Kimmo on Kino – Page 6 – Behind the Proscenium

July 22, 2011July 22, 2011

Captain America: The First Avenger [REVIEW]

Captain America: The First Avenger

With With, Reviewed By Kimmo Mustonenen

Back on the good old days as a new superhero epic didn’t look on film screens apparently every other week, film producers used to satisfy we, us, the public with nothing more than bare exhibitionism.

Now they are just a bore.

Or am I exhausted (thanks for the tired, Transformers)?

Captain America: The First Avenger has strong opening times, a noble execution for sure.

Unfortunately they cannot this standard of the quality support and into crappy melodrama in the last hour ignore (if you can stay awake – yet so loud, how can you sleep?).

This is a dishonor, because a world-striking film of the Captain America could have caused indisputable momentum (my new superhero name!) for The Avengers.

Unfortunately, it is to be not.

Which we have here something I condemn to be underneath the average film, by choppy drawing up and the characters of one dimension (more on this later).

Thus it goes.

As Thor early in the season, Captain America: The First Avenger is requested, in order to do a terrible lot. And that is to explain to us the origin of a Marvel Comics guy, who we don’t know – also to his friends, the family and the sidekicks, then place it in world saving an adventure to the exhibition.

And more!

Suggest a point of romance and prepare for its inevitable sequels as part of the next years studio profits generator, known as The Avengers. Ka-ching!

Chris Evans plays as Steve Rogers – a child of Brooklyn, would like so much his country to serve, and would like the leading role to beat the Nazis in the Second World War (and in the face).

Unfortunately he’s a small guy – with many physical problems, thus Rogers is deemed unsuitable – he even tries to register several times under different names and with different physicians completely around New York.

This has gotten the attention of Dr. Abraham Erskine (Stanley Tucci) – a mysterious scientist working with defense contractor Howard Stark (Domenic Cooper), American Colonel Chester Phillips (Tommy Lee Jones) and British agent Peggy Carter (Hayley Atwell) to develop a medical procedure to turn everyday soldiers into super soldiers.

In Finland, we call these push-ups.

When the procedure works, how can Steve Rogers best serve his country?

He best serves it by not being in a movie as lousy as The Green Hornet but that is not too hard.

Well, he becomes Captain America.

Who wouldn’t?

Most badly of all, Captain America: The First Avenger we get like two films, which are in one smashed.

We could have been with the first part of the film contently, with the Rogers and his abilities discovered and prove ourselves, a hero to be, but director Joe Johnston and the writing team believed to the necessity to go back and start a whole again other plotline over Nazi badasses, which tries to stand for one even still more bad leader than Hitler (what?!?) bent on world domination, Johann Schmidt (Hugo Weaving).

Is this Captain America nemesis number one? Better to save him for the upcoming sequel movie. This one is too long.

So, I give one drooping thumb.

Movie is in 3D, too bad script arrived in 2D – which is still 1D better than the acting!

Sad face for me.

Sad face for Captain America: The First Avenger.

Kimmo Mustonenen (Kimmo On Kino) – Behind The Proscenium

July 8, 2011

Zookeeper [REVIEW]

Zookeeper

With Wit, Reviewed By Kimmo Mustonenen

When one in thinking comedy, especially in these comedies, the tastes are as varied as in almost any other genre.

So there are the sophisticated, witty humor, the dark British humor, but also the “hurr durr” and/or “herp derp” or naive childlike humor.

Somehow, yes, any of these styles can be quite irritable (like a bowel) and – according to doses used – to provide lots of fun in the cinema, yet not out of the cinema.

Why leave but Kevin James and Adam Sandler for years on the constant same thing, now worn-kind, one must ask already.

While with “Grown Ups” could see at least a slight upward trend, fueled by the hope was that even Adam Sandler grows up again, unfortunately, we are now witnessing one of his (James, not Sandler) weakest comedies.

Paul Blart is now his Citizen Kane?

In this universe it is the curse.

We get Zookeeper.

We are Job.

Griffin Keyes is a zookeeper and the animals extremely popular, because it deals with them very closely and with devotion (“it” being “he” – you get it! Me too!).

But his job is in his love life very much in the way (damn!), because his dream woman wants to marry him not because he “is just a zookeeper” but because he is just a zookeeper.

Fortunately, the animals can understand people, not only us, but also speak with us – if they want, because a code that forbids them actually.

