Teenage Mutant Ninja Turtles

The heroes in a half-shell are back in a brand new, reboot origins story. Jonathan Liebesman does a competent job in giving us a relatively fun romp re-introducing the turtles to a new generation. At least he understood that the storyline cannot support too long a show time, and during the snappy 101 minutes focused mainly on Megan Fox and action - unlike producer Michael Bay. The turtles are slightly different from their cartoon counterparts but broadly retained their basic characteristics. Surprisingly, Raphael got the lead here.

Liebesman gave us a fairly straightforward origin story but other than a very good action set towards the end of the Second Act, the rest of the movie was fairly simple with no real big twists or unexpected results. Although the origin story itself was a departure from the story that we grew up knowing.

Cinematography was also rather flat throughout which did not help to make the movie more visually appearing. Likewise, frequent comic/super-hero music collaborator Brian Tyler was also, as usual, generic and un-inspiring. Someone need to come up with a new iconic Superhero score like John Williams' Superman Theme or Zimmer/Howard's Batman score.

It seems like the du jour thing now to litter superhero/comic-book movies with pop culture references. Sometimes it works and sometimes it doesn't; and sometimes there can be too much (see: Guardians of the Galaxy). In TNMT, it only worked when the references came from Michaelangelo - because at least here we have an established character who is likely to spew such gems and not seemed to come out as smart-alecky or self-referential.

Not much acting going on here. None of the actors hired to be the turtles are Andy Serkis. Megan Fox looked better after child-birth but definitely less sexploited here than in Bay's Transformers. Will Arnett was genuinely funny.

Ultimately, a fairly entertaining romp that did not take itself too seriously and the short run time was to its favour.

Anna Karenina [Blu-Ray]

Joe Wright's adaptation of Leo Tolstoy beloved classic is extremely stylised, uniquely presented and a gorgeously sumptuous feast for the eyes and ears. However, the directing, although unique, was inconsistent, occasionally bordering on simplicity, with style over substance; the storytelling deceptively simple with all of Anna's complexities and Tolstoy's social/political commentary lost. Wright again brought out the best of Keira Knightley, and similarly Jude Law also stood out, but young Aaron Johnson (now Taylor-Johnson) was badly miscast.

Wright chose a very unique way to present this story, and although it took a few minutes to get use to it, it was nonetheless arresting and visually spectacular. However, Wright noticeably got lazy and this technique became inconsistent, and when it did not serve the narrative was abandoned without forewarning.

Luckily for us, he had Seamus McGreary as his cinematographer. When the scenes were set indoors, McGreary shots ranged were heartbreakingly tender to sumptuously spectacular. However, when we move outdoors, the wide-angled lens captured the country in all its raw natural beauty. The balance of lights and shadows were sublime throughout.

Then we had Dario Marianelli's score which like his award-winning score for Atonement echoed the era of which the show was set in. With Russian strings and folk themes weaved within the emotional tapestry of Anna's heart.

The last production praise goes to costume designer Jacqueline Durran who deservedly won the Academy Award that year. Her costumes were all simply astounding. The details for all the dresses and head gears. Every single piece of clothing that Knightley wore was a work of art. Although none reached the status as that infamous green dress from Atonement (one barebacked moment came close!). Based on that year's nomination, only Eiko Ishioka's equally sumptuous work on Julia Robert's disastrous Mirror, Mirror was her closest rival, but Anna Karenina could likely had won because of sheer quantity.

The screenplay by Tom Stoppard was oversimplified both in terms of plot, characterisations and dialogue. Tolstoy's prose - although translated - was much more piercing than what the actors were asked to say.

Knightley gave a good performance. Not her best but she carried the film ably on her shoulders and Wright definitely knew how to get the best out of her. However, she was betrayed by the lack of substance and depth a character like Anna should have.

Law was surprisingly mesmerising. He had a refined, restrained dignity that was magnetic.

Unfortunately Johnson was at the other of the spectrum. Way otherside. He is too young and lacked the skill to portray a deceptively simple character like Count Vronsky- who is actually not as simple as he appeared in the movie. His youth disallowed the audience to engage with him and his love affair with Anna. And this was further compounded by the absolutely frigid chemistry between him and Knightley.

A visual and aural feast of a movie that lacked a heart and soul.

Guardians of the Galaxy [IMAX/3D]

Marvel and James Gunn have on their hands a new space-movie franchise. This was a fun, enjoyable ride that would definitely appeal to the majority of the public as evident by my audience's response. The two best elements were the awesome 70/80s mixtape playlist peppered throughout and the incredible creature (and floral) design and directing of Groot. However, it does not really stand out amongst past Marvel movies and Gunn's voice can be best described as the poor man's Joss Whedon.

