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Fall in Love at First Kiss crew : Kaoru Tada, Frankie Chen, Zero Huang, Lala Hsu
Fall in Love at First Kiss release date : 10 August 19 0 7
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Pinocchio release date : 26 April 19 4 9
Pinocchio runtime : 125 Minutes
Pinocchio Crew : Jeremy Thomas, Dario Marianelli, Dimitri Capuani, Jean Labadie, Matteo Garrone, Matteo Garrone, Matteo Garrone, Marco Spoletini, Carlo Collodi, Peter Watson
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Lady and the Tramp crew : Colleen Atwood, John Myhre, Enrique Chediak, Leo Corey Castellano, Andrew Bujalski, Elliott Glick, Joseph Trapanese, Charlie Bean, Diane L. Sabatini, Miia Kovero
Lady and the Tramp release date : 10 September 19 0 2
Lady and the Tramp runtime : 104 Minutes
Lady and the Tramp Crew : Colleen Atwood, John Myhre, Enrique Chediak, Leo Corey Castellano, Andrew Bujalski, Elliott Glick, Joseph Trapanese, Charlie Bean, Diane L. Sabatini, Miia Kovero
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Shanghai Fortress crew : Angie Lam, Geoffrey Simpson, Teng Hua-Tao, Vera Chow, Jiang Nan, Dong-jun Lee
Shanghai Fortress release date : 22 June 19 9 6
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Shanghai Fortress Crew : Angie Lam, Geoffrey Simpson, Teng Hua-Tao, Vera Chow, Jiang Nan, Dong-jun Lee
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Alita: Battle Angel crew : Robert Rodriguez, Robert Rodriguez, Stephen E. Rivkin, David Valdes, Mary Vernieu, James Cameron, James Cameron, Bill Pope, Jon Landau, William Ladd Skinner
Alita: Battle Angel release date : 27 February 19 5 1
Alita: Battle Angel runtime : 122 Minutes
Alita: Battle Angel Crew : Robert Rodriguez, Robert Rodriguez, Stephen E. Rivkin, David Valdes, Mary Vernieu, James Cameron, James Cameron, Bill Pope, Jon Landau, William Ladd Skinner
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When Alita awakens with no memory of who she is in a future world she does not recognize, she is taken in by Ido, a compassionate doctor who realizes that somewhere in this abandoned cyborg shell is the heart and soul of a young woman with an extraordinary past. Alita: Battle Angel 2019 review : James Cameron has spent more than a decade trying to bring Alita: Battle Angel to the big screen. Based on a popular cyberpunk manga series by Yukito Kishiro, published between 1990-1995, he has spent that time refining the script and developing the world that Alita inhabits. And that’s pretty much what he now spends most of his time taking care of with the Avatar movies and the world of Pandora. Hence the reason why he eventually decided to step back into producer duties for this movie, letting Robert Rodriguez pick up the directing reins in order to finally get it finished. Rodriguez uses much of the script that Cameron wrote, but brings a little bit of his trademark style to the table too.

It’s 2563, and we’re in Iron City. Dr Dyson Ido (Christoph Waltz) is scavenging among a huge scrapyard, looking for cyborg spare parts that he can make use of, while fresh metal and rubbish rains down from Zalem – a man-made, floating city sitting in the sky above Iron City. 300 years ago there were many of these floating cities but following a brutal war all of them except for Zalem perished. During that time though, the elevator leading up to Zalem was destroyed, and these days only the ‘pure’ inhabitants of Zalem are permitted there. Nobody from Earth is allowed to visit and if anyone comes down from Zalem, they’re not allowed back. It’s to try and avoid any contamination from entering Zalem. If you’ve seen the Matt Damon movie Elysium… well, then it’s a bit like that really.


Among the usual items, such as robotic hands and eyeballs, Dr Ido discovers Alita, or rather the core of Alita – lying lifeless and broken, with only a battered hairless head and upper torso remaining. He takes her back to his laboratory/home, where he works as a cybernetics expert, repairing and upgrading the inhabitants of Iron City who are either cyborgs or humans with cyborg body parts. Along with his assisting nurse, and using a robotic body that had been previously built for his now deceased daughter (this gets briefly explained later), they rebuild her, giving her the name Alita (also his daughters name). Alita awakens later in a nice comfortable bed, in what was presumably Dr Ido’s daughters room. She has no memory of her previous existence and sets about experiencing all the sights, sensations and tastes that human life and Iron City has to offer, exploring and striking up a friendship with local boy Hugo and his group of friends. But, as the name of the movie implies, this cyborg was built for battle, and it’s not long before Alita begins to remember who exactly she used to be and just how good at kicking ass she is.


A quick word about the visuals, as they are by far the best thing about this movie. Iron City, despite clearly being a futuristic world, is certainly not dark or bleak looking in the way we’re used to with similar movies of this genre. Many of the early scenes take place during daylight hours and the city is a vibrant, bright, bustling home to thousand of humans and cyborgs. We get to go beyond the limits of Iron City – the city walls, out to the badlands beyond, and as you’d expect from Cameron a lot of thought and detail has gone into mapping out and building this world. The cyborgs and the other robots we meet are all pretty standard for a movie of this kind, but it’s Alita that is the most impressive. Much of this is down to the incredible CGI involved in making her look as realistic as she does, but a lot of what makes her so enjoyable and believable is down to Rosa Salazar, whose motion captured performance helps bring her to life. The visuals are obviously at their most impressive during the battle scenes involving Alita – where so many movies with heavy CGI battles end up as just a messy whirlpool of characters and action, that’s certainly not the case here. Slick, inventive and exhilarating choreography allowing you to actually track and follow every single character and action in crisp detail. It’s refreshing and impressive, even more so when watched in 3D and particularly so during the fast paced Motorball scenes featured towards the end of the movie.

Outside of the visuals though, other characters and plot lines don’t seem to stick so well, which is disappointing considering the rich source material available to the film makers. Alita: Battle Angel suffers from inconsistent pacing, dialogue that is clunky and exposition-heavy and there are many times when the accompanying soundtrack just felt distracting to me, out of place with whatever is currently happening. Christoph Waltz, Mahershala Ali and Jennifer Connolly all seem overqualified and underutilised, and the romance between Alita and Hugo is unnecessary, and at times annoying. It feels like it’s trying to cram too much story into its two hour run time, resulting in plot holes and frustrations later on. And there is even a cliffhanger ending – frustrating in that it feels as though we haven’t even properly concluded this part of the story and we’re now being left to wait should a sequel ever be given the go ahead.

I found much to enjoy with Alita: Battle Angel, and would gladly go see a sequel or two, should they get made. It’s enjoyable at times, and dazzling to look at, but overall it did leave me feeling a little bit frustrated and disappointed.
I quite enjoyed this movie. Of course it was a good start that it was directed by Robert Rodriguez. It is perhaps a bit of a young adult movie but that did not stop this old fart from enjoying it.

