World Trade Center

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Title: World Trade Center

Year of Release: 2006

Date Viewed: September 1st, 2011

MPAA Rating: PG-13

"And the rockets red glare

The bombs bursting in air

Gave proof through the night

That our flag was still there"

Until September 11th of 2001, The Star Spangled Banner (United States national anthem) was simply a routine for most Americans. It's traditionally performed before every organized sporting event. And some schools instruct our youth to recite both that and the Pledge of Allegiance before every school day as a way of paying respect to the country's founders. But the song and especially those italicized lyrics hit home on a personal level like never before following the surprise suicide attacks by a group of religious extremists that took the lives of nearly three thousand civilians. The motives are still debated except for the ultimate goal which was to paralyze the country into fear and despair. That didn't happen. After the initial wave of shock and confusion, Americans from all cultures and backgrounds set aside their partisan differences to mourn the loss of their fellow citizens and encourage each other to stay optimistic for the future. There was a felling of unity that many had never experienced before. The country's spirit was still alive. The flag was still there.

A movie based on the September 11th events was inevitable. But when news of upcoming major Hollywood projects hit the media machine, there was a lot of protest and skepticism. Many believed it to be too soon and insensitive to financially capitalize on a national tragedy. There were also some concerned questions about how the subject matter would be handled. Will it be a political rally? Will it follow the Titanic/Pearl Harbor formula? Will it be a conspiracy theory? The announcement of Oliver Stone signing on to direct a project titled "World Trade Center" gave legitimacy to that last question. But if the skeptics knew exactly what Stone and screenwriter Andrea Berloff had in mind, there wouldn't have been much of an issue at all because the message is a vital one in that special spirit of unity that gradually (and unfortunately) became lost again over time.

Part of what made the tragedy so memorable was how there was never a reason to anticipate it. The movie follows the fact-based accounts of two Port Authority police officers. Their September 11th morning started the same way as all others. With a routine. The opening shot is a darkened bedroom illuminated only by a digital alarm clock; the first thing most everyone sees every morning.

The two police heroes follow a typical routine of showering in the morning, driving to work ahead of rush hour dawn and checking in for assigned duties. Will Jimeno (Michael Pena) has a lot to look forward to in life. His law enforcement career shows promise and a new daughter is months away from joining the family. John McLoughlin (Nicolas Cage) is a veteran Sergeant with the more impressive resume and the more stressful home life. In recent years, he's been falling out of touch with his wife and children.

The ordinary day turns into an unforgettably dark event when two hijacked commercial airplanes crash into the two World Trade Center towers. McLoughlin leads a group of police volunteers in an attempt to rescue trapped civilians inside one of the buildings. But before they could even make their initial ascent, the two buildings crumble to the ground and kill most everyone within its destruction radius. McLoughlin and Jimeno are the only surviving members of their squad but are trapped and injured underneath the rubble. Nobody outside of their claustrophobic prison knows if they are alive or dead.

Stone's film begins as a view from the outside looking in. He doesn't even bother to recreate the fatal plane crash because the realization of danger is more powerful than actually witnessing it. All we ever see of the crash is a passing shadow. Just as how the real events unfolded, there is first rampant fear and confusion. The officers depicted in the picture learn all their information from phone calls of family members watching the early aftermath on television; still not knowing who was behind it and why. It's not until McLoughlin and Jimeno fall victim to the wreckage when the movie shifts to the inside looking out. Now begins a film solely about the victims and the grieving families. With the exception of a brief audio clip of President George W. Bush addressing the nation, there is no mention of terrorism or politics. The trapped policemen have nothing to do except struggle to stay awake while waiting and hoping for a rescue team to hear their painful cries for help.

To balance out monotony, Maria Bello and Maggie Gyllenhaal deliver heartbreaking performances as the officers' wives. They eagerly anticipate the phone call that will confirm their husbands' fate but fear the undesired outcome. Being spontaneously thrown into this psychological pit of despair can cause one to lose a clear sense of the world around him/her. The actions of Jimeno's wife can seem irrational or even comical when seen out of context but are so true to life for anyone that can vividly remember their last experience of trauma. It's the basis for psychological horror but the filmmakers are able to grow it into something more meaningful; like a clearer understanding of what's truly important in life. Whatever falling out McLoughlin had with his wife doesn't hold a candle to the possibility of them never seeing each other again. What could seem as the end of the world yesterday is now meaningless in the present.