Gunn gave us an incredible introduction that quickly set the tone for the rest of the movie. However, other than the aforementioned playlist choices and Groot, nothing else really stood out in the remaining 100-odd minutes. What was lacking throughout was a strong emotional core to anchor the movie with the audience. Things just happen and get resolved. Our heroes do not really suffer any significant, damaging, personal, soul-crushing, emotionally tense setbacks. There were definitely enough action sequences and they surely will keep the action-fans happy. However, the sequences were nothing spectacular and the action choreography basic.

Gunn's script, co-written with Nicole Perlman, had its moments especially when the movie referenced 80s pop culture. However, the humour was on the broad side. Also, there were too many moments where Gunn and Perlman tried to capture that elusive Whedon-esque banter, and it just fell flat. Perhaps it was likely because the group was actually only two actors, 2 CGI creations and Dave Bautista. The banter here just did not work. And solely relying on Chris Pratt to deliver the humour will need him to be a stronger actor/comedian - and that is where Robert Downey Jr. succeeded brilliantly.

Then we have the characterisation of the core group. The First Act tried to establish that. Like above, it did not succeed very well. There was basic motivation but nothing deeper was explored to establish these bunch of renegades as true friends.

Pratt is a good comedic actor. On the small screen. Where he had a great array of comedic talents to work opposite with. Here, he was the sole (lead) comedian, and that responsibility was too much for his very-much buffed shoulders to carry. He lacked that self-depreciating vulnerability that would have made his character more human.

Zoe Saldana was a pretty face, even in green, and she did give her best shot to try to emote. But it felt like she playing the same character as she did in the 2 Star Trek movies. Heck, even the setting felt like a copy cat of Star Trek: Into Darkness.

Groot was the surprising scene-stealer. Not Rocket. I will admit that I might partially be biased against Bradley Cooper, but objectively, Groot's simplicity and emotive eyes were crowd pleasers. Kudos to the creature designs for both Groot and Rocket, and also definitely applause to the floral designer for that penultimate climatic scene.

Poor Lee Pace and Karen Gillan were barely recognisable under all that makeup. They were definitely hamming it up as the villains.

Lots of big names too throughout: Glenn Close, Benicio del Toro, John C. Riley, Djimon Hounsou and Josh Brolin but they are really just there to add credence to Marvel.

The score by Tyler Bates was unimpressive. Generic super-hero movie score. Marvel really needs to up its game on this aspect. Cinematography by Ben Davis had moments of cosmic, intergalatic beauty, but generally the lensing was also generic and run of the mill.

IMAX was definitely fun and the IMAX moments really popped. The 3D here was also more subtle and submissive but not necessarily a deal breaker.

Overall, a fun enjoyable movie for the masses, that brings the Marvel Cinematic Universe closer together and pulls slightly on the threads to make Avengers 2 and 3 an awesome reality.

Jersey Boys

The closest Clint Eastwood got to capturing the energy and joie de vivre of the original Broadway/West End hit musical was the closing ensemble dance. And sadly, as talented as John Lloyd Young is as a musical star, he is not a big-screen actor and is unable to carry the weight of the movie on his shoulders. Ultimately, other than fans of the musical/Franki Valli and The Four Seasons/50-60s music most will actually find this movie rather bland and uninteresting.

Eastwood may seem like an interesting choice to direct the movie-adaptation of a hit musical, but theoretically he did live through that period when Franki and gang were tearing up the charts, so perhaps he could recreate that energy and buzz when the world discovered them. Unfortunately, other than his wonderful eye for capturing that period, and some beautiful camera-work, there was still a strong disconnect between us and the characters.

Even a climactic moment in the musical fell slightly flatter on the large screen. Like most of the musical moments, the stage production had more impact than Eastwood's directing.

A wooden Lloyd Young did not help things. Eastwood sure could not coax a convincing actor out of him. The make-up crew also did not do a good job in masking Young's baby face and features which was very distracting. Sure, he sang absolutely well - giving goosebumps throughout - but that is not sufficient when the camera is inches from your face and every facial twitch is magnified.

Luckily we had Vincent Piazza as Tommy DeVito who shone more as an actor than a singer. But at least, he could carry a tune.

Christopher Walken was just sleep walking through his scenes.

That will always be one of the challenges of translating stage musicals to the big screen. Choosing the right actors and balancing the singing with the acting. For every Chicago, Hairspray and Les Miserables there will always be a Nine, The Phantom of the Opera, and now Jersey Boys.

At least the music will always be undeniably catchy and fun.

The Strain

Disclaimer: I have read the novels that this series is based on. The novels were engaging and the mythology interesting, but as a whole, the pacing was rather slow and the dialogue uninspiring. The strong points were definitely the mythology and the depiction of the monsters, as well as the action sequence. However, towards the end, the pseudo-religious symbolism and christian parallels got just a bit too heavy handed.

