Movie review: Unknown (2011)

The last time they took his daughter-this time they are searching for his identity. While not an actual sequel to 2008 's popular movie "Taken" follows "unknown", a similar pattern of action and excitement centered around a grizzled fighter trying to stay one step ahead of ruthless villains. Tensions remain consistent and spatte ring of action sequences impresses, yet unknown can not maintain the same level of excitement as its predecessor is due largely in part to a plot that begins to waver with every new reveal. It is certainly not predictable, but rather tired stolen identity and memory loss angle is not nearly as satisfying as the path for rescue and revenge. Liam Neeson proves once again, however, to see him kick ass doesn't get old.

Dr. Martin Harris (Liam Neeson) and his wife Elizabeth (January Jones) arrives in Berlin a biotechnology Summit will feature several high-profile world leaders and scientists. When Dr. Harris realizes he left his briefcase at the airport and attempt to return to it, is his taxi was involved in a car accident, leaving him in a coma. Martin taught at awakening four days later that another man has assumed his identity and that his wife no longer recognizes him. Battling with his fractured memories and surmounting the evidence pointing to his own insanity, begins Harris an exhaustive search for answers that lead him to the cab driver that saved his life (Diane Kruger), a former German intelligence service agent (Bruno Ganz) and those who would try to silence him forever.

The movie opens with a few bizarre random similarities to the incredibly obscure 1991 Tom Berenger movie "Shattered", but then tricks full time in a tight, nerve-wracking mystery which takes identity theft to a whole new level. Doppelgangers, paranoia, overlooked details, memory loss, general confusion and Hitchcockian switched identity dilemmas culminate in a grand conspiracy theory, which is as exciting as it is unlikely. Harris must not only deal with cops, doctors and business relations that do not believe him, but also live in a foreign country with a language barrier, no friends, no place to go and General insulation-plus a pair of assassins. This is an extremely engaging prerequisite of a thriller.

Each character is interesting and is nothing as it seems. The source of infection-fighting destructive car chases (unfortunately topped with CG vehicles) and knife-with murderers, complete the formula for a Liam Neeson actioner, along with the still more generic elements in nightclub locales, suspicious security guards and an attractive woman becomes unwittingly involved in death and mayhem but still expresses uncommon bravery. With some more movies like this will be a regular Neeson action hero.

The Setup is so sensible achieved that even scenes consist of nothing more than the two older men quiet, casual communications manages the thrilling and unpredictable. Unfortunately, it is a difficult Act to follow, so consistency is beginning to falter against the conclusion; legends, videnbegær and motives are revealed as forced, to prevent its enduring power. There is simply no good way to end the unknown without being overly neat and tidy-or at least scriptwriters Oliver Butcher and Stephen Cornwell was unable to come up with a simultaneous adaptation novel "Out of My Head" by Didier van Cauwelaert, a story that desperately wanted to be a movie.

-Massie twins ( GoneWithTheTwins.com )

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Movie review: The Illusionist (2011)-directed by Sylvain Chomet

Magician combines perfectly the unique, detailed visual style of Oscar-nominated animator/writer/director Sylvain Chomet with melancholy, simple and gripping storytelling approach of celebrated writer/director/actor Jacques Tati. Although traditionally animated movie easily could have been a live action work, especially with the main character so closely mimics Tatis own Monsieur Hulot (a single clip from Mon Oncle pays fitting tribute), and the use of a dramatic, tragic, romantic plot that never deviates from reality. It is sometimes sad, the author's humorous and always moving.

An aging magician (voiced by Jean-Claude Donda) in 1960s Paris somberly realizes that his funny handicraft is no longer an exciting art form to the crowds of young people who cheer for opening acts like Billy Boy and Britoons, a stereotypical rock group with elastic hair, colorful costumes and giddy demeanors. When his meeting point tumbles from a classic music hall into a crowded park, he travels to Scotland for work. He is greeted by friendly people and finding little success at a little pub, where he meets Alice (Eilidh Rankin), a young woman working as a maid and innkeeper.