I guess most people know the basic premise of the movie. It is based on a Japanese cyberpunk manga. Alita, a cyborg, is found by Dr. Ido. She is reawakened, given a new body (two actually), she is much more than she seems and … she kicks ass.

The movie plays out in a somewhat post apocalyptic world although it is not as dark and depressing as many post apocalyptic scenarios. It is actually quite colorful and sometimes both funny and cool. A lot of people, if not most of them, in this world are cybernetically enhanced. Alita herself is a “full body conversion”. It is a quite detailed world full of pretty cool cyberpunk gadgets.

The various cyborgs themselves are of course the “main feature” of the movie. They range in a wide variety from fairly human-like to cyborg tanks. Most of them wielding various kinds of bladed weapons. Of course the CGI and the various action scenes are top notch. Alita is really cool when she gets going with her ass-kicking.

Story? Well it is manga of course so it is pretty simple but having said that it’s not bad at all. I definitely feel there is some elements from Rollerball in the no rules racing and ball chasing games which is a centerpiece of the story.

One thing that I liked immensely is that there is really no preaching in this movie. No green nonsense and no social crap. Maybe that’s because it’s based on a Japanese manga and the Japanese has not yet developed the easily offended SJW mob that plagues all too many western countries nowadays. I know there’s a bunch of SJW retards that manages to cram some feminist message into it and another bunch that claims Alita is too pretty. Well if you like cyborgs with eyes like golf balls maybe but these asshats should perhaps stop their ranting and take a serious look at their sexual preferences in that case.

The only thing that I was not too happy about was that there is no real ending to it and what is there is rather sad. This Nova guy pulling the strings up in Zalem, the cloud city, is never even touched and the ending scenes just shows him smiling like a huge cliffhanger. I guess I should not be surprised because him and his cloud city is the foundation of this manga world so for the story to continue in a possible sequel that had to be kept but still … it irked me somewhat.
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I’m writing this review one day after the Oscars night, and I can guarantee at least one thing: Alita: Battle Angel is getting a Best Visual Effects nomination and it’s probably going to win. Calling it now. There are no words that can describe how immersive, realistic and groundbreaking the IMAX 3D experience is. Weta Digital is undoubtedly the most incredible VFX/CGI company since the beginning of this millennium. From the Lord of the Rings trilogy to the Avatar movie(s) and through the most famous TV series of this time, Game of Thrones, Peter Jackson‘s company keeps surpassing the impossible.

Alita is a mix of Rosa Salazar‘s motion-capture performance and CGI animation, and it’s the most beautiful thing I’ve seen in a long time. Visuals are not the most important aspect of a film, they’re not even the key technical feature. The story and characters are and always will be the necessary ingredients for a movie’s success. That said, I’m also the first to defend that without remarkable technical achievements, a film won’t ever go above “very good.” If you want a movie to be one of the best of the year, a combination of compelling story/characters and great filmmaking attributes is essential. Robert Rodriguez‘s film nails the latter requirement, but has a lot of hits and misses regarding the former.

Like I wrote above, I have no vocabulary to describe how mind-blowing and eyegasmic this movie looks. If you’re intrigued by how fascinated I am, you know what to do: buy an IMAX ticket and watch it. The visuals alone compensate for the price of admission. Besides the jaw-dropping VFX, the sound and production design are unbelievable. I could feel every punch, kick or scream like I rarely feel with other high-budget films. The amount of work that went in to build this world is worthy of recognition, and I honestly hope that by the end of this year, Alita is receiving a whole bunch of nominations for its aesthetics.

I love how anime-like this feels. I didn’t read the original manga, but you will like this movie more if you’re a fan of anime. Rodriguez does a seamless job bringing Iron City to life, and there are tons of nods to how anime stories flow, which will surely please fans of said genre. Sadly, the screenplay isn’t exactly written as it should be. One of the most emotive moments of the film trusts the audience to buy into the romance displayed on-screen, but since it feels very forced from the get-go, this unnecessary subplot carries too much influence on the end result.

In addition to this, James Cameron and his team took a quite questionable decision concerning the main plot, having in mind the marketing surrounding this blockbuster. It’s still a minor spoiler, so I can’t really delve into details, but I’ll write this: the closest the movie gets to its third act, the more worried I became. From the moment the second acts ends, I start realizing something that not a single person working on this film even hinted at. And that was the worst call they could have ever made. Not only it dragged the first half of the movie, but it deeply damaged its narrative.

Once you see this film, you’ll understand what I’m talking about. You’ll get me when I say that the marketing strategy for Alita: Battle Angel ruined its story and it will definitely make a lot of people leave the theater frustrated, just like I did. Hopefully, this was just a misstep that doesn’t affect its box office because this is a movie worthy of watching at a movie theater and ONLY at such place. Yes, it does have issues with its storytelling. It has a whole world that doesn’t fit in just a 2-hour flick, so the plot becomes convoluted and a bit slow. However, I do think critics are being too harsh …

Alita is one of the most complex, intriguing and well-written characters of the last few years. While the screenplay contains fundamental writing flaws, its main protagonist is flawless. Despite still feeling a bit frustrated, I want to rewatch this movie so bad, just to get another opportunity to follow Alita throughout her journey. I love character-driven narratives, especially when the character in question is such a compelling one. Rosa Salazar delivers an amazing mo-cap performance (The Academy wants a new category? Well, Best Motion-Capture Performance suits your ceremony like a glove). Alita and Salazar share resemblances that can only be achieved with the unique camera-setup and technology that the production team had at their display, which is something pretty outstanding.

Christoph Waltz brilliantly portrays Ido, as expected from such a high-caliber actor. Mahershala Ali (Vector) and Jennifer Connelly (Chiren) are underused, but they make their characters work for the story. Keean Johnson is fine as Hugo, but he’s connected to one of the film’s major issues. Everyone else is pretty great, each performance elevates their respective character, which helps move the plot forward. However, it all goes back to Salazar‘s remarkable performance and the way she and Alita carried the whole thing to safe harbor. Hollywood, put your eyes on this girl!

Finally, the action. Oh my God! The action scenes are some of the most entertaining, riveting and thrilling sequences I’ve seen since Mission: Impossible - Fallout. While the latter based its action on real jaw-dropping stunts, Alita: Battle Angel probably delivers some of the best animated action ever. The motorball sequences are impossible of getting your eyes off-screen, and the fights that Alita goes through are so well-crafted. Honestly, I’m even scared of how these look in regular 2D. I doubt they feel seamless and flow as perfect as they do in IMAX 3D, so be careful with which choice you make. In my opinion …

Alita: Battle Angel is one of those movies that you HAVE TO watch at a movie theater, especially on IMAX 3D. You will not be able to grasp or feel the astonishingly immersive world that James Cameron produced, nor the powerful sound design. Its visuals effects are groundbreaking, and I promise you’ve never seen such a mixture of real and animation like this. Beautiful or gorgeous are not adjectives enough to describe the world where Alita lives. It’s a visual experience, so do waste your time and money in supporting this film.