I often see fellow bloggers comment that movies like this won't have the same effect on people who live outside North America. I can't entirely agree because it depends on what kind of effect they're referring to. World Trade Center is sure to bring back the butterflies that lurked in the stomachs of everyone who watched the events unfold through the media outlets. For those who cannot fully relate to that scarring experience, there still remains the universal messages of doing what's right and never losing hope even when the light seems unreachable. The world witnessed the best and worst of mankind on September 11th, 2001. This movie is a celebration of the best.

Rating: 9

Mortal Kombat

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Title: Mortal Kombat

Year of Release: 1995

Date Viewed: August 14th, 2011

MPAA Rating: PG-13

Mortal Kombat was a landmark arcade game of the 1990s because it was the game that every kid enjoyed playing even though they weren't supposed to be playing it at all. As an adult in his mid-twenties, I've seen enough movies to have my personal tastes become at least moderately sophisticated. In other words, artistic films are equally appealing as those that are made for cheap thrills. I'm an aspiring film studies student who has many unwatched classics yet to be appreciated. Yet when the chance to upgrade my knowledge came around, I opted for a DVD that I had no business watching. The movie adaptation of Mortal Kombat; a favorite from adolescence that I had the pleasure of watching roughly a dozen times before. It has no innovative direction, no timeless wisdom and plenty of cheap thrills. But sometimes guilty pleasures are so fun that there is no room for regrets. That's why the arcade was so popular to begin with.

In the Kombat universe, inhabited worlds are divided into realms with Earth being only one of several. The elder gods that control these realms cannot legally cross over to others unless their native warriors defeat their enemies ten consecutive times in a once-a-century martial arts tournament called Mortal Kombat. Having lost their previous nine endeavours, Earth is now in jeopardy of Outworld invasion. 

The final hope in preserving humanity lies with three mortals who are initially oblivious to their true importance. They enter the Mortal Kombat tournament for personal reasons. Sonya Blade (Bridgette Wilson) is a Special Forces officer on the trail of wanted criminal and murderer Kano (Trevor Goddard). Johnny Cage (Linden Ashby) is a Hollywood action movie star frustrated by press rumors that he uses a stuntman and special effects for his fight scenes. And Liu Kang (Robin Shou) is a former Shaolin Monk out to avenge his brother's death at the hands of sorcerer Shang Tsung (Cary-Hiroyuki Tagawa.) Earthrealm's guardian Lord Rayden (Christopher Lambert) takes a special interest in the three warriors because he senses one of them will be the swing factor in determining Earth's fate. The group journeys to an Outworld island that's literally off the map where they will face nightmarish foes that no one had ever lived to tell about.

The Mortal Kombat franchise had been conceived as an homage to the 1973 martial arts epic Enter the Dragon. The story of warriors gathering at an island for a deadly tournament is very similar to that film. The character of Liu Kang was modeled from the late Bruce Lee. But the true appeal behind the game was the creative thought that went into each character design and the fast-paced ruthless fighting style. The finishing moves were especially brutal and unlike anything that had been seen in mainstream videogames before. For better and for worse, it got people's attention.

The intelligence of videogame fanatics is often underestimated. Rarely is very much serious thought put into movie adaptations of popular games because studios assume flashy fireworks across the screen is all that's needed to please the target audience. The reality of modern games is that the stories are often strong enough to appeal to folks that never even picked up a controller in their life. The Kombat universe was wide enough to invite future expansion (which it certainly did) and stimulate the imagination. Those who pay money to see videogame movies want to see them live up to the visionary quality of the original idea. Fortunately for Kombat fans, screenwriter Kevin Droney and director Paul W.S. Anderson understood this. Unfortunately for them, the ultraviolent finishing moves known as "fatalities" had to be watered down in order to satisfy the PG-13 rating; a guideline probably set in place to draw more teens into the theater. So if the gamer crowd couldn't get a film that looked like Mortal Kombat, they'll have to settle for one that feels like it. Anderson's crew made sure that the fight scenes had impact and that every strike felt important. It's a fine line between fancy kung fu showboating and hard-hitting ferocity. Everything that could be wished for a Kombat movie except the gore.

The casting of Robin Shou was a huge help in reaching that high bar. As an actor, he plays his hero role confidently without the overdramatic mannerisms of Bruce Lee. As a real-life martial arts master, he assisted in some of the fight choreography and carried a good load of the important action sequences. The stunt work is effective enough to hide the lack of experience from Shou's co-stars. But it still remains clear in the final cut that Linden Ashby and Bridgette Wilson were in an inferior league, and as a result, some of their moves looked stiff and awkward. To Ashby's credit though, he hangs tough to participate in the movie's second best fight scene.