The older man takes a liking to the girl, and treats her to a new pair of shoes. When he collects enough money to return to Paris and try his tricks anew, he takes Alice with him; two share a small apartment (joined by his feisty White Rabbit) and are content with their new father/daughter relationship. While their success never really is waning, the poverty that surrounds them, and the magician slowly but steadily ability to keep a job (let alone a magic-oriented act) in trying times, weigh heavily on their livelihoods.

Chomet's animation and character design is strange enough sightly in the way the characters has too many details (listed as excessive lines) in odd places, such as wrinkles in the face or folds in clothes or crease in the hands. Most of them are quite ugly due to the extreme exaggeration of physical distortions, from high-energy noses placed high on the head that the thinly stretched lips pulled across large teeth, extremely overweight, card and FIR branches, gangly or unbalanced. Facial features are always elongated, misplaced, diminished or maimed in brilliantly stylized manner. With the watercolored backgrounds and equally exaggerated body movements are instantly recognizable Chomets animations.

Dialogue near nonexistence allows the movie to be universally appealing and understandable, with the simplicity of plot involvement in bringing the character designs for the front edge (so also background characters carefully stylised). Some may scoff at the deliberate pace, boring mood or lack of action, but warm acts of kindness and sad emotional stresses are beautifully realized. Magician joins trillingernes Belleville as an amazing masterpiece of illustration, animation, character design and story.

-Massie twins ( GoneWithTheTwins.com )

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Movie review: the mechanic (2011)

Underneath his grittier, hyper-violent, modernist shaky-cam exterior is The mechanic still a Jason Statham movies-for better or worse. Remove the faux Tony Scott-film editing techniques and blood-laden frenetic action sequences and you got the infection source of struggle, a scene or two marvelous driving time and the necessary clip of Statham remove his shirt. The brief gratuitous female nudity and the more brutal killing is new, but when you reach the end it feels strangely familiar. Even the interesting twists on the original storyline is cheapened from an unwillingness on the part of creators to commit to something a little different. Still, to see Statham take down a roomful of people or a witness to a car crash via a bus not lost its appeal.

Arthur Bishop (Jason Statham) is a "mechanic", an elite assassin, who has no equal when it comes to killing. He performs his missions quickly, efficiently and without complications. And there is no remorse for them, he kills-until he is ordered to assassinate his best friend Harry McKenna (Donald Sutherland). Stricken with guilt following the performance of his task, Bishop takes Harry's glide son Steve (Ben Foster) under his wing and begins to train him in its deadly trade. As his new students learn quickly merciless art dealing death, begins to realize he is Bishop may have been tricked into killing Harry and Steve begin suspecting his father's demise true perpetrator.

Finally, a Studio brilliant idea to reshape a mediocre film. The original version of The mechanic, made in 1972, starred Charles Bronson; It was so generic it was later reissued as "Killer of Killers." It had very sparse action, little bloodshed and an ambiguous group of mercenaries making cryptic things to a nameless, faceless clothes. Mainly, was all it had going for it a unique, surprise ending. This new version of its predecessor examines weaknesses and improves them: the relationship between the Bishop and Harry are strengthened and made more poignant (along with nice addition of a wheelchair to Sutherland, who instantly grabs more sympathy), violence has tripled and the goodly intensified. There's even a sex scene thrown in to win over audiences itchy for a sampling of each typical R-rated item. Maybe it's just unnecessary surplus tidbit storage of Bishop's first name, Arthur, which sounds tragic dated.

Opening sequence unexpectedly demonstrates hitman's expertise, but fails to be anywhere near as exciting as a Bond or a comparative assassin like Leon. From here, action and suspense increases, the exploitation of Mission: impossible gadgetry and excessively bloody, creative and often humorous exacerbated violence. Stunts and destruction is efficient and fight choreography a clear imitation of The Bourne Ultimatum-a well-orchestrated and monumental improvement over the original. Touch of gentle piano music to contrast mechanics deadly intentions is a welcome inclusion and.

The final notes of the film defends theme "when a killer growing a conscience," resonantly proves that anti-heroes are generally redeemable, even though the cold-blooded killers (but never quite relentless or cruel). The greatest shame, however, is the author of failure to adhere to the original, uncompromising conclusion which was undoubtedly changed to placate viewers and producers that cannot handle the concept of finality.