I can’t deny neither its storytelling problems or the damaging marketing surrounding this blockbuster. However, Rosa Salazar‘s terrific performance and Alita as the protagonist are more than enough reasons to make you feel entertained and captivated until the very end. The action is mind-blowing, and I’m not lying when I state that it contains some of the best animated sequences ever. I left the theater frustrated, but I can’t wait to see it again on the big screen. Alita alone deserves that effort.

Rating: B+
I did enjoy _Alita_. It was a great big "pkyew-pkyew" sort of a mess, but I did still walk away having had a pretty good time.

Unfortunately, both Alita(the character)'s romantic interest and _Alita_(the movie)'s romantic plotline I despised. And this aspect took up **so much** on screen realestate that I could never see my way to giving _Alita_ a glowing score, even if everything else about it had been perfect (it wasn't).

An interesting part of the flim though that I also need to touch on is the special effects. They aren't even close to photorealism, but it honestly still totally works, just because there are so many of them. Impressive is the most appropriate word that comes to mind. See, even if the CGI effects don't always sell themselves as reality, the world that they are in fits, it's like how an animated movie doesn't look like real life, but you're still convinced because against its own backdrop, even though maybe they didn't use an actual elephant to play the role of Dumbo, you still believe that he's a real character **in that world**. _Alita's_ sheer abundance of creative, setting driven CGI, blurs the lines between live action and animation, delivering a totally new, unique product.

It's just a shame they couldn't have done that in a better, more coheseive (and less bogged down) narrative.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
Definitely a Robert Rodriguez movie, but a Robert Rodriguez movie made with that James Cameron money.

The world building was incredible. Rosa Salazar, Christophe Waltz, and the rest of the cast do a great job. The technical wizardry, not just with the visual effects but the use of 3-D and IMAX was nothing short of dazzling. The action is exhilarating. I'll also take Motorball over podracing or Quidditch any day.

Yes there are problems with the script because James Cameron has never been a strong writer. There is also way too much sequel baiting for my taste. But for a movie like this to come out in a time when all the profitable IPs are getting tedious, Alita Battle Angel was refreshing and tons of fun. Easily the best live action anime film adaptation to date and a kick ass sensory overload.

James Cameron, I would rather you devote time to make more Battle Angel and less Avatar.
**Alita: Battle Angel** is an awesome movie. It has great action, an interesting plot, lovable characters, amazing acting by Rosa Salazar and overall it's a wonderful and fun film. It includes some of the best CGI ever created in film. Without a doubt, it is the best manga/anime adaption by Hollywood. I highly recommend this movie. Definitely 10 out of 10.
I'm truly disappointed by critics. I just don't understand their philosophy about entertainment. This movie was a marvelous! Without knowing the source material and quizlet live, it made me interested in this world. I can't wait for the next chapter.
**One not too terrible spoiler** This movie was full of potential. The beginning of the movie was fantastic, full of amazing James Cameronesque world building and attention to detail. Where the movie starts to go down hill is more of a suprise hole in the side walk that this movie fell down, because you don't see it coming. Up to and including the bar fight, the movie was amazing. RIGHT afterward the B team entered the cutting room floor, characters started doing things that went against their motivation, and honestly the least bit of work would have solved that, but none was put forward. It was like that for the entire last half of the movie. I DO hope there is a sequel, I would like to see that. I think it would be better.

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Godzilla: King of the Monsters the movie 2019 showtimes complete online stream 4k Godzilla: King of the Monsters song, Watch Godzilla: King of the Monsters full movie online now.Follows the heroic efforts of the crypto-zoological agency Monarch as its members face off against a battery of god-sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah. When these ancient super-species, thought to be mere myths, rise again, they all vie for supremacy, leaving humanity's very existence hanging in the balance.,what are Godzilla: King of the Monsters movies in order Godzilla: King of the Monsters synopsis full movie Godzilla: King of the Monsters 2019 HD Movies, Full Length Movie
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Title : Godzilla: King of the Monsters
Godzilla: King of the Monsters genre : Science Fiction, Action
Godzilla: King of the Monsters crew : Sarah Halley Finn, Lawrence Sher, Bob Ducsay, Richard L. Johnson, Richard Pearson, Louise Mingenbach, Paul Hughen, Barry H. Waldman, Roger Barton, Scott Chambliss
Godzilla: King of the Monsters release date : 3 May 19 7 0
Godzilla: King of the Monsters runtime : 132 Minutes
Godzilla: King of the Monsters Crew : Sarah Halley Finn, Lawrence Sher, Bob Ducsay, Richard L. Johnson, Richard Pearson, Louise Mingenbach, Paul Hughen, Barry H. Waldman, Roger Barton, Scott Chambliss
Godzilla: King of the Monsters movie cast :
Kyle Chandler, Vera Farmiga, Millie Bobby Brown, Ken Watanabe, Zhang Ziyi, Bradley Whitford, Sally Hawkins, Charles Dance, Thomas Middleditch, Aisha Hinds
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Follows the heroic efforts of the crypto-zoological agency Monarch as its members face off against a battery of god-sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah. When these ancient super-species, thought to be mere myths, rise again, they all vie for supremacy, leaving humanity's very existence hanging in the balance. Godzilla: King of the Monsters 2019 review : ‘Godzilla II: King of the Monsters’ promises to build on the great work already laid out for this franchise, mixing popcorn fun and thrilling craft, but instead it relinquishes all of that to be a predictably dull and plodding bore. It doesn’t even manage to be a fun, brainless monster movie, assuming that a satisfying monster battle is all about being big and loud and doing nothing else. We waited five years for the follow-up to ‘Godzilla’, which only makes this new film even more of a disappointment, and doesn't excuse the badly-written screenplay or the poorly-executed visual effects. With Dougherty handing the reigns over to horror director Adam Wingard for 2020’s ‘Godzilla vs Kong’, here’s hoping the Monsterverse finds its feet again.
- Daniel Lammin

Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-godzilla-2-king-of-the-monsters-the-king-stumbles-in-this-loud-and-blundering-mess
Picking up after the events of the previous film; “Godzilla: King of the Monsters” deals with a world trying to assess what to do with the presence of the giant Titans. The Monarch Corporation wants the creatures studied and has established locales to study the ones they have found currently hibernating. The U.S. Government wants them destroyed as they do not want repeats of the destruction that was previously caused by Godzilla.

Dr. Emma Russell (Vera Farmiga) and her daughter Madison (Millie Bobbie Brown) have developed a device known as Orca that will allow them to communicate with the creatures using specific sonic frequencies.

After a successful test under duress; the duo are captured by a ruthless Eco Terrorist group who want to use the giant creatures for their own objectives.
This leads to a chase around the world with Monarch attempting to stop them and with Emma’s ex-husband Mark (Kyle Chandler) deeply involved though he is deeply divided as he blames Godzilla for the loss of their son.

When a gigantic creature is freed; Godzilla faces his greatest challenge as there is a race against time to save the world.