Animals are shifty and have rules. But to Griffin’s love life to fix it, decide the zoo, to obtain information on the rules of time and explain to the people even as it ensnares the beloved correctly.

What?

Unfortunately, the posturing of a bear is just as beneficial as the territorial markings of a wolf – at least with a human woman. This is true – I’ve seen it on the internet.

Even in the rough story one suspects that the level of humor is rather childish. How bad it really is but then, only in the course of the film clear, because at least when Kevin James pisses middle of the restaurant to a potted palm, because it was recommended by an animal, is such a limit is exceeded.

What?

Very mediocre (this is a short sentence). Wants above all, because there are quite a few such scenes in which we, as viewers, leave the theater either fled or sink in the chair – but not both for that is impossible.

Only the trip with the only really creative and well-developed character – the gorilla (better than Ed, the farting and baseball playing chimp – thanks for this Matt LeBlanc!) – knows how to convince.

This flashes on the existing definitive sense of timing and situation comedy, and fortunately remains sustainable even in the head (in my head or yours? Let me know in the comments!). Is a pity that one is linked somehow many, though not more, strands of plot processed.

Seriously.

Overall, Zookeeper, unfortunately, a disappointment (shocker! Although I expected Sasha Grey level suckage (naughty!) – go “Entourage”!).

There is much reason to be ashamed of strange and often situations that are very drawn to construct and bring on the hair (man I’m drunk). It simply lacks the spark of feeling for a humorous line.

Fans of the usual rather childish level Sandler / James movies will certainly enjoy themselves while here, but everyone else be warned: There is one funny – really only the gorilla excursion, which is hinted at in the trailer already. Everything else is unfortunately not worth the cinema ticket.

One thumb, wagging downward – like photo before in Cialis ad.

Bummer.

“I’m mad…And that’s a fact
I found out…Animals don’t help
Animal think…They’re pretty smart
Shit on the ground…See in the dark.”

“Animals” by The Talking Heads

Kimmo Mustonenen (Kimmo On Kino) – Behind The Proscenium

P.S. Summer television is the suck.

July 8, 2011July 8, 2011

Horrible Bosses [REVIEW]

Horrible Bosses

With Wit, Reviewed By Kimmo Mustonenen

In Finnish language, “Horrible Bosses” translates to “Hirmuinen Pomoja”.

In Finnish, “Horrible Movie” translates to “Kamala Elokuva”.

Fortunately “Hirmuinen Pomoja”, it is not “Kamala Elokuva” but in fact “Loistava Elokuva”! Which means “Really Good Movie”!

So… great the summer (!) movie season has finally started!

“Horrible Bosses” accepts the challenge put against it “The Hangover 2” and of raises it tons of new heights.

The dudes (and jack-off monkey!) “The Hangover“.

The chicks owned “The Bridesmaids”.

Both of sexes are equally unspeakable in this hilarious new treat “Horrible Bosses”.

John Francis Daley, Michael Markowitz and Jonathan Goldstein all have experience writing or acting and situation of comedies in TV sketch comedies. Yet this smash-up feature script by all of them doesn’t seem choppy or overextended, and director Seth Gordon (“Four Christmases” – yuck, gross) drives it forward like a bullet train – like the new one in China!

Three reserved idiots – Jason Bateman, who is in the enterprise equivalent indentured of the enslavement; Jason Sudeikis, which tries to hold his boss of the credit of the sex with hookers in his office and of firing the people because they are fat (haven’t he seen show where fat women become skinny and hot women in two weeks?) and Charlie Day, which the dentist extorts into an affair before his wedding (yowza!).

They are driven, around homicide to consider of their sadistic supervision forces (Kevin Spacey, Colin Farrell, Jennifer Aniston). Their dorkus “murder consultant” (Jamie Foxx) advises them, around to kill their employers (I wish – just kidding Kyrle!), with which production of the deaths look like accidents.

Smart.

The film is strongest, if it remains with Bateman and again mixes with Spacey, Bateman has that on the easy expressionless “everyman” – perfected in “Arrested Development” and everything since. Spacey, on the dead-panned sarcastic scumbag we have admired since his calmer moments in other stuff.

This brings the one half serious point forward here.

We do not wish the dentist, who is killed – though not (she should not be killed).