The script is very true to the game, but some of the dialogue is questionable. It's odd how the film exhibits confidence in knowing what its audience wants to see yet remains so self-conscious about making sure everyone can follow along. Every time a new character enters the story, there's usually someone there to immediately identify him/her by name. There's no need to spoon feed like this and it's especially annoying to those already familiar with the franchise. Other than that, brains don't really need to be checked at the door, unless you're somehow expecting something realistic from a tale about gods, sorcerers and ten thousand year-old princesses. Mortal Kombat is far from a flawless victory but earns a solid three-round knockout.

Rating: 7

The King's Speech

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Title: The King's Speech

Year of Release: 2010

Date Viewed: August 13th, 2011

MPAA Rating: R

My name and presence is announced to everyone in the room. All eyes are now looking in my direction. I swallow and take a deep breath before walking to the designated standing area. Everything is silent. My professor and fellow students wait patiently to hear the speech's content. The act of breathing is for once a conscious action. The heart is pounding. I clear my throat and take a quick glance at the note card that has handwritten cues on the topics to be covered. It's no use. I've already forgotten how to begin the speech and there is nothing else except my nervous brain to depend on. All those hours of practicing didn't prepare me for being placed on the spot for the most crucial time for a crucial graded assignment for a crucial semester. That was a typical week in my college speech communication course. Nothing else is needed to explain why I had to re-take it twice to receive a passing grade.

Most polls on phobias report that public speaking is a person's strongest fear. Death usually comes in second place. As comedian Jerry Seinfeld put it, most people would rather be in the coffin than delivering the eulogy. So does that mean speeches are a fate worse than death? All those "kill me now" moments in class sure made it seem that way. Yet as agonizing as that experience was, I had it easy compared to King George VI (played here by Colin Firth), who lived with a speaking disorder all his life while his career depended on communication with an entire country he represented. The opening scene in The King's Speech captures all the fear and general overwhelm one feels when forced to be center of attention to a large crowd. Twenty classmates is bad enough. How about trying a filled Wembley Stadium?

The future King's public address at the 1925 British Empire Exhibition is a disaster. Stammering all around and long pauses between simple words. It sounds like a child attempting to read a book for the first time. This wont do for anyone, much less a public figure. So the King's advisers and especially his devoted wife Elizabeth (Helena Bonham Carter) persuade him to seek treatment in a recluse setting under the tutoring of speech therapist Lionel Logue (Geoffrey Rush). Some of the seminars include unorthodox exercises and Logue's personality keeps things erratic. But it's only right for an exceptional situation to be given a novel answer. After all, it's the stuff movies are made of.

The King's Speech follows the deadline structure but doesn't share the traits typically found in this type of narrative. Great Britain is on the verge of declaring war against Germany and the rising Axis Powers. For the sake of national rally and to defy the enemy, its leader needed to act like one. And speak like one. And learn to do it fast. It's not a race against time so much as it's a race against loss of momentum, both politically and militaristic. History will have to wait to learn about Lionel Logue's role in serving his country. King George has bouts of resistance from his teachings but the country can't afford to wait for results much longer.

I like to think of myself as a fairly open-minded reviewer. But there were a few pre-conceived issues about this movie that were tough for me to shake off even after completion. And that also explains why I was late to the party in watching this award-winning film. The story is basic enough to be summarized in three sentences and the plot doesn't have enough layers for a drama to draw upon. And the idea that leaders and politicians will inevitably suffer a loss of support because of poor public speaking is something I have misgivings with; both in moral and factual analysis. I'll admit that there's probably an underlying reason why George H.W. Bush was the U.S. President while Dan Quayle was the understudy. As I'm typing this, President Obama is revealing his new jobs plan to Congress in a national broadcast. The confidence in his words is so emotionally stimulating that I almost overlooked how all of his speeches are basically the same. But anyway, it always makes more sense to judge someone by actions over talk. It's especially true in period pieces such as this where public figures were not as easily accessible as they are today.

Although the movie's construction process is pretty much flawless and the result is smooth enough to win respect from film scholars, the end result feels too reserved for something that won so many prestigious awards. One might think I'm holding it to an unfair higher standard but I swear this isn't the case. It might have actually been that "safe" feeling that swung the votes to its favor. Beyond that, the film has a lot of fine technical achievements to be proud of. Every set design has as much given care and attention as that crucial opening scene. The characters are very likable even through their most incompetent moments. (The classic belief that those who don't want help won't get help is the secondary theme.) And the movie is smart in understanding how timing is more important to comic relief than abundance. As we watch poor King George angrily pace around Logue's office and shout obscenities to calm the frustration, it's hard not to laugh and remember that familiar piece of therapy that soothed our souls since an early age. If at first you don't succeed, try try again. Then take Logue's advice and shout your favorite curse word. Then try again.

