

Asian Charlie's Angels (2001 TV Movie)

Painful...

[20 August 2002]

The original Charlie's Angels debuted sometime in 1976 and became quite a hit amongst fans of the show although I've never seen it before. Then, a few years later, there's a Charlie's Angels movie, an updated version of the original show, which I enjoy watching it because it is meant to be a funny movie filled with action-packed sequences, three beautiful yet lethal women and more. And you know what I mean: this movie really rocks!

Then, another version of Charlie's Angels is unleashed, with some Chinese and Asian flavors on it...

And the result? Well,in fact, this show really sucks in terms of everything it shows on TV. First thing I notice is the poor acting that even cringe some of the most ardent audience like me. Fighting sequences are cheesy and amateurish, not up to the standards of other Charlie' Angels installments, sadly. I know there are always three beautiful girls hanging about in the show but it just seems that the producers crudely rip off some of the best elements in the Charlie's Angels movie (especially) and by inserting some of the most uninspiring moments I've seen, this is the show that many Charlie's Angels (even those who speak chinese) fans will not appreciate it.

I urge you to stay away from that Asian Charlie's Angels unless you have the heart to see it.