-Massie twins ( GoneWithTheTwins.com )

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Movie review: Gnomeo and Juliet (2011)

Although a scarce few scenes may have you laugh, think not Gnomeo and Juliet at all concerned with entertaining adult audiences drawn to the theater with the target group of small children. Juvenile humor and immaturity run rampant, which makes more annoyingly hyperactive supporting characters, resulting in a tug-of-war between eye rolling and grimacing. Plenty of attention has been given to the texturing and detailing of clay creatures, although the mishmash of ceramic materials, squash and Stretch animation and clanking stone sound effects originate general acceptance as much as rehashed the use of sudden immobility in the presence of humans (at least we are given the basic rules for gnome desirability: a rotund stomach and an tykspidse hat). With tired Matrix parodies, more bland character designs and a flamingo (voiced by Jim Cummings, who reuses its own unique voice of Don Karnage from talespin) and a seed not stop jabbering, it is quite likely that you are begging stops for clock-in and hope it remains faithful to Shakespeare's original Play.

It is love at first sight when blue garden decoration Gnomeo (James McAvoy) meets red lawn ornament Juliet (Emily Blunt). There is only one problem-they belong to opposing factions of ceaseless feud between recreational facilities. As pranks and repayments will continue to escalate among the warring forces, Gnomeo and Juliet realize they must bring the conflict to an end, if they want to find true happiness, and change the tragic fate hit their notes.

Gnomeo and Juliet starts with an amusing pun for a title and just went for it-a feature-length animated film with nothing else than a one-dimensional riff on a universally famous circuses. Situations or even creative jokes about Shakespeare, and armed with the remains of a arktitektur-together, horribly generic rip of the most basic love story, is void of any screen magic without interesting characters in this half-hearted attempts at family entertainment. None of the pieces combine to make even the slightest form of fun; tragedy is included for the sake of staying reminds the source material (and then immediately withdrawn), romance is childish and humor is hopelessly infantile.

There is no shortage of gnome jokes or goofy greetings to Shakespeare, although only one rib is successful (and it is not a parody of American Beauty). Many of the physical gags are repetitive, pie in the face of monkeyshines and other stale attempt obnoxious buffoonery, often accompanied by complex setups for completely independent material. Each supporting characters fight head loosely add comic relief, most of them are tired and humorless, making the reach for laugh exactly far more painful. If lack of amusement is not enough to remind us about other total failure in the animation (such as Planet 51 and battle for Terra), Elton John, who is also Executive produces, stuffed production with inappropriate, out-of-place songs that suck the life from each scene of whimsy and each already humdrum montage.

-Massie twins ( GoneWithTheTwins.com )

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Movie review: James Cameron's Sanctum (2011)

Perhaps not, we have been in this exact situation before, but certainly a similar. Sanctum seldom presents any voltage outside the predictable Poseidon-similar disaster/adventure movie staple and follows a foreseeable route through its maze-like the abyss complete with obligatory panicked survivors, expected equipment malfunctions and unavoidable weather complications. It is still an interesting travel thanks to a decent helping of took place moments, but it is unfortunate that the characters do not retain the same level of intrigue. Heavy doses of tired dialogue and a few too many annoying, paper-thin personas detract from tragedy and appalling action percolating in the latter half of the film. Perhaps with James Cameron's name attached, is the element only truly shocking lack of space life.

The enormous and almost inaccessible caves Esa ALA contains the last unexplored regions on Earth – and this is exactly where the cave diver Carl Hurley (Ioan Gruffudd) intends to go. Financing a several-month long expedition, hires Carl master caver Frank McGuire (Richard Roxburgh) and his qualified team explorers to map the cave system and find a route to the sea. To bring his girlfriend connects Victoria (Alice Parkinson) along for a little spelunking fun, Carl Frank and his crew for their latest breakthrough to a new section in the cave. But their adventures in exploration turn quickly into a frenzied bid for survival, when an unexpected flash flooding strikes and small band of cavers, including Frank's headstrong son Josh (Rhys Wakefield), becomes stranded in the tunnels. As caves quickly fill with water, and the only Exit is blocked, determines Frank their only chance of salvation is head deeper into the maze uninhabited regions.