Dale’s horny friends can’t understand why he’s miserable – isn’t a hot woman begging tons sleep with him?

And her behavior has accelerate a lot of sexual terrorism before they think it’s wrong. That is not right. Women can be also be pigs (see “Bridesmaids”). And pig women can be hot.

We have learned to regret men sexually harass the female employees, but how seriously we should take a complaint, if the culprit looked like Jennifer Aniston?

This film suggests that we should laugh it off, but the intimidation is intimidation, a foxy chick nonetheless could be the boss (not in my world – sad face!).

The casting agent for this movie should win an award.

Bateman, Sudeikis and Day to beat all the big notes, but even better, they find laughter between the lines.

Day is more stupid than the other two (the scene of him, because the view is priceless), but it works well in conjunction with Bateman, Sudeikis and bone-dry approach, and all three take care that the crazy antics keep to a minimum.

Spacey does not break new ground, but he has a lot of fun, and is a welcome sight.

Aniston takes things down a notch from her new role-playing the main thing and consequently turns into a better performer.

All that is said – now the verdict: So funny, that if I must pee, that would happen right now (or when I saw the movie – I don’t have to go now).

So, two thumbs enthusiastically thrusting skyward (thanks thesaurus!). My face is hurting for the smile. And that is good.

See “Horrible Bosses” at least twice. Regrets? You won’t have them!

Kimmo Mustonenen (Kimmo On Kino) – Behind The Proscenium

P.S. America’s Got Talent! Really? I mean… really?

June 23, 2011

Bad Teacher [REVIEW]

Bad Teacher

With Wit, Reviewed By Kimmo Mustonenen

Elizabeth Halsey (Cameron Diaz) is one of those teachers who, as a teacher, hates to be so (me too!).

She dreams of a life with a lot of money, luxury and fame, of course, maybe not in that order.

More precisely: she dreams of a man who has much money and can offer you luxury and (at the same time, not later) fame.

Soon it is clear the victim, no, the Appointed One: Scott Delacorte (Justin Timberlake), the same math teacher and his own worth millions thanks to the family dynasty.

Elizabeth hesitates not usually long, but this time it is equally faced with several problems. Scott is clearly on large breasts (who isn’t?) – they must be so bloated from money for cosmetic surgery, naturally (unnaturally?).

Her colleague Amy Squirrell (Lucy Punch) is fast becoming the toughest competitor – it must be so, because hard stops are pulled out to get her out of the way. And since then its still annoying students and also the annoying gym teacher (Jason Segel) are around, too – so there will be an exhausting school semester!

Bad Teacher is much more: witty, entertaining, amusing and clever in his dialogues, but also everything else just as valuable and profound in its content.

What?

In this film you go, but the only reason to laugh and not because you want to see a critical contribution to climate changing or world hunger end (admirable, but bad cinema!)

Cameron Diaz plays exactly the boobed bimbo, which she probably is in real life also worth seeing (shwing!).

Justin Timberlake proves once again that he does not can only sing, (in this film, he may even not sing – and what is in the box? Get it?) but act all like The Social Network.

Jason Segel is perfect in the role of the scruffy, pudgy gym teacher and each other no matter how small supporting role was really busy voices. Especially the interplay of individual personalities rather disturbed at this school is a really surprisingly entertaining cinematic experience that lives primarily by his puns.

So, one and one half high flying thumbs! Good, not great.

With a popcorn and drink, maybe air conditioning, and this is a summer afternoon. Of laughs!

Kimmo Mustonenen for Kimmo On Kino – Behind The Proscenium

P.S. Game of Thrones season finale? I crapped! No spoilers…

June 23, 2011June 23, 2011

Cars 2 [REVIEW]

Cars 2

With Wit, Reviewed By Kimmo Mustonenen

Wow! Maybe over thinking was the downfall. Or over loving of money by Pixar.

Whatever.

No longer “wonder kid” crazy movie makers supreme. Now, just another assaulting to my eyeballs.

All for my dollars. Bastards! In sucky 3-D.

Written by Ben Queen from a previously devised by John Lasseter, Brad Lewis and Dan Fogelman, the script for Cars 2 hit by investing in a different story from that seen in the original instead of making the same mistake most of the proceedings and try to repeat the previous formula – and it is a pity, then, that the plot is chosen by the team as bad and equally formulaic.

What?

