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In The Twilight Saga: Breaking Dawn, Part 2, love
for Bella and Edward is not only triumphant--it's a love story for the ages. The
finale in the wildly successful Twilight teen vampire romance saga will
satisfy every passionate fan, and yet is broad enough in its appeal that even
those who think they aren't invested in the Bella-Edward story will be drawn in
as well. Breaking Dawn, Part 2 is breathtakingly beautiful, with
sumptuous cinematography showing off the stark beauty of the Pacific Northwest,
especially in the dead of winter. And speaking of stark beauty, Bella (Kristen
Stewart) is even more ravishing than ever. She awakens at the beginning of
Breaking Dawn, Part 2 as a "newborn" vampire, having been "turned" as
she was dying during the birth of her and Edward's (Robert Pattinson)
half-vampire daughter. Vampire Bella flies through the forests barefoot in a
royal-blue sheath, no hint of post-baby body weighing her or her new superpowers
down. Bella and Edward waste no time making good use of the cozy new cottage in
the woods and its enticing bedroom. "Why do we need a bedroom?" Bella asks
Edward. "We're vampires, we don't sleep." Edward, adoration in his eyes, quickly
shows her the answer.
And their daughter? Well, little baby Renesmee starts out as a slightly
creepy computer-generated animation creature, but as she grows--very
quickly--into girlhood, she's played with winsome solemnity by young Mackenzie
Foy. The girl is "imprinted" at birth to werewolf Jacob (hunky Taylor Lautner,
often shirtless), who will from then on be bound to the wolf pack in a deep and
special way. Yet Breaking Dawn, Part 2 carries true, operatic-style
action as well as the love-triangle drama from earlier films. Because of the
birth of the child vampire, the powerful Volturi in Rome are alerted, and, led
by Aro (played by Michael Sheen, who appears to be having entirely too much
fun), come to the Northwest for a shattering showdown over the fate of the
Cullens. The confrontation, as directed by the deft Bill Condon, is intense and
creatively choreographed (and fairly violent, given the film's PG-13 rating),
with dark, wild music accompanying the Volturi's malevolent intentions and our
heroes' fierce devotion to one another. The Twilight Saga: Breaking Dawn,
Part 2 demonstrates that love and family can surmount nearly every
obstacle. And sometimes love can truly be forever. --A.T. Hurley
Product Description
In the final chapter of the Twilight Saga
phenomenon, the birth of Bella and Edward’s child brings conflict between Bella
and her lifelong friend, Jacob, and an all-out war between the Cullens and the
Volturi.
Donald Westlake's pulp hero Parker is once again brought to the big screen in this thriller from director Taylor Hackford (Ray). Jason Statham picks up the Parker mantle from other iconic actors who have played him through the years -- most notably Lee Marvin in Point Blank and Mel Gibson in Payback. Jennifer Lopez, Clifton Collins Jr., Wendell Pierce, and Nick Nolte co-star. ~ Jeremy Wheeler, Rovi
Supposedly in an effort to show skews in the timeline, illustrate alternate
realities, and so on and so forth. Instead of grasping at straws, however,
Writer/Director Rian Johnson's time travel Action flick Looper takes the bull by the
horns and gives audiences a novel, exciting, and well-scripted film that deals
with all sorts of classic and innovative time travel scenarios and paradoxes and
makes them both easy to understand and worthy of thought. Looper is also
visually appealing, well acted, and supported by robust action. The film hits
hard, looks great, and bring a genuine freshness, a real bit of innovation, to
one of fiction's most fascinating storytelling devices. It gets philosophical
and endlessly thought-provoking without coming across as snobbish, too complex,
or in any way losing track of its Action movie origins. Looper is one of
the surprise films of 2012,and never
short on action.
We look familiar.
In the year 2044, time travel has yet to be invented. But
in 2074, it's very much a reality, and it's brought about a booming underground
business for those living thirty years back. The technology -- and the use of it
-- has been made instantly illegal in 2074, but like most such laws on the
books, only the law-abiding are deterred from engaging in the illegal activity.
Criminals make frequent use of the technology to dispose of those who stand in
the way of their illegal enterprises. In 2044, young men known as "Loopers" are
paid handsomely in pure silver bars to assassinate targets sent backwards in
time to them. They dispose of the bodies in a world in which the victim doesn't
exist, collect their funds, and await their next target. There's only one catch:
Loopers must kill their future selves. They are paid handsomely to do so and are
given thirty years from retirement to enjoy their wealth, usually abroad. Joe
is one of the best Loopers around. He's professional and
efficient, unafraid of carrying out the task, and unworried about his future
prospects. When a fellow Looper allows his future-self to run, Joe hides him,
temporarily, but turns him in to his boss Abe (Jeff Daniels) in exchange for
keeping his stash of silver intact. But when Joe's own future self (Bruce
Willis) escapes the younger Joe's murder attempt, both Joe's become targets.
Meanwhile, the younger Joe is made aware of a future individual known as "The
Rainmaker," a hardened criminal wreaking havoc on future events. Now, Joe must
track down the younger Rainmaker while also dealing with his escaped elder self
and evading Abe's deadly "Gat Men."