While the film has some very impressive visual effects, the film drags as aside from a couple of brief encounters; the audience is required to sit through roughly 90 minutes of plodding story to get to the action which is roughly only the last 15-20 minutes of the film.

The human characters were very disinteresting and many of the international cast looked at times like they were sleepwalking though their lines as they seemed to have a real lack of passion for what they were given to work with.

The human characters were also very annoying and I found myself hoping that they would be taken out by the creatures as I had no connection to them and they did not inspire any sympathy.

While it may possibly appeal to hardcore fans, this was a miss for me as there simply was not enough creature action to counter-balance having to sit through the human characters and plodding plot to get to the good stuff.

2.5 stars out of 5
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As some of you might know, Godzilla: King of the Monsters is one of my Most Anticipated Movies of 2019. Not because I expected it to be a beautifully written, heartfelt story with fully-developed characters who I would immensely care about. I was incredibly excited because it’s freaking Godzilla and from the few images that I had seen, it looked absolutely stunning. I didn’t need an Oscar-worthy screenplay or amazing performances. I just wanted a decent and logical (this last word is important) narrative with reasonable characters, and tons of monsters fighting to the death against each other. So, my expectations were neither complex or as high as some other people might have.

Unfortunately, I left the theater extremely disappointed. I can’t deny the impeccable VFX and the infinite amount of wallpaper-worthy images spread across the entire film. Some scenes are filled with jaw-dropping cinematography, astonishingly gorgeous monsters, and the fights feel so real that the sound design alone takes you to the edge of your seat. However, when the two pillars of any movie (story and characters) are so far away from even remotely working, there are no technically perfect aspects that can save the film from a disaster. I wrote this exact last sentence a few weeks ago regarding Game Of Thrones, and I will stand by it. I’m always the first guy to praise exceptional filmmaking skills, but if I have to choose between a technically seamless movie, and a film with a fantastic story and fully-developed characters, I have no doubts that the latter is the indisputably right choice.

Ultimately, that’s the huge problem here. The screenplay is loaded with some of the laziest exposition scenes I’ve seen in the last few years. Characters continuously have some sort of presentation to explain something in a completely unpredictable conversation randomly. Generally, a movie like this always has some kind of cliche secondary characters who are either a nerdy scientist, a comic-relief guy, a duo of bantering personalities or a military general who always wants to attack something, even though everyone knows it’s not the most intelligent decision. King of the Monsters has all of these types and more! More?! Seriously, Michael Dougherty and Zach Shields overstuff the narrative with so many unnecessary, useless, stereotypical characters who stretch the overall runtime and extend the periods between the massive fights, turning them into minutes of complete boredom.

I yawned during a Godzilla blockbuster. Yawned. How sad is that?! I really enjoyed Gareth Edwards’ 2014’s Godzilla. At the time, the most common complaint was that there wasn’t enough Godzilla in it. Most of the characters were well-written, despite that some could have been more fleshed out. King of the Monsters is (kind of) the other way around: there are dozens of monsters and bone-crushing, titanic fights, but they literally forgot to write a captivating story with compelling characters. In the first installment, even though I also wanted more Godzilla, when he actually shows up, I was so freaking excited! Since I had to wait for the third act to watch the Titans fight, the build-up that was generated and its payoff actually made the time spent with the human characters worthy.

This sequel was doomed from the moment the characters were written. There are a lot of fight sequences, and I wrote above that unnecessary characters extend the periods between these scenes. The dilemma is that those periods need to exist, making the whole thing look like a double-edged sword that the director is trying to avoid. On one hand, you can’t have an action set piece after another action set piece consecutively, otherwise, these will lose impact over time and become monotonous, so you need to spend time with the horribly-written human characters. On the other hand, you can’t have dumb characters with unclear motivations on-screen for long periods, otherwise, the audience will fall asleep of tediousness or get annoyed, so you have to insert a massive fight sequence again, hence making the audience gradually lose interest in those scenes.

King of the Monsters continuously repeats this cycle of going from one situation to the other. No one wants to have back-to-back fights because they’ll lose the impactful energy, but no one wants to waste their precious time listening to exposition-heavy PowerPoint presentations from characters no one is going to remember their name. I can’t even remember the main characters’ names, and I watched the movie yesterday! I can’t blame the cast, everyone gives good performances. Millie Bobby Brown (Madison Russell) continues her path to become one of Hollywood’s biggest stars (in less than 10 years, she’ll have an Oscar in her hands, I guarantee you that). Kyle Chandler (Mark Russell) does more than what was expected of him with such a lousy script, and Ken Watanabe (Dr. Ishiro Serizawa) is the only one who delivered a solid performance AND had a suitable character (fruit of the previous film). Vera Farmiga (Dr. Emma Russell) is connected to the worst character of the movie (atrociously irrational decisions made by Emma), and everyone else is pretty much one of the vast cliche secondary characters.

They had five years to write a straightforward narrative with simple characters. No fan neither wanted or needed a brilliant, groundbreaking screenplay. Dougherty and Shields delivered one of the worst scripts of the year, one filled with exposition, cliche characters, and a runtime that turned out to be way too long for someone to tolerate all of the dreadful dialogue. I don’t know if it will clearly end up as one of the worst films of 2019, but it’s definitely one of the biggest letdowns. All in all, Godzilla: King of the Monsters didn’t meet my expectations (and mine were pretty fair), not even close. Visually, it’s one of the most striking movies I’ve seen this year, and that can’t be dismissed. From the massive fights with the Titans to the impressive wide shots, Dougherty had a gorgeous diamond that he just needed to polish with a rational and simplistic story, like it was a soft, clean cloth. Instead, he used a hammer…

Rating: C-
It's dumb. Really dumb. And I don't mean "Oh it's a big, noisy action movie and it doesn't engage you very much mentally so that means it's stupid", I'm talking like, the rules contained within just this movie are frequently broken, and a big chunk of the ideas make no sense by the end. Dumb. But I still had a pretty good time with _King of the Monsters_ (kind of a weird title to give Godzilla when the tagline for the sequel is "God VS King", and Godzilla is not the king in that matchup, but I digress). The quality of the CGI varies _drastically_, but when it's good, it's **just** enough to get me over the line to enjoying it to the point I can give the movie a positive review.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
**_Very loud, very dumb, and very entertaining_**

>_And four great beasts came up from the sea, diverse one from another. The first was like a lion, and had eagle's wings: I beheld till the wings thereof were plucked, and it was lifted up from the earth, and made stand upon the feet as a man, and a man's heart was given to it. And behold another beast, a second, like to a bear, and it raised up itself on one side, and it had three ribs in the mouth of it between the teeth of it: and they said thus unto it, "Arise, devour much flesh." After this I beheld, and lo another, like a leopard, whic__h had upon the back of it four wings of a fowl; the beast had also four heads; and dominion was given to it. After this I saw in the night visions, and behold a fourth beast, dreadful and terrible, and strong exceedingly; and it had great iron teeth: it devoured and brake in pieces, and stamped the residue with the feet of it: and it was diverse from all the beasts that were before it; and it had ten horns._