Rating: 6 

The Great Mouse Detective

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Title: The Great Mouse Detective

Year of Release: 1986

Date Viewed: July 23rd, 2011

MPAA Rating: G

"I only hope we never lose sight of one thing. That it was all started with a mouse."

- Walt Disney

In the past few weeks, sales of mouse traps have increased at the department store I'm employed at. The surge occurred right around the time of my viewing of The Great Mouse Detective; Disney's adaptation of Eve Titus and Paul Galdone's children's book Basil of Baker Street. Just a funny coincidence I'm sure. But for the conspiracy enthusiasts, here's some food for thought. Perhaps the Disney animators were trying to warn us of a coming rodent apocalypse through the subtle guise of a kid's detective story. Consider for a moment that the movie is scientifically accurate. That means for every human that resides in a living space, there is a mouse counterpart hiding somewhere within the interior, imitating the lifestyle of the larger being. If you're a chef, there's a creature that makes his own specialty dishes using the food that spills off your table. If you're an accountant, something is auditing your grocery receipts as we speak. As for what could reside in my home, there's probably a mouse sitting in our attic somewhere typing movie reviews on a smart phone while munching on gummy soda bottles.

The title character is the mouse counterpart to the one and only Sherlock Holmes. Basil of Baker Street's (voice of Barrie Ingham) reputation of crime-fighting case-solving exploits reaches every corner of underground London. His most fateful mission begins when a scary yet clumsy bat creature kidnaps a local toymaker, orphaning his young daughter Olivia (voice of Susanne Pollatschek). The somber opening is quickly counterbalanced with Henry Mancini's catchy and uplifting music, reassuring us that a fun ride awaits.

Following a fortunate meeting with off-duty military doctor David Dawson (voice of Val Bettin), the pair inquires Basil to help them reunite Olivia with her father. Basil is an eccentric personality and barely even acknowledges his clients' presence on the first meeting. But he devotes himself to the case upon realizing that it's masterminded by his hated nemesis Professor Ratigan (voice of the legendary Vincent Price); the city's biggest crime boss. This villain doesn't act all that intimidating, but those who make the mistake of underestimating him or point out that he's a rat will end up as food for his pet rancor cat. Ratigan is not the most inspired villain created from the Disney studios but that doesn't stop Vincent Price from having the time of his life. Someone with that level of talent can transit charisma without any layover. Price owns this show like a tycoon.

Even for something conceived to be Sherlock Holmes-lite, the plot is disappointingly too straight forward. The "clues" don't really add up to anything since the heroes end up locating most important things by accident anyway. Basil's genius can only be appreciated in a single scene which also happens to be one of the best. He and Dawson are stuck in the most unnecessarily elaborate death trap. Basil considers each possible component for weaknesses all while trying to fight back his depressed mind. At the last possible moment, he supports one of my favorite personal thesis' which states that sometimes the hardest problems have the easiest solutions.

Today's youth may overlook the fact that The Great Mouse Detective was a technical leap forward for animated films. While the majority of the illustrations result from traditional hand-drawn two dimensional pictures, the best sequences could stand beside those of the twenty-first century. How did they do it? ("It's elementary, my dear Dawson.") By using a computer generated background, it became possible to sequence events like how live-action directors could shoot things from multiple angles. The technique helps bridge the gap that we the audience have from observing the animated subjects within their own line of sight. The final clock tower chase is a masterpiece because of how credibly lifelike the setting becomes.

The music fare is far lower in quantity that what was typical in 1980s animation. The World's Greatest Criminal Mind is a simple and fitting anthem for Ratigan. I'd love to visit a dueling piano bar that plays that song for a spirited crowd, if any such wonderful venue exists. Let Me Be Good To You is an out of place tune for an out of place scene. The movie ends with a brief number titled Goodbye So Soon which pretty much sums up my reaction to this seventy-four minute long treat. I enjoyed what I've seen, but would an encore be too much trouble?