Adopting the genre “espionage” as the basis of the narrative, the film features Lightning McQueen (Owen Wilson) and his best friend Mate (Larry the Cable Guy) on a trip around the world while the race car part in a series of disputes promoted to prove efficiency of an alternative fuel, clean and renewable – or “green” to you and me.

However, Mate turns out to be mistaken for an American spy and goes on to spearhead several adventures along the agent McMíssel Finn (Michael Caine – not acting, but Reacting!) and his assistant Holley Box (yowza!) Brita (Emily Mortimer) as they try to discover the identity of the villain who seeks to sabotage the race discredit the new fuel.

The desperation of Cars 2 to establish some kind of solidity in its plot, in fact, reaches its peak at the instant kill, for no apparent reason, a loose unbelievable device, only to conclude that there can “do it” by not feel secure in himself, forcing his old friend to encourage him (I don’t even know what I wrote right now, but you will) – and this kind of unfortunate crud is spread throughout the work, starting on the scene, at the beginning of the film, in which Lightning mourns the death of Doc Hudson in a monologue accompanied by an artificial track just to forget about the very second he leaves the museum dedicated to old mentor (apparently, Pixar decided to delete the character after the death of his voice actor, Paul Newman, although the van originally voiced by George Carlin has not deserved the same consideration – words you can’t say on T.V. being said to Pixar right now).

This is now my longest sentence.

If nothing else, the film still takes care of sending anything positive for their young audience, planting the idea that “junk” (the “old”, “different”, “rejected”) see the world with envy, resentment and bad intentions (whatever!).

And what about their supposed ecological message, which at first seems to advocate the importance of a clean fuel and sustainable only to conclude with the mantra so unbelievable. So unbelievable that I shan’t mention it.

Ha!

A mantra that replaced the word “gasoline” for “Pixar” unfortunately no longer applies.

There, I said it.

Kimmo Mustonenen for Kimmo On Kino – Behind The Proscenium

P.S. The Glee Project brings me tears of joy. I have much hope for those poor, weirdo reject kids. And they’re not in their 20’s! Or auto-tuned! Yet.

June 17, 2011June 17, 2011

Green Lantern [REVIEW]

The Green Lantern

With Wit, Reviewed By Kimmo Mustonenen

Ryan Reynolds is the man. But no longer today.

This Northman famous film star – once with Scarlett Johansson (followed drunkenly by leathery Sean Penn, yowza!) – is now expected to hold a straight face above with propping a spirit-sucking expensive superhero film.

The great collapse of Green Lantern will cause most to jump on Reynolds to be blamed… but the wrong-headed doing has its origin in a lamest of the television set-trained scriptwriters and mega stone cold producer honchos.

Yes, that is what I said.

A consequence is that the new Warner Brothers flick with the load of explaining (who the Green Lantern is, for instance) is out there for all to see at megaplexes until the next super hero comes to call and kicks Green Lantern to piracy bin.

What?

In one overcalculated effort to cover all surfaces into a whole film tonally – which doesn’t work and is all over the place. Confusion is not for summer cinema!

Greatly and with greatly bombast, he seizes points of Star Wars, Top Gun and from the Superman, in a kind of superhero stew (only less meat – we need meat!).

Four authors convert the film script (each working from separate story) which spreads nerd-speak like written for baby, followed from the cosmic heavenly drilling carriage credited (you know, not understandable).

Hal Jordan (Ryan Reynolds) is a ass-kicker pilot, who sets egos over brothers.

One day, after an expensive combat aircraft during a war game is inadvertently destroyed, this creates an improbable discovery for Hal: a dying magenta-red foreigner (Temeura Morrison) gives Hal a green lantern fulfilled with cosmic energies and his connected ring.

He puts on the ring and promising allegiance to the lantern, Hal transports to another world (not ours!), in which he experiences stuff that makes him now a member of the Green Lantern Corps: a volume of green intergalactic warriors, who use the energy of the power to fight against the forces of the evil and of fear.

Additionally, to receiving a fast course up to learning, and dress down receiving from Sinestro (Mark Strong), experiences the leader of the Green Lanterns, Hal is educated that an old enemy was freed – the Parallax – from his prison and by the galaxy and goes wild (naturally) to earth with all get out.

Carrying a unruffled new costume, Hal drives back to his main planet, around the Parallax’s minion to confront Dr. Hector Hammond (Peter Sarsgaard).