"What could possibly go wrong diving in caves?" Victoria asks the rhetorical, completely carefree. She seems to have never seen a James Cameron movie. Although the Sanctum is undeniably similar to The Abyss, it is not without more incredible going on scenes, some unpleasant surprises and breathtaking scenery. If you want to further distinguish it from other generic thrillers, possesses Sanctum a striking attention to realism not often found in such adventures. While there is certainly creative liberties taken (true event inspiration changed drastically), death, damage and panic hanging concepts presented believably without the interference of science-fiction elements or restraint when dealing with gut-wrenching dilemmas.

Just as a much more intense and complex version of 127 hours (involving. likeminded risk takers aware dangers and therefore more difficult to sympathise with), Sanctum focuses on more fear: Claustrophobia, suffocation, dark, Hypothermia, starvation, decompression sickness, inexperience, pain, heights and a few less conventional, surprisingly graphic frights. Differences in opinions will be transformed to the creeping terror and finally thrilling panic, each identified with the grittiness and high voltages. Although the typical nature and construction of the team of cavers-along with their poorly delivered introductory dialogue-spells disaster for character development and acting categories when the crew's error startup, don't let standard snowball effect of the disaster film. Initial pace of understanding is like many thrillers, enough to keep audiences on the edge of their seats to run despite leaving a really satisfactory conclusion substantially elusive.

-Massie twins ( GoneWithTheTwins.com )

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Green Lantern Movie Review

I trøde never in a million years that I would get to see a live action Green Lantern film. Of all the members of the Justice League, he was the one character, there seemed to be the least well-known and hardest to develop into a stand-alone film. Add to that the fact that pretty much all Green Lantern powers comes out of the ring means that special effects would be such that they are credible and that most of the film would use a ton of effects. Fortunately, the technology is now available to make this a reality, and therefore we now have Green Lantern in his own films. I hope that this may lead to further individual films for each Member of the Justice League leading up to a Justice League film, as Marvel has done with members of the Avengers leading up to the Avengers film due out next year. I will keep my fingers crossed for it, but in the meantime, give the opportunity to discuss their current effort of the Green Lantern.

For those of you familiar with Green Lantern, he is a member of a larger group known as the Green Lantern Corps. The is an organization created by the guardians of the universe, patrol the entire Galaxy to maintain balance and maintain fairness throughout the universe. Each Green Lantern is proved, a particular ring, allowing the Lantern to create anything you can imagine, you can see, the ring is powered by willpower and the things that the construct is only as strong as the willpower of the Lantern uses it. This film deals with primarily the first human Green Lantern, Hal Jordan, and also gives us a great introduction to the Green Lantern Corps, the guardians and their worst enemy parallax.

I was mostly quite fond of the story they told about the origin of Earth's first Green Lantern. Casting of Ryan Reynolds was just about perfect, but the actor, who stole the Show for me was Mark Strong as Sinestro. I can't think of anyone else could have come close to his performance. If only they had done him the villain in the movie, but I hope that this is not good enough to warrant a sequel. In fact the best parts of the entire film were those dealing with Corps as a whole and all of the scenes were filmed at Lantern Home World of Oa. If only they had kept the scenes involving Hal find Abin Sur and his destroyed space craft and Hal finally accepts the ring, but when he travels to Oa to begin his education and learning about the Corps, the operation should have remained there, Hal and the entire Corps training series Parallax then Hal come back to Earth as the patron. I was just not as impressed after Hal comes back from Oa when he decides that he does not wish to accept responsibility for being Green Lantern. They could just as easily have created an origin story, which took place on Oa and was only on Earth for the beginning and end of the film. That said, I was still incredibly impressed with what they manage to put together and the overall story, as you said. This was a good introduction to this amazing characters, but it is only the tip of the iceberg everything Green Lantern can do and how important he is to the Earth and the Galaxy he helps protect security.

If you are a fan of Superman or Batman, you should go and check out this movie. Remember that the Green Lantern is one of the seven founding members of the Justice League that includes Batman, Superman, wonder woman, Flash, Aquaman and the Martian Manh unter. I can't tell you how much I hope and pray we will get not only to watch individual movies for each of these characters, but also see them joined together in a Justice League movie. Give this film a chance, despite all the bad reviews, you might have seen, and immerse yourself in this amazing world. If this movie doesn't do well, then our chances to see more of these characters in their own movie disappear before they even get the chance.