Rating: 6

The Sorcerer's Apprentice

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Title: The Sorcerer's Apprentice

Year of Release: 2010

Date Viewed: July 21st, 2011

MPAA Rating: PG

According to a 2010 CBS News poll, an estimated forty-five percent of Americans are unhappy with their jobs. That probably means the vast majority are not living the dreams they had set out for themselves when they were young. Chances are many fantasized of glamorous realistic careers like stockbrokers, business owners or doctors. And some went for unrealistic ones like hockey players, astronauts, or magicians (real ones, not fake ones like Copperfield). Dave Stutler (Jay Baruchel) is the title character of The Sorcerer's Apprentice, a story inspired by a classic short film featured in Disney's Fantasia. His written destiny is to become a real magician. A pretty cool job, wouldn't you think? Having extraordinary powers is probably the most common wish among daydreaming school kids. For any of them who watch this movie, Dave's resistance will boggle their minds. He wants no magic in his life. No thrills. No danger. His only wish is to be left alone as a ordinary insignificant person.

The fear originated from Dave's first experience with magic as a young child. A sorcerer named Balthazar Blake (Nicolas Cage) has been assigned to seek out the Prime Merlinian; the prophesied successor to the fabled wizard Merlin. Thirteen hundred years later, the diamond in the rough walks into Balthazar's Manhattan antique shop hideout by accident or perhaps by fate. Before the orientation gets underway, Balthazar's former friend and current rival Maxim Horvath (Alfred Molina) interferes by initiating the first of many wizard duels over the course of the film. The first one imprisons them both in an urn for ten years. By the time their souls are released, Dave has grown into a young college student so emotionally scarred by the experience to the point that it turns into a distant suppressed memory. 

Of course there's a reason why the movie is called The Sorcerer's Apprentice and not The Kid Who Refused to Become The Sorcerer's Apprentice. Dave eventually warms up to the idea much like how I warmed up to the movie's strengths that are not clearly apparent from the onset. To tell a story about magic, it only makes sense to show off a little of your own. Backed by producer Jerry Bruckheimer's high ceiling budget, Disney's CGI team more than lives up to that mission statement.


Favoring style over substance always has a cost. Trevor Rabin's music score is exciting ear candy but way overdramatic in context. A sequence where a kid chases a love note from his girlfriend on a recreational bike should not sound like a highway car chase is going on. But what's sorely missing here is a credible backstory. Even though the movie opens with a flashback sequence of Balthazar's past, it fails to properly explain how the Prime Merlinian came to be and why only the Merlinian can counterbalance the dark magic. I guess they figured that if Star Wars can get away with such vague prophecies, so can they. But while Star Wars has the advantage of having its own religion to sustain all myths, The Sorcerer's Apprentice is forced to make up the rules as it goes along. The limits of magic are never made clear, but we are led to believe that sorcery is more about transforming what already exists rather than creating things out of empty space. Sadly though, none of the duels are as fun to watch as the one between Merlin and Madam Mim in The Sword and the Stone.


Differing from its Harry Potter-esque peers, The Sorcerer's Apprentice takes pride with its comedic tone. With Jon Turteltaub in the director's chair, that's no surprise. The Fantasia homage is a delight to watch. Mickey Mouse's hat even makes a cameo after the end credits. Nicolas Cage's brave and sarcastic screen personality carries over from the National Treasure series and fits in surprisingly well here. Cage seems to win the most crowd favoritism when playing the sadistic archetype. But I think I prefer him in movies like this where he doesn't have to try so hard. Jay Baruchel's character is a socially awkward and somewhat speech-challenged nerd. I was prepared to write him off as the most annoying person since Sam Witwicky. But then I realized that I knew several real-life people with very similar personalities and it's a little refreshing to see a realistic protagonist that doesn't come across as a parody.


The number of avoided cliches is actually pretty incredible for a film with the names Bruckheimer and Turteltaub attached. Balthazar had been living in Manhattan for a long time before meeting Dave. He is well adapted to modern culture. This spares us from any lame gags involving an ancient man acting like a fish out of water. Dave's romance angle is lame except for one saving grace. The girl gives him a second chance despite the first date getting completely botched. Just because she likes him. That's affection right there, folks. Not this fall on one knee and beg for forgiveness crap that we've been trained to accept since the days of watching soap operas on sick days.


Despite some distracting plot problems, I'm giving The Sorcerer's Apprentice a passing grade for the fun factor alone. The occasional touches of cleverness and reality make it better than okay. But with five writers attached to the project (and most likely a struggle for creative direction), the film feels like a compromise, falling just a little short of the epic spectacle that a Fantasia spinoff deserves.

Rating: 7