He must also examine his own worth to ex-girlfriend, Carol Ferris (Blake Lively – who isn’t Ginnifer Goodwin – summer movies are suckage) and defeat that ne’er-do-well.

Warner Brothers would like that we enjoy all the big tent pole things with our wallets – Green Lantern for sure.

Sadly, but this is more like which one expects from a independent superhero film (of which is nothing, right?). Non-geeks will not enjoy the production because of non-exciting production. It’s passable, but not much more than an two-hour digression.

Green Lantern is generic – it has an imitative approach that arranges this motion picture film to fall into whichever hell circle Dante envisioned for.

No fear to say it here!

As a man, I only can dream the upcoming Captain Stoppo movie from MC Comics is less a waste of my and yours time.

Kimmo Mustonenen (Kimmo On Kino) – Behind The Proscenium

June 14, 2011June 15, 2011

Spider-Man: Turn Off The Dark Is An Absolute Triumph! [REVIEW]

Spider-man: Turn Off The Dark

Reviewed by Kyrle Lendhoffer

Superlatives. A word that means (to some – to ME) “of the highest order of quality or degree surpassing or superior to all.”

And then there are words to describe the superlatives. Or “Super”-latives, since I’m writing about a super hero masterpiece. There are not enough of them (the superlatives) for me to adequately describe what I just saw.

What did I see, dear reader?

I saw theatrical heaven on earth.

I saw an apparition of God.

I saw Spider-man: Turn Off The Dark!

Oh, where do I begin? Perhaps with the beginning – or the beginning of the construct in my mind – that is now my impression of Spider-Man – for now that it exists in my mind, so it is mine.

So, first, the performers.

Powerful. Delicious. Bouncy.

None died, or appeared to be in danger of dying (some in the audience were disappointed with this – NASCAR barbarians!).

There were no obvious hard feelings amongst the artistic staff – Julie Taymor didn’t pull out an Uzi in the lobby. It was a celebration as well as a show. And after 181 (or 183 if you believe Brian Williams and NBC News) previews, the long celebration was overdue.

Taymor’s original vision was genius (in my humble opinion). The NEW vision (brought to us by new writer, Roberto Aguirre-Sacasa, and creative consultant Philip William McKinley are even more geniuser (I will stick to this word – if you touch it, dear editor, you will die in your sleep).

Arachne almost disappears in the second act – no more bizarre psychobabble now. We are returned to the basic Spider-man story – will Peter get Mary Jane (of course!), will Peter learn to balance his life as mere mortal and super hero (duh!) and will Spider-man be able to turn off the dark (I still haven’t figured that part out).

The performances are, across the board, magnificent. Reeve Carney IS Peter Parker. From supple human to then powerful super-hero, Carney runs the gamut of our collective experience. And how can he not run said gamut when paired with the winsome Jennifer Damiano – beautiful, graceful – a song bird.

Tony Awards loom in future of Carney and Damiano. Bet on it. I will!

Patrick Page is also beyond wonder as Norman Osborne/The Green Goblin. A villain, yes. But a villain who is having the villainous time of his life.

Shall I give Page a Tony, too? Yes, I will.

I would call out every actor in this spectacular achievement but this review would go on too long. Suffice it to say that everyone involved in the magnificent production are soon to be Broadway legends. Just go here (http://www.ibdb.com/production.php?id=488485) and read all of the names. You will be glad you did.

You will also be glad to know the Bono and The Edge (they are named like characters in their own musical!) have written some of the most startlingly superb music to be heard on the Great White Way in many years.

I can’t imagine that any theater patron with a beating heart and working ears could be able to leave Foxwoods Theater without humming the very catchy songs. I say this with great resolve – Bono and Mr. Edge, please give up that silly U2 and take up musical theater full time! You won’t regret it.

In conclusion, do what you must to see Spider-man: Turn Off The Dark.

Sell your blood, or a lung or even your mother. Blood regenerates, you only need one lung and Mom won’t last forever. And neither will Spider-Man.

When it becomes the winner of the most Tony Awards in history, you will be glad you did. I’m betting on it!

What a great start to the new season! And with Rampage Of The Stegosaur set to flatten Broadway (in a good way!) this fall, it will, indeed, be a season to remember!