J. Chandler: B

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Movie review: take me home tonight (2011)

It is an interesting concept to make a ' 80s teen sex comedy in 2011 (or a few years earlier, since the film's release was delayed) and take me home Tonight "manages to touch on some of the magic of these films, while also preserving modernist comedy elements. The creators have stated that they wanted to make a movie that feels like it was done in the ' 80s, rather than just parodying the Decade, but the result changes back and forth between perform this goal and venturing toward the eccentric antics of day gross-out teenage comedies. R rating allows more colorful dialogue, little nudity and plenty of drug use, but the most satisfyingly humorous moments include not sex, drugs or its ' 80s option. Visually (and probably musically) best of the eighties, but strangely enough, the film would have been as efficient set in any era.

Although Matt Franklin (Topher Grace) is now working on a Suncoast Video after graduating from MIT, and have no perspectives on his future career, is his greatest regret never obtain the phone number of his unrequited high school crush Tori Frederking (Teresa Palmer). When a chance meeting with his dream girl allows him to join her on Kyle Masterson's (Chris Pratt), legendary Labor Day weekend party, Matt, his best friend, Barry (Dan Fogler), and his twin sister Wendy (Anna Faris), navigate emerging adulthood through a night of wild partying, self reflection and second chances rocky revelations.

Master in the ' 80s teen comedy, John Hughes, employed, often a tactic where a moment of Laughter occurred after reflecting on the more serious revelations of growing up. In the take me home tonight using a contradictions approach-bouts of comedy are separated with stick kernel speculation regrets and failures. This often leaves a bitter taste for the conclusion of each event regardless of how comically it started and forces the Viewer to remember at ceremony. As a result, acquires the comedy a very darker feel than it deserves, in fact, as perhaps exactly resonates with earnest cocaine use and lying to women, but affect workers from laugh-out-loud appeal.

A few references to Hughes ' work and some paralleling ideas surface in take me home tonight, but the film may not quite understand the charm and sincerity its authentic predecessors. It does, however, still manage to function is a classic tale of a teenager finds his dream girl and accompany this with clever bits of comedy and stage-stealing over top exploits of funnyman Dan Fogler.

-Massie twins ( GoneWithTheTwins.com )

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Movie review: I Am number four (2011)

If you have had a constant diet in the Twilight film, superhero movie and sci-fi television shows, you break maybe I am number four. But probably not. Film, based on the young-adult novel of the same name, derived almost entirely from other related materials, leaving the individuality a permanent absent unit. The most worrying problem is that Twilight is not high-school romances better, comic film handle operation with more finesse and television shows contain fewer cardboard characters. If this is number four, I'm just thankful we dedicate to wallow through one, two and three.

After their homeworld of Lothlórien is besieged by Mogadorians, a ruthless race of alien attackers, only nine talented young people flee to Earth and await their fate. John (Alex Pettyfer) is one such survivor, who along with his guardian Henri (Timothy Olyphant), constant must stay on the run to avoid being detected by Mogadorians. After learning of the murder of another Lothlórien, John and Henri head to Paradise, Ohio where they hope to lay low and discover a way to make contact with their remaining allies. When John falls in love with Sarah (Dianna Agron), a beautiful photographer on his high school, he decides to stay and fight rather than to continue running-a decision that will put him against a relentless team of brutal foreign executioners.

Sometimes (although rarely) mediocre dialogue can be forgiven in the presence of large effort. Unfortunately, I am number four neither. Direction of the conversation, if not the actual Exchange, can probably be guessed before anyone has spoken and revelations often rival those found in an episode of Scooby-Doo. Dialogue operating for extremely awkward area by a number of occasions and can't even grip the realism when the talks, which are presumed to be maladroit. Friendships, paternal guidance, antagonistic threats and confessions of love never felt so lame.