- Daniel 7:3-7

>_Behold a great red dragon, having seven heads and ten horns, and seven crowns upon his heads. And his tail drew the third part of the stars of heaven, and did cast them to the earth_ [...] _And I stood upon the sand of the sea, and saw a beast rise up out of the sea_ [...] _And they worshipped the dragon which gave power unto the beast: and they worshipped the beast, saying, "Who is like unto the beast? Who is able to make war with him?"_ [...] _And all that dwell upon the earth shall worship him, whose names are not written in the book of life of the Lamb slain from the foundation of the world._

- Revelation 12:3-13:8

I really enjoyed Gareth Edwards's 2014 _Godzilla_. Sure, there were plot holes through which you could drive an entire fleet of trains carrying nuclear weapons, it featured coincidences that stretched believability even by Hollywood's standards, the human characters were paper-thin, and it took itself very, very seriously. But I enjoyed it. As Edwards had already proved with his debut film, the superb _Monsters_ (2010) and as he would subsequently prove with _Rogue One: A Star Wars Story_ (2016), he has a knack for wedding large-scale CGI grandiosity to stories that feel contemplative and personalised. And I don't care how long this franchise may run, and how many films get churned out, Godzilla's mic-drop moment, when he holds the female MUTO's mouth open and breathes blue fire down its throat will never be topped in its "holy shit"-ness. Ironically enough though, what I admired most about the film is the same thing that a lot of people disliked - the fact that Edwards kept Godzilla's appearances so fleeting; it took over an hour before we first saw him, and then he got only seven minutes total screen time. Personally, I thought it was a masterclass in directorial restraint, and it had the effect that when the big final fight came, it hit home on so many levels because here, finally, we were getting to see the big guy throw down. Remember when Hulk Hogan was the WWF champion for three years running? He didn't wrestle on every show, he didn't even appear on every show. So when Wrestlemania came around, and we knew the Hulkster would be headlining, it meant more than if we'd just seen him the week prior. Same thing with _Godzilla_. However, I understand why some people were unimpressed that a film called _Godzilla_ featured so little, well, Godzilla!

The third film in Legendary Entertainment's "MonsterVerse" franchise, _King of the Monsters_ is a direct sequel to Edwards's film (although sadly, he doesn't return as director), and sets up Adam Wingard's _Godzilla vs. Kong_, which has already wrapped shooting, and is scheduled for release next summer. However, whereas Edwards held Godzilla back and made the action feel smaller by focalising it through the human characters, new director Michael Dougherty (_Trick 'r Treat_; _Krampus_) essentially inverts that formula, putting Godzilla front and centre for pretty much the entire runtime (there are four big fight scenes within the first half-hour alone), and shooting the action in such a way as to make it seem as grandiose as possible. Indeed, he told Collider, "_I would call it the_ Aliens _to Gareth's_ Alien." And although Dougherty isn't half the director that Edwards is, _King of the Monsters_ works pretty well in a braindead summer action movie that's wall-to-wall giant monsters fighting one another kind of way. Sure, there are significant problems (all the best shots are in the trailer, the plot is beyond laughable, the characters are so thinly sketched as to make those in the first film feel Shakespearean, clichés abound, the talented cast is wasted), but all things considered, I enjoyed it, as it accomplished exactly what it set out to accomplish, and you really can't fault a film for succeeding at its primary objective.

Five years since Godzilla defeated the MUTOs, many more creatures (newly dubbed Titans) have been found throughout the world, all in various forms of hibernation. In charge of studying and protecting them is the private company Monarch Sciences (introduced in a fledgeling state in Jordan Vogt-Roberts's _Kong: Skull Island_, which took place in 1973). As the film begins, Monarch employees Dr. Ishirô Serizawa (Ken Watanabe) and Dr. Vivienne Graham (Sally Hawkins), both returning from the previous film, are attempting to convince the Senate that under no circumstances should control of the Titans be turned over to the military, something with which Admiral William Stenz (the great David Strathairn, also returning from the first film) strongly disagrees. Meanwhile, in China, paleobiologist Dr. Emma Russell (Vera Farmiga) and her daughter Madison (Millie Bobby Brown) watch the awakening of the larval form of Mothra. However, when Mothra becomes distressed, Emma is able to calm it using the ORCA, a device which monitors the Titans' bioacoustics and transmits a dominant "alpha signal" capable of placating them. Soon thereafter, eco-terrorist Jonah Alan (Charles Dance) and his private army storm the facility, stealing the ORCA, and kidnapping Emma and Madison. In response, Monarch track down Dr. Mark Russell (Kyle Chandler), Emma's estranged husband, and co-designer of the ORCA, hoping he might be able to help find Jonah. Mark and Emma lost a son in San Francisco during the fight between Godzilla and the MUTOs, and whereas Emma came to feel the Titans could help humanity, Mark became convinced they should all be eradicated. Meanwhile, Jonah heads to the Monarch facility in Antarctica and unleashes the only non-terrestrial Titan, a fearsome three-headed dragon codenamed "Monster Zero", but whom ancient humans knew as King Ghidorah. Arguing that humanity has brought the planet to the point of destruction, Jonah believes that if the Titans are awoken, the ensuing conflict would wipe out most of human civilisation, allowing the planet the time it needs to heal. And so, with Ghidorah awakening the various Titans throughout the world, Godzilla emerges to stand against him.

With production wrapping on _King of the Monsters_ in 2017, and with two release dates scrapped, the film was beginning to accrue some pretty bad buzz. Then that magisterial first trailer dropped, showing Mothra spanning her glorious wings scored with a remix of Claude Debussy's "Clair de Lune" from _Suite bergamasque_ (1890) and promising a film of pensive apocalyptic goings-on. It was the sort of trailer to turn even the biggest naysayer around. The good news is that all the best bits from the trailer are in the film. The bad news is that most of the best bits from the film are in the trailer.

Godzilla was originally created by Tomoyuki Tanaka, Ishirô Honda, and Eiji Tsuburaya, and first seen on screen in 1954's _Gojira_ (released in North America in 1956 as _Godzilla, King of the Monsters!_, a reedited version of the original with additional scenes and new actors). Over the last six decades, he has appeared in all manner of films and TV shows, from action flicks to eco-metaphors to kid's cartoons to comedy to whatever the hell Roland Emmerich's 1998 version was. Conceived in the wake of Hiroshima and Nagasaki, as well as the Daigo Fukuryū Maru incident, Godzilla was intended as a metaphor for the destructive power of nuclear weaponry. Thematically speaking, the highpoint of the "Kaiju" (Japanese for "strange beast") genre thus far is probably Hideaki Anno's _Shin Gojira_ (2016), which was a political satire inspired by the Japanese government's response to the 2011 Tôhoku earthquake and tsunami, and the subsequent Fukushima Daiichi nuclear accident.