Kyrle Lendhoffer – Behind The Proscenium

June 9, 2011June 11, 2011

Super 8 [REVIEW]

Super 8

With Wit, Reviewed By Kimmo Mustonenen

From the title, Super 8 ad spectacular: we’ll travel through (and in) time.

Indeed, when the Amblin logo fills the screen, supported by a bombastic score and air, we’re back in the early 80s, when Steven Spielberg directed, and edited stories for teens bursting of monsters and wonders (the stories, not the teens so much).

The reference to the glorious era of Gremlins or Back to the Future is fully assumed by JJ Abrams, who grew up before these movies long before he became the instigator of the series Alias and Lost (what the hell – just me, or you, too?), then offer breathe new life sagas Mission: Impossible and Star Trek.

Officially sponsored by the director of E.T., he declares his love here cinematic without ever falling into the trap of slavish imitation or wink supported (with a nudge maybe).

For Super 8 has its own personality and obviously draws much of his inspiration from childhood memories of the filmmaker (which are his).

We are in 1979, at the end of the school year, in a quiet village in Ohio (my city was gone! See that?).

A small group of teenagers, who runs a cheese eating zombie film in Super 8 under the influence of George Romero, is witnessing a train wreck extremely spectacular. Following this accident, the townspeople begin disappearing and strange phenomena are increasing. While the army began to occupy the place and the police seem powerless, our young heroes seem the only ones who can undercover the truth.

While most seem kind of compulsory figures at the rendezvous, JJ Abrams deftly slaloms between all the clichés strewn in his path, refusing archetype (take that, Joseph Campbell!) and a caricature (flights very overrated The Goonies) in favor of a strong dramatic structure protagonists and extremely touching (not like that).

The hair-raising action sequences (the crash of the train is a piece of anthology that will probably date and harm your ear holes) do not ever thus on the characters, vehicles with humor (what?), tenderness and emotion.

Super 8 affirms the move as a real balancing act, halfway between the sincere nostalgia (those who have experienced the joys and frustrations of short films in 8 mm will have their memories refreshed), the constant quest for originality (the scenario does constantly take us by the nose to a climax of beauty – yes!) and assumed tribute to the cinema of Steven Spielberg, whose omnipresent shadow seems to hover over the entire film.

Alternately, Close Encounters Third Kind, E.T., The Jaws, Jurassic Park and even The War of the Worlds (Scientology!)there are visual and thematic correspondences, while the sumptuous soundtrack written by Michael Giacchino pays tribute to the symphonies of John Williams.

However, Abrams keeps the style of its own, both in writing his dialogues in his visual bias (the famous “lens flare” of Star Trek are always of the party – where the guest stay too long and make sick on the toilet).

So this is a work in a state of grace, which almost miraculous alchemy stems both from its authors at its magnificent cast of young actors vying for accuracy and spontaneity.

Apparently there are two Fannings. The world is a better place yet.

Kimmo Mustonenen – Behind The Proscenium

June 2, 2011June 4, 2011

X-Men: First Class [REVIEW]

X-Men: First Class

With Wit, Reviewed By Kimmo Mustonenen

I can declare X-Men: First Class the best since the mutant melee X2! Is this saying much? What?

As direct by Matthew Vaughn (Layer Cake and The Stepping Donkey – as well as the stupid Kick Ass), this prequel is chaotic and baggy and too long, but watchable often funny strange, and occasionally a flash of cold steel.

It’s the Swinging 60s’ and telepathic brainbox Charles Xavier (James McAvoy) and his shape-shifting pal Raven (a blue colored sexpot Jennifer Lawrence – seen recently but much less hot in “Winter’s Bone”) are coming to terms with their mutant powers.

Contacted by CIA operatives Moira MacTaggert (Rose Byrne), who is tracking maleable mutant mastermind Sebastian Shaw (Kevin Bacon from “Footloose”), Xavier agrees to share his expertise on Mutation.

Meanwhile, Holocaust survivor Erik Lehnsherr (Michael Fassbender) is using his mutant powers to cut bloody swathes through Europe and South America in the search for Shaw, who transjected him to unspeakable Horrors in a Nazi concentration camp.

As Lehnsherr’s activities put him on Xavier’s radar, the boffin manages to convince the magnetic avenger to join the team of mutants he’s assembling to take Shaw down.

Yes!