It's truly incredible to watch
Looper unfold. There's a mastery of intelligence combined with action
that's rarely achieved anymore, particularly in a movie such as this that deals
in complex plot details that are handled quite effectively, welcoming viewers
rather than alienating them. Looper manages to feel like both an
above-the-fray "smart" movie while still appealing to a more base-level craving
for well-conceived and strongly executed action segments. This is a rough,
violent movie that hits hard, and unapologetically so. It's not quite as gritty
as some and it eschews that dreary Blade
Runner-styled future world of radical tech meets urban depravity for a
more balanced, approachable vision where things have advanced but to neither a
shiny and sleek nor overwhelmingly dire state of affairs, painting a sort of
early-to-mid 20th century meets a "fading" modern-influenced future physical and
social landscape. Yet there's an intelligence to it, a mind exercise that
demands audiences not tune out when the bullets are flying. The picture makes
absolutely certain to make its violence an extension of the plot while still
building its plot around acts of violence. There's a beautiful full-circle
nature to the film in that the core story is one shaped by violence but from
that comes a complex study of science, psychology, morality, sacrifice, and
other scholarly pursuits from which even more action invariably flows. This is a
rare picture indeed that caters to multiple audiences and satisfies beyond their
core demands, crossing boundaries because of its nearly faultless combination of
intelligence and adrenaline-charged violence.
Both the action and
thought exercises come together beautifully, but both are worth studying on an
individual level. Looper's action takes the complete opposite approach
from rubbish like the latest Resident
Evil film that just throws bullets and slow-motion photography at the
audience in hopes that it'll blind its viewers from the absence of a plot.
Looper instead makes its violence brutal and honest, bloody and wrecking
on an intimate, not a detached, level. Better, it flows from a plot and is
balanced by a purpose. That makes it dramatically satisfying, too, and not
simply an exercise in littering the screen with mindless bloodshed. However,
it's the more thoughtful Science Fiction plot elements that make Looper
shine. On the surface and especially at the beginning, it seems like the
"perfect" time travel scenario. Someone from "then" is zapped to the "now;" he
or she disappears without a trace from "then" and is disposed of in the "now"
world in which that person doesn't even exist. But of course it's not that easy.
Through the prism of murder for hire and the promise of a lucrative but
relatively brief future comes ideas surrounding not only time travel paradoxes
-- which are themselves almost contagiously thought-provoking as they're
described and visually and structurally implemented in the film -- but also a
host of philosophical, moral, and practical dilemmas that arise from situations
depicted in the film. For example, is it "suicide" if one kills a different
version of oneself? Looper also deals in more "traditional" time travel
quagmires, such as the "value" of murder with the benefit of foresight and the
possibility of skewing a timeline for better (and sometimes for worse) in the
name of "saving" what remains only a possible future line, even with
confirmation of it. Looper does the time travel thing as well as any film
before it, and mixes it in with a very good story, robust action, great acting,
and strong technical merits.
Lastly, Looper is well-acted and
sturdily staged. Bruce Willis and Joseph Gordon-Levitt are convincingly similar
from a physical standpoint -- at least within the film's flow and thanks to some
movie magic -- and adequately dissimilar where it really counts,
internally and separated by both time and experience, the sources from which the
film derives much of its drama. Gordon-Levitt is particularly strong as the
drug-addicted, hard-lined killer who dances around the boundaries of his
profession but never crosses an uncrossable line. He's tough and plays the part
with almost menacing, piercing eyes, a very different type of character than his
sort of more buoyant and boyish hero in the excellent Premium
Rush. Willis, on the other hand, looks like he just walked off the set
of Pulp
Fiction; he wears a similarly colored jacket and takes on a recognizable
no-nonsense attitude as he maneuvers through the times and timelines his
character inhabits. Writer/Director Rian Johnson approaches the material
thoughtfully, directing with a straightforward, simple approach that only
emphasizes the story and visuals, not dominate them. He tells a story rather
than define it, and the sum total is a picture that absorbs its audience rather
detachedly show it what's happening. Altogether, it's easy to see why it's one
of the year's best films.
Looper's 1080p high definition presentation will withstand
the test of time. Sony's latest visual treat for the eyes satisfies in nearly
every regard. The film-like textures are consistent and accurate. Light grain
hovers over the image, and details are consistently pure and true to the medium.
Facial textures are faultless, clothing lines splendid, and even minute
qualities on close-ups of vegetation are often striking. Colors are equally
satisfying, displaying nuanced precision and seamless balance across the entire
spectrum. Bright green leaves, country tans, worn down urban grays, and splashes
of neon all look fantastic throughout the film and under any lighting condition.
Black levels can go a bit pale, but generally there's no perceptible problem
with shadow detail. Skin textures, however, appear true throughout. The transfer
exhibits no perceptible problems with banding, blockiness, edge enhancement, or
other unnecessary or unwanted visual anomalies. This is another accurate, highly
satisfying transfer from Blu-ray's best studio.
Looper wastes no time demonstrating its startling audio
proficiency. Sony's DTS-HD Master Audio 5.1 lossless soundtrack is a dazzling
achievement of sound engineering. The track plays with a big, aggressive
stature. It offers a very convincing and sonically colorful and robust sound
effects, presenting a wide array of elements maneuvering through the stage with
high proficiency. Future vehicles and aircraft zip and whir from one speaker to
the next. Exterior ambience is beautifully structured, whether city atmospherics
or light background din around the film's many countryside settings. Music plays
with natural placement and balance; there's a true, accurate feel and tremendous
clarity throughout the film, save for deliberately mushy background club dance
beats that offer overly zealous bass in an effort to accurately reproduce the
environment. Gunfire is strikingly realistic throughout. Whether a single shot
in a confined space that's apt to stun listeners as it does characters in the
film or a series of shots from "blunderbuss" shotguns to the large-caliber
revolvers used by the "Gat Men," the film's gunfire is amongst the most potent,
dizzyingly accurate, and sonically pleasurable of any Blu-ray release. Dialogue
is handled with great clarity and attention to detail. In short, this is another
striking, high-end soundtrack from Sony.by mark liebman