_King of the Monsters_ has one eye on its themes too (a dire warning of oncoming eco-disaster, biodiversity, co-existence with other species, military impulsiveness, the insignificance of humanity compared to the vastness of nature), but really, the sermonising, exposition-heavy script by Dougherty and Zach Shields, from a story by Max Borenstein, is so badly put together, with the characters' motivations so poorly delineated, that any thematic concerns dissipate into nothing. Part of this is that the narrative simplifies Godzilla's 'morality'. Traditionally, Godzilla is inherently benevolent. However, in the 2014 version, Edwards muddied this concept brilliantly, depicting a monster that was fairly indifferent to humanity and was far more concerned with the biological drive to reassert his alpha status. In _King of the Monsters_, both Godzilla and Mothra are fundamentally good, and they wish to protect humanity from Ghidorah, which is more binary and not nearly as interesting a position to take.

And yes, the film does address the fact that through inattention and greed, humanity is on the brink of ensuring its own extinction. Jonah, of course, believes that giving the earth back to the Titans is all humanity deserves, and is exactly what the planet needs (it's revealed early in the film that the Titans leave behind biomatter which results in the rapid growth of vegetation). For her part, Emma compares humanity to a virus, and the Titans to a "fever" that could eradicate it. Elsewhere, obviously with one eye on the issue of American isolationism under Trump, as well as the unstable geopolitical situation, Serizawa states, "_sometimes, the only way to heal a wound is to make peace with the demon who caused it_". The problem with all of this is that the script is so ham-fisted and poorly structured, the eco themes so preachy, and the organic integration of those themes into the action so lacking, that they come across as background irrelevancies at best, and distracting moralising at worst. And in any case, the film ultimately undermines all of this in favour of reaffirming the clichéd old notion of human perseverance in the face of adversity.

As we're discussing the script, another problem is repetition. For example, on several occasions, Godzilla is getting his ass handed to him, only to make an 'unexpected' comeback, whilst not one, not two, but three characters sacrifice themselves for the greater good (all at different times), resulting in none of the sacrifices really meaning anything. There are also some hideous clichés. At one point, on their flagship the ARGO, the Monarch people are listening to Godzilla's heartbeat, which is becoming weaker and weaker, and Dr. Rick Stanton (a criminally underused Bradley Whitford) implores, all earnest-like, "_c'mon big guy_." It's supposed to be a moment of great pathos, tapping into the audience's empathy for Godzilla. Instead, at the screening I attended, everyone laughed, so clunky and self-serious was the moment.

Another scene that doesn't work, although in a completely different way, is the death of a major character; it happens so suddenly, amidst so much chaos, with the camera not even focused on them, that in the very next scene, the film has to show us their face on a monitor with the word "Deceased" written underneath. Not exactly the best way to handle a major death. There's also a (predictable) twist based on what could charitably be called ill-defined character motivations. The character of Mark is also peculiarly written. Played by the top-billed Kyle Chandler, he has precious little to do for most of the film other than look at monitors with a concerned expression, coming off more as a fed-up dad than the protagonist of a Kaiju film. There are also far too many scenes of characters standing on the bridge of the ARGO, spouting expositional word-dumps at one another, oftentimes even narrating their motivations. In any case, not a single character in the film comes across as three-dimensional, with not a hint of interiority amongst the lot of them. Additionally, because the scale of the fights is so massive, and the humans so poorly written, Dougherty is unable to make the characters seem even remotely significant. This was another area where Edwards did well, marrying the spectacle with smaller human drama, but Dougherty allows the spectacle to overwhelm everything else.

There are also some hilarious spatial hijinks going on. I get that the ARGO is supposed to be a super-advanced high-tech mobile fortress, but it seems capable of flying from one side of the planet to the other in about ten minutes. From Colorado to China to Bermuda to Antarctica to Mexico to Massachusetts, unless the ARGO is capable of transportation, there's some _Game of Thrones_-level compression of distances going on. Related to this is that Zhang Ziyi plays twins (Dr. Ilene Chen and Dr. Ling Chen), who we never see together. Except I didn't even realise there were two of them until I read a few reviews. Sure, I noticed what I thought was a singular character appear to be in two places at once, but because the ARGO had already been globe-hopping all over the place by that point, I just put it down to the film's lack of geographic realism. The fact that it's so easy to miss that there are twins is spectacularly bad writing, especially considering they're supposed to be a modernised version of the Shobijin, two fairies that speak for Mothra. Also, Aisha Hinds as Colonel Diane Foster, O'Shea Jackson Jr. as Chief Warrant Officer Jackson Barnes, and Thomas Middleditch as Dr. Sam Coleman may as well not be in the film at all, so little are they given to do. The same could be said for most of the Titans. Apart from the central tag-teams of Godzilla and Mothra facing off against Ghidorah and Rodan, most of the rest (including those newly created for the film - Baphomet, Typhon, Abaddon, Bunyip, and Methuselah) are seen only in news reports and a montage that plays behind the closing credits, although a few do turn up for one scene.

But for all that, however, I thoroughly enjoyed _King of the Monsters_. Although the trailer does promise what the film can't deliver, aesthetically, there's a lot to admire. The sound design by Erik Aadahl (_I, Robot_; _The Tree of Life_; _A Quiet Place_) Brandon Jones (_13 Hours_; _The Shallows_), and Tim Walston (_The Incredible Hulk_; _Pacific Rim_; _Chronicle_) is suitably deafening, and the cinematography by Lawrence Sher (_The Hangover_; _War Dogs_; _Joker_) has a well-judged sense of scale, especially in the 2.39:1 3D IMAX format. This is complemented by the editing by Roger Barton (_Gone in 60 Seconds_; _Pearl Harbor_; _The Grey_), Bob Ducsay (_Season of the Witch_; _Looper_; _Rampage_), and Richard Pearson (_The Bourne Supremacy_; _Quantum of Solace_; _Iron Man 2_), who maintain the rhythm of even the most chaotic action scenes. And even though pretty much the entire film takes place at night in the midst of a storm of the Titans' own making, it never becomes difficult to follow or see what's happening.

The film also does some interesting things with colour. Whereas the palette is predominantly mixed when we're with the human characters, the Titans are coded in binary elemental colours: Mothra glows blue as a larva and gold in her final form, Rodan reflects the hardened red of the lava from which he emerges, Godzilla is the green of nature, Ghidorah is a neutralising dark brown. There are also some extraordinary individual shots (most of which have unfortunately been spoiled by the trailer); Mothra spreading her wings for the first time, Ghidorah perched atop an erupting volcano with a crucifix looming in the foreground, the reveal of Godzilla's lair. And the final shot is a goosebumps moment with which no Kaiju fan could possibly be dissatisfied. Purely at the level of craft, this is a hugely impressive film.