Even rarer still, humdrum dialogue can perhaps be rejected when from intriguing characters and inspiring demeanors. Still nothing here. In John's defense presumed he tries to blend and become invisible. He succeeds, but it is not public disservice. Sarah lends an arguably beautiful face, but certainly no more, and Timothy Olyphant Henri trying ever so hard but could not overcome the tedium of the script. The villains are perhaps the most cringe-worthy, "spitting broken English over harsh alien speech and commit the cardinal sin of speaking too much before killing their victims.

A few interesting shots in battle makes an appearance, although their ingenuity quickly world history beneath the sloppy special effects and behemoth predators, there seems to be the lovechild of a flying squirrel and Cloverfield monster. If unexplained powerful teens, giant sugar glider-creatures and hokey bright flashlight hands is your cup of tea, this is one for you.

-Massie twins ( GoneWithTheTwins.com )

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Movie review-Black Swan

Black Swan is a beautifully done film, shot artful and creative, but in the end leaves the viewer feeling sort of tom and want to just a little more. It is big on appearance and excitement, but in the end, I wonder where we end up?

Natalie Portmans character, Nina Sayers, winner playing a leading role in the ballet Swan Lake on a major stage company in Manhattan. The role has a dual role, a part of delicate, innocent White Swan, and the other the darker, more seductive and intense Black Swan. Nina's demanding Director, played by Vincent Cassel, using each manipulation mind games in his considerable arsenal to lure the Black Swan out of her. As the pressure builds up and opening day is approaching, Nina descends into delusion, paranoia and madness, no longer sure of what is real and what is not, which is out to get her, and who is on her side.

The viewer sees the film mainly through Nina's eyes, which adds to the confusion about what exactly is going on here. One minute we see her rock bands from his ankles in close-up, revealing very real vabler and itch from the intensity of the dance practice; the next she plucking actual Swan feathers from under his skin and sweating in a psychotic rage. We swear we see her in an extended hot and heavy sex scene with her understudy, Mila Kunis, but did it really happen? After a while it becomes impossible to say, which is to say, it is impossible for our main characters to tell what is going on around her. She is going mad.

At the same time, there is the specter of Nina's cold, last, check the Mom hanging over her, demanding to know her whereabouts and regulating food intake to ensure optimal performance. But like feathers, wild night in bed and demons lurk around every corner, we ask themselves after awhile how real Mom is itself. She is a direct cause of insanity, Constitutional Affairs Nina ... or is her very image a result of this madness?

It is all done very well, confusing, even disgusting ... to a point. When we reach catastrophic climax Black Swan opening evening, does it feel like we have put on the spin cycle of a washing machine. The difference between real and imagined will become even more impossible to decipher, and the film's dramatic conclusion is no different. It is a maze of mirrors, which lends itself well to conversation and analysis, but lacks the resolution that we are looking for investing so much emotional energy in a movie.

Portman and Kunis is fantastic in their roles, which is the formidable Barbara Hershey as Nina's Mom. All things considered, the Black Swan is worth a screening for its artistic value and uniqueness (I am sure it will be especially noticeable on LCD HDTV), but don't expect a huge dividends in the end.

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Movie review: Mr. Popper's penguins (2011)

Adults may need to stretch your patience to accommodate the level of absurdity inherent with improbability and impracticality of businessman New York to raise six penguins in his apartment, but Mr. Popper's Penguins is not really meant for the discerning viewer. Children find bumbling, chubby creatures entertaining has no complaints, and a familial bond in parallel with a waddle of penguins device is not worst moral message one could offer to young children. Yet there are those of us who believe that Jim Carrey, while not entirely antagonistic as a father of two children and six flightless birds could do greater things.

While Tom Popper (Jim Carrey) pushes for a promotion on his property, purchase partnership, he finds himself further parted from his ex-wife Amanda (Carla Gugino as Laurie Roberts) and her children Billy (Maxwell Perry cotton) and Janie (Madeline Carroll). When he unexpectedly OSH conditions six penguins from his estranged pop possessions, and Billy error the pesky pets for his birthday present, determines Popper to protect his plumaged companions. As he struggles to balance provides for his new patrons with pressure from his persistent employers, Popper also attempt to reconnect with his family while parrying harmful plot a fastidious zoo proprietor (Clark Gregg) output intent on poaching penguins to his own prehensile purposes.