Using technology devised by the genius mutant Hank McCoy (Nicolas Hoult), the duo begin to recruit and train a gifted crop of youngsters and as Shaw unleashes a devilish scheme to wipe out mankind, it’s up to these ‘X-Men’ to save the day.

What?

There’s much about First Class that’s X-ceptional (ha ha, I did it!) not least of all the casting of the equally admirable McAvoy and Fassbender as the two men whose warring ideologies give X-Men stories so much more abyss than the average comic book yarn.

As X-Men creator Stan Lee has always maintained, Xavier and Lehnsherr are based on Martin Luther King and Malcolm X, setting the tale at the height of the American civil rights movement is something of a master-stroke.

It also allow the director Vaughn to indulge in some far out 60s’ referencing, from depicting Lehnsherr as a smooth 007-style assassin to setting the action-packed finish against the backdrop of the Cuban Missile Crisis.

Scripted on high by Vaughn’s Kick-Ass collaborator Jane Goldman, it’s ironic that’s the most youth-orientated X-Men adventure is as well the most adult. What?

Along with startlingly effective moments of violence and a slinky sexiness that’s likely to leave comic book nerds needing a lie down, there’s even the dropping of a well-timed F-bomb in a priceless cameo.

X-Men films have always been about the strength of the ensemble cast, and Vaughn has put together a fine group of young actors who work together with an easy charm and restless unease; Hoult and Lawrence’s (wow, that girl!) tentative romance being particularly effective.

Bacon is also in fantastic acting shape as the sneering villain. January Jones, regardless of various scenes with bra and panties pushed up, is fairly forgettable as his sidekick Emma Frost – even with her bustiness on display.

Jason Flemyng’s teleporting terror Azazel is scary enough to ensure the bad guys are satisfyingly formidable.

Capturing the spirit of the previous films without desperately struggling to achieve continuity with the theme, Vaughn portrays these familiar characters with honesty and gives them a strong origin story.

That rings true, nodding to past installments, without being overly reverent.

Unfortunately, it’s some wobbly CGI reminiscent of the disappointing X-Men Origins: Wolverine, and a rushed speed that prevents First Class from being the superhero equivalent of JJ Abrams’s Star Trek reboot fantastic.

With an extra six months in post-production and a less ramshackle edit, this easily must have been the best X-Men movie ever.

It is very close regardless, and its forms of Professor X downing a yard of ale for chatting up the girls down the pub has classic scene for the ages written all over it.

Kimmo Mustonenen – Behind The Proscenium (Kimmo On Kino)

May 25, 2011June 1, 2011

Bridesmaids [REVIEW]

Bridesmaids

With Wit, Reviewed By Kimmo Mustonenen

Yes, I know I’m not the target audience for a movie called Bridesmaids.

But if a producer Judd Apatow guarantees with its name, then this promises to be something different to what the title suggests. And as expected, is also a film Bridesmaids of opposites.

This is thoroughly Chick Flick, but the only genre in which a woman with the words “It’s like hot lava” poops in a sink (yes!).

It is a film about female friendships, but in a way that men can understand very well because he stringing together not only Sex And The City bimbo stereotypes. It is a film one can laugh, the one affected and one marks his sincere compassion for all figures.

The pivotal point of the bride alarm is Kristen Wiig, who is their role vulnerable, but strong play. It is one of the few women in Hollywood who are really funny without descending into silliness.

Although it appears from a foot in the next, it never seems ridiculous, and as a spectator while you laugh over their misfortunes, but never over (at) it.

Instead, you feel with her and pressed her fingers crossed that she finds it to a successful conclusion. Must be comedies, then the audience does not care.

That’s bad.

For many years Kristen Wiig fans of this unequal, long, emotionally engaging and representing discreetly ambitious film is a welcome and overdue step away from their popular skits on Saturday Night Live and toward something that is sustainable and powerful. Apart from this it is a pretty funny movie.

If Bridesmaids is a women’s film, then call me quiet a woman. The film is witty and funny, touching and lewd. It crosses borders by making it cheerfully ignored.

In a moment of alarm for a bride is broad-gauge farce explores the sex (but not enough), from the standpoint of a woman from the next moment then it is a comedy of manners and class, which plays off against each other two bridesmaids.

If I were waiving thumbs, Bridesmaids would get more thumbs than my hand part protrudes.

And that is good.

Kimmo Mustonenen – Behind The Proscenium (Kimmo On Kino)