_Citizen Kane_ it most certainly isn't, but who expected (or wanted) it to be. The key to really parsing the film is to consider the context, looking at what it was trying to be. And in this sense, it's a success. Sure, the script is hideous, and Dougherty is no Edwards, struggling to accomplish what Edwards seemed to do with ease; bring his own personality to the spectacle. However, if you approach it for what it is, a dumb summer blockbuster about large monsters punching each other, you'll like it just fine.
When I watched the 2014 Godzilla movie I was less than impressed as can be seen from my review here.

When watching this one I felt it was marginally better.

True to the Hollywood standards today, or perhaps lack thereof, the script writers just had to try and squeeze in a lot of green bullshit about how we destroy the planet and something has to be done bla bla bla.

Interesting enough though, the way it was done, actually made the green fanatics the bad guys in the movie. Whether that was intentional or the writers was too stupid to realize it I do not know.

The story is essentially about how one green fanatic in particular releases the “Titans” as they are called in the movie and uses them to wreak havoc, killing millions, to “balance things” and start a new world. That is your typical green fanatic although with a bit more means than usual to implement his deluded fantasies. Of course Godzilla, with the help of a few clear minded humans, comes to the rescue. That’s pretty much it. As I wrote, a typical substandard Hollywood script.

What makes this movie better though is that the implementation is not so shit full of absolutely stupid and unintelligent sequences as the 2014 movie. The implementation is actually not that bad. The action sequences are really quite good and there’s plenty of big ass monsters in this movie.

I also quite liked that cool super-carrier airplane that the Monarch crew flew around in.

As despicable as the previously mentioned green fanatic is, the role was nicely implemented as well as the main protagonist and most people around him.

The part about kick-starting Godzilla after he was wounded by detonating a nuke in front of his nose was a bit silly though. So was the hole it’s to hot and radioactive for drones as well as for a nuclear submarine so let’s send in a guy on foot. Seriously?

Also the after scenes where life magically sprouted everywhere the Titans had wrecked havoc was more than a little stupid.

If this hadn’t been a cool giant monster movie with a lot of special effects I would have scored it a lot lower. However, I am a sucker for these kinds of movies and I really like Godzilla. I even watched some of the old black and white movies when I was a kid.

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Title : Sadako
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Sadako crew : Hideo Nakata, Kôji Suzuki, Noriaki Sugihara
Sadako release date : 18 August 19 5 8
Sadako runtime : 99 Minutes
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A group of people must find out how to stop the newborn deadly curse, which has born and gone viral after a Youtuber accidentally captured a vengeful ghost on camera. Sadako 2019 review : You would think with eight films in the Japanese series already, including crossing over with The Grudge ghost Kayako, that The Ring series may be reaching a level of overexposure. With the original director of the first two films returning for Sadako, one might think that there is some hope for the latest addition to the series.

This was... a very average film. There wasn't anything special about it that made it stand out; it didn't add anything new to the series. It's just Sadako haunting another bunch of people with a new plot line. That being said; average for the ninth film in a franchise isn't so bad. At this point, looking at other franchise, it should be pulling a low average of one to three. A four out of ten is relatively decent for this point in the franchise's life span.

Sadako has very good tense moment that had me glancing away from my screen uneasily, feeling anxious and getting my heart racing. The suspense is still something that remains strong throughout the franchise and I feel that is partly due to Nakata Hideo returning to direct this. With a mix of an urban legend mixed with a curse-ghost haunting plot line, this is really the only thing that stands up against it. Hideo continues to prove he's a master of suspense and, honestly, it's the only reason I'd think about watching this again - for the few moments that Hideo provides us that makes the heart race.
With a ending worthy of the cringe-worthy award, especially with the final two moments, Sadako doesn't really hold up to the legacy that the Ring franchise has held for so long. I kind of wish they'd let Sadako haunt her well in peace and let her be at this point.

With a slightly underwhelming ninth film, it's definitely time to exorcise Sadako, let her move on from her cursed state, and throw the towel in with this one. Sadako barely holds up - a tenth would be physically incapable of holding up anything else.
You would think with eight films in the Japanese series already, including crossing over with The Grudge ghost Kayako, that The Ring series may be reaching a level of overexposure. With the original director of the first two films returning for Sadako, one might think that there is some hope for the latest addition to the series.

This was... a very average film. There wasn't anything special about it that made it stand out; it didn't add anything new to the series. It's just Sadako haunting another bunch of people with a new plot line. That being said; average for the ninth film in a franchise isn't so bad. At this point, looking at other franchise, it should be pulling a low average of one to three. A four out of ten is relatively decent for this point in the franchise's life span.

Sadako has very good tense moment that had me glancing away from my screen uneasily, feeling anxious and getting my heart racing. The suspense is still something that remains strong throughout the franchise and I feel that is partly due to Nakata Hideo returning to direct this. With a mix of an urban legend mixed with a curse-ghost haunting plot line, this is really the only thing that stands up against it. Hideo continues to prove he's a master of suspense and, honestly, it's the only reason I'd think about watching this again - for the few moments that Hideo provides us that makes the heart race.
With a ending worthy of the cringe-worthy award, especially with the final two moments, Sadako doesn't really hold up to the legacy that the Ring franchise has held for so long. I kind of wish they'd let Sadako haunt her well in peace and let her be at this point.

With a slightly underwhelming ninth film, it's definitely time to exorcise Sadako, let her move on from her cursed state, and throw the towel in with this one. Sadako barely holds up - a tenth would be physically incapable of holding up anything else.

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Aladdin crew : Lucinda Syson, Guy Ritchie, Guy Ritchie, John August, Michael Wilkinson, Peter Russell, Gemma Jackson, Alan Menken, Tina Jones, Jamal Sims
Aladdin release date : 9 October 19 5 7
Aladdin runtime : 128 Minutes
Aladdin Crew : Lucinda Syson, Guy Ritchie, Guy Ritchie, John August, Michael Wilkinson, Peter Russell, Gemma Jackson, Alan Menken, Tina Jones, Jamal Sims
Aladdin cast :
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A kindhearted street urchin named Aladdin embarks on a magical adventure after finding a lamp that releases a wisecracking genie while a power-hungry Grand Vizier vies for the same lamp that has the power to make their deepest wishes come true. Aladdin 2019 review : If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

What a wonderful surprise! I didn’t watch any trailers or clips, I completely stayed away from any sort of marketing, but I couldn’t hide from the negative feedback that social media was presenting. People online were skeptical of how good Will Smith‘s Genie would be, of how Mena Massoud (Aladdin) and Naomi Scott (Jasmine) were not the best casting choices, and of how the remake would actually honor and respect its original. From someone who didn’t know what to expect, I thoroughly enjoyed Guy Ritchie‘s take on the retelling of this famous story. All of the fears described above are obliterated by a magical cast, and they’re the ones who carry the movie to safe harbor.

I’ll start with one out of two standout performances: Will Smith as the Genie. He delivers an indisputably unique and entertaining display as the blue entity. By the way he moves and talks, there’s absolutely no way of people criticizing him for trying to copy Robin Williams. Smith does his own thing, and it works superbly. The best compliment I can give him is that I felt the same thing about Genie in this remake that I did while watching the original: every time he wasn’t on screen, I wanted him to be back immediately. In the original, I thought that the Genie appeared in the right moments every single time, which was when the pacing started to drop too much.