The biggest problem with Mr. Popper's Penguins is the lack of realism. Although it is clearly fantasy, and targeting a young audience, complete disregard for the consequences and implications of ridiculous, especially since the police and a dedicated, nemesis zookeeper included specifically for the purpose of verification and reasoning. "We had fun, but it is time to get back to reality," says Popper, when authorities step and penguins are treated just like real animals professional care. The entire movie may have worked more believably if it was animated. It is bad enough that the CG Penguins are quite visually distinguished from their live action trained counterparts.

Jim Carrey is right at home in the role of a meaningless, overacting, idiosyncratic man struggling desperately to boycott his shattered romantic relationship and separation from his kids-the same kind of character he has played his entire career, and probably nothing like the popular source material (the filmmakers probably tried in vain to wheel him). With gags such as a woman, which sputters extreme band name, the typical soccer ball to the groin, the tuxedo-suits waddlers stroll through the Guggenheim and a crowded New York street unnoticed and penguin excrement squirted in the face, Mr. Popper's Penguins are unfathomably awkward, bland, uninspired, unoriginal and largely meaningless. Dialogue and situations is pitiful and the supporting characters give a little relief from Carrey's obnoxiousness. If it were not for a couple of short clips from some of Chaplin's films, the whole event would have been seriously perplexed.

Massie www-twins.GoneWithTheTwins.com

Massie twins are identical twin movie critics, who have professional review films full-time for over 5 years, appearing on TV, radio, online and in print. They are members of the Phoenix Film Critics Society and Internet Film critic society and their work can be seen on http://www.gonewiththetwins.com/.

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Movie review: Rango (2011)

Rango is basically a giant homage to all the great westerns, from spaghetti western of Sergio Leone for the comedic parodies of Bob Hope. A wealth of references to a plethora of classics make an appearance in the entire movie, and even if they do not recognize these author clever allusions to find entertainment in the action, the sly comedy, and brilliantly twisted character design. Rango can be typical fish-out-of-water main person trying to discover its own identity, but when transplanted to an old West town inhabited by stingy turtles, gun-toting rattlesnakes and hillbilly varmints, all the while plagued by intermittent surreal visions, deep metaphors and pessimistic narration from an avian mariachi band, his story seems anything but normal.

The desert city of dirt is in a crisis of epic proportions. A terrible drought have swept over the country, the Bank's water supply is almost dry and outlaws pine city's citizens. Fortunately for dirt, has heroic lizard Rango (Johnny Depp) just arrived to create a new order of Justice and peace as the latest city Sheriff. Unfortunately, the crafty Chameleon for both dirt and Rango, actually just aspiring actor desperate for playing the role of a fearless gunslinger. When his theatrical antics find him appointed an official lovhåndhæver, Rango must collect all his courage and is a seasoned Save Miss Beans (Isla Fisher) ranch, restore the city's precious water supplies and road freight transport system even outlaw Rattle snake Jake (Bill Nighy).

Character design in Rango range from the comically bizarre that really inspired and ends up stealing the show from every creature individually eccentric personalities. From bug-eyed toads and mangy dogs for wheelchair-bound turtles and possums brought the various skeptical animals to life with such vivid visualizations, you may find yourself laughing before they even speak. Many of the animals is hideously deformed and deranged, or their characteristic features so exaggerated that you will not be able to tell what creature they represent. A bird with an arrow in his eye, a rabbit, is missing an ear and an excessively hairy mouse to select just a sampling of the curious and fascinating creatures who share the screen. The few people who makes an appearance are clean caricatures of their actor counterparts, and nearly every design screams of innovation and inventiveness. In addition to the brilliant character design achieve texturing and animation to a new level of authenticity thanks to work by Industrial Light and Magic, a company known for their expertise in creating special effects.

With its clever references to classic Western movies and spatte ring of dark humor, Rango will almost certainly appeal as much to adults as to children. In fact, apart from the slapstick action sequences and goofy seems unfortunate bug of title lizard, most of the jokes, surreal dream sequences and intelligent marvelous dialogue geared to a more mature audience with a solid appreciation for genre film spoofs so thoroughly.

-Massie twins ( GoneWithTheTwins.com )

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