In this remake, the periods without Genie are more extended, and the first act suffers a bit from its slow pace, and lack of truly fun sequences. Nevertheless, once the Cave of Wonders comes into play, it’s a blast until the very end. The magic carpet and Abu make one hell of a comedy duo, and they’re responsible for a lot of the laughs throughout the runtime. Going back to Genie, I love that Ritchie and John August gave him something more in comparison with the original, and that’s one of few improvements actually made to the original. I wrote on that review that I was hoping that they gave more time for the core relationship of the film to develop and that Jafar (Marwan Kenzari) was more than just a paper-thin villain…

Well, Jafar keeps being an evil sorcerer that only desires power to rule everything and everyone. Unfortunately, he has more screentime than its predecessor, which means more over-the-top monologues of Kenzari, and sillier sequences with the whole hypnosis trick. On the other hand, Jasmine and Aladdin have a fully-developed script, which is by far the best improvement on the original. Their relationship grows naturally, and each character gets a lot of moments to express their feelings and show who they truly are, especially Jasmine. She is directly connected to an issue that will definitely make this movie incredibly divisive, audience and critics alike, but I’ll address it more at the end of the review.

Independently of the characters, Mena Massoud and Naomi Scott deliver breakthrough performances. Massoud is funny and quite likable as Aladdin, but Naomi is an absolute standout. Now, we look at this film as just another Disney remake. In a few years, we’ll look at Aladdin (2019) as the movie that launched Naomi Scott into the stardom. She is astonishingly outstanding as Jasmine. Not only her voice is pretty amazing, but her acting is unbelievably seamless. Regarding singing, Will Smith and Mena Massoud are also pretty good, and the musical numbers are another aspect that I surprisingly loved. Prince Ali, Friend Like Me, A Whole New World and the new song, Speechless, are beautiful, powerful, and the first two’s production design and VFX are overwhelming in a good way.

Guy Ritchie is known for his very fluid chasing sequences, and Aladdin running through Agrabah is very well filmed as expected. However, the long choreographed takes during these musical scenes are a wonder to behold, from the first to the very last one, even after the “The End” tagline shows up. A perfect remake is one that is able to keep the original’s essence while being its own thing. Ritchie does an impressive job balancing these pillars. For anyone who loves the original and wanted the remake to be a shot-by-shot retell of the story, every single little detail (from key words to important character moments) is present in this film. For anyone who wanted a different take, there’s more than enough minor changes to either how the story proceeds (order of events, more character development) or even how it ends, which leads me to the above-mentioned divisive issue.

Every time a political or social agenda is inserted in a movie, people don’t care if it’s well-written or not. They just don’t want any of those things on any film, and I support that. Hollywood needs to stop trying to put something politically or socially correct in a movie, just for the sake of it. Aladdin (2019) has a clear social message, and it uses one of the main characters to state that message clearly. Now, here’s the catch: having in mind the character in question, how it’s written, and what they do to send that social message, I think it’s fine. Yes, I know that a lot of people will think the complete opposite and crucify the film for it. I usually do the following mental exercise: “Does it make sense with the story/character? Is it just a single moment during the movie (proving that it might be too forced) or do they develop the idea? If it was an original film, would I even be thinking about this?”

Yes. They develop the idea. Probably not. Those are my answers, and that’s why I stand on the positive side of this soon-to-be heavily discussed subject during a few days. People need to start opening their minds to these modern takes on pre-21st-century classics. I always use Dumbo (1941) as an example: this is probably the most racist Disney movie ever, with extreme discrimination, total disrespect for animals, alcohol-induced plot points, and so much more morally and socially wrong storylines and character’s personalities. There’s no way that a film like that can be released today! So, obviously, Dumbo (2019) had to be extremely different from that one-hour racism show.

Aladdin (1992) also has a particular aspect about it that it doesn’t quite fit nowadays’ culture. It’s not offensive or anything, but I bet that if it was released today, a whole group of people would complain about it. Aladdin (2019) tries to adapt, and while it might have tried too hard, I still appreciate the effort, and at least it makes sense. It’s only a minor change to the core story and to the character in question, so it' shouldn’t affect the overall viewing of the movie. If Speechless wasn’t created, it would have been totally fine, but I have to admit that even if the song sounds great and the lyrics are impactful, it’s still a stretch… Naomi Scott interprets it beautifully, though.

Visually, the film is stunning. Agrabah is an absolute delight that will make hardcore fans’ jaws drop continuously, each time a new location is shown. I love how Ritchie strolls the camera around to show-off his production crew beautiful work, most of the times through long and fluid takes. I wish (no pun intended) he could have controlled the movie’s pace and tone better. Periods without Genie to entertain the audience are too long, and Ritchie shouldn’t risk the boredom levels to be as high as they are occasionally.

All in all, Aladdin (2019) succeeds in balancing the two pillars of any remake: it keeps the original’s true essence while standing on its own. Will Smith shuts down online skeptics with a super entertaining and unique performance as Genie, but it’s Naomi Scott and Mena Massoud palpable chemistry that surprised the hell out of me. The latter is perfect as Aladdin, but Naomi has her breakthrough display, which is definitely going to take her to even bigger stages. Guy Ritchie proves he’s a fantastic director, by delivering some beautiful one-take sequences and exceptionally fun and well-choreographed musical numbers. Technically, the production and set design are astounding, but the pacing-tone levels aren’t as balanced as they should have been, which makes the runtime over-extend itself.

Story-wise, people will feel incredibly divisive. Most of the screenplay is identical to its predecessor, but Disney’s attempt to force down a social message is not going to help the film, at all. Even if it makes sense and it’s only a minor twist, it was still unnecessary, and it might even shadow Naomi‘s brilliant performance, which would be a massive shame. Jafar bothers me a lot more than any of this stuff. However, Ritchie and John August deserve nothing but compliments for trying so hard to adapt such a risky original and mostly succeed doing it. I genuinely hope it crushes in the box office. It’s really a diamond (in the rough). Go watch it and make your own opinion!

Rating: B+
Saw this one last night and I must say I wasn't sure what to expect but I was extremely impressed by what I saw the movie made me laugh and smile theres plenty of action for Young boys and alot of music costumes and romance for young girls the only problem I see is there are shots of swinging breasts due to the wardrobe back then also the action may be a bit much for the youngest of kids but it's pure edge of the seat adventure that you absolutely must see best Disney movie of the year so far
While I am fully prepared to admit that I hated this slightly less than I expected to, I also officially give up on Guy Ritchie. Disney's original _Aladdin_ is not one of my favourite Disney flicks, but I do like it. And although I'm sure there are people out there who will appreciate this live action do-over more than me, I do find it difficult to believe anyone would think this one is the better of the two versions.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._

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