Pilot: FX's newest horror series sure have a lot of pedigree. Based on a best-selling novel trilogy and with cult horror maestro Guillermo del Toro has the author/creator/EP and Carlton Cuse (for better or worse) on board too, expectations are running high. The cold opening definitely set the tone, with del Toro behind the camera and Ramin Djawadi (Pacific Rim and Games of Thrones) scoring the music. the tension, mood and scares were all on point. However, when the main cast start coming out, that's when things start getting flat and - to be honest - rather tedious. Perhaps more so for a book reader? Chuck Hogan's dialogue still has not improved. Corey Stoll does not fit the Ephram that I had in my mind: I do not see the strength behind the wishy-washiness even with all that hair; Mia Maestro (ah...Sydney Bristow's sister!) was a good choice for Nora and with her Alias background I can see her evolving to suit the development of the character; David Bradley was an excellent choice for Abraham. The others so far have minimum impact. Zack is such a over-precocious child...yikes! As the novels evolve, the relationship between Ephram, his wife and son slowly took centre-stage, but in this pilot, these three individuals do not connect. Not amongst themselves nor with the audience. And that was actually a pertinent problem throughout this 70 mins pilot. The leads have no chemistry between each other nor with their audience. There is only that much the mood, atmosphere, set designs and scares can keep the audience. Perhaps the storyline too - but that aspect may not be enough for those who have read the books (which may or may not be a good portion of del Toro's fans).

Episode 2, The Box: A much better outing. Less on the horror aspects but a slightly deeper focus on the characterisation. At least Eph is starting to get more interesting rather than a being flat, boring character. The most interesting character has still got to be Abraham. His backstory, and chemistry, with Thomas Eichorst was riveting. We got introduced to Vasiliy Fet and a better understanding of Gus (who grew as a character that I liked in the books towards the end). Sadly of the core cast, only Mia's Nora still lacked definition. Del Toro's touches are still clearly evident especially in the horror scenes. At least now, I am more looking forward to the next episode.

Dawn Of The Planet Of The Apes

A worthy sequel to 2011's summer box-office surprise Rise of the Planet of the Apes, but like the first instalment, the star of the show is Andy Serkis and the animation. The human actors - as awesome as Keri Russell always is (seriously, any movie with her in it instantly gets bumped up half a notch at least) - and the storyline are secondary considerations. Actually, in this case, I might actually put them as tertiary, with Michael Giacchino's outstanding score, Matt Reeves' confident directing and Michael Seresin's striking lensing as the next most outstanding aspect of this movie.

Back in 2011, I mentioned that the sequel may be Outbreak-ish in nature, but thankfully the writers (Mark Bomback, Rick Jaffa and Amanda Silver) and Reeves decided to skip all that and go straight to the aftermath, and we really see how "The Planet of the Apes" took its first steps into becoming a reality. A sad, but surprisingly, heartfelt and painfully truthful moment in the mythology.

Reeves' directing has improved much since Cloverfield and Let Me In. Two relatively low-budget genre films that did kind of paved his way to this big budget, special-effects, sci-fi movie. And, boy did he deliver. Reeves managed to capture the emotional struggle of an ape fighting for what he believes in spite of doubt and betrayal. Humans, with all their hubris and short-sightedness, are really just part of the landscape as we watched more in fascination the internal politics of the apes - and how scarily it mirrored humanity.

The action sequences were very well done and choreographed. In particular the penultimate clash and the final, climatic fight. Also a stand out was the scene when Caesar spoke to the humans.

Keri Russell - Matt Reeves' was her ex-boss on Felicity - was wasted here. Have they not witnessed the astounding work she is currently doing on Showtime's The Americans? And also seriously, this film embarrassingly fails Bechdel's Test (J.J. Abrams influence is showing...).

Jason Clarke was alright. Gary Oldman was so wasted too. And Kodi Smit-McPhee (the boy from Reeves' Let Me In - this movie is getting incestuous!) has sure grown up.

Giacchino's score is amazing. In a movie where for most parts there are no verbal dialogue, the music will then surely come to the fore. And Giacchino's penchent for strings and brass really facilitated the audience's connection with the show and the digital cast.

Seresin does not lens much but there were two striking and memorable moments that he captured on screen. *slight spoilers* the moment when Blue Eyes was standing with Koba and fire was raging on behind, and final scene itself. *end spoilers*.

I did not watch it in 3D, but other than the final act which was filmed a bit dimly, this film might actually benefit from it. There were some strange ape like sounds towards the end of the end credits, but whether this means anything...well, the internet will let us know!

Burnt Ends

Finally managed to find the time and get a table booking for Burnt Ends. Only one timing for reservations at 6 to 6.30pm, thereafter is try-your-luck-at-the-door.

Burnt once at Teppei, so am approaching this highly hyped restaurant with a hint of trepidation and slightly blunted expectations.

Open kitchen concept with bar-style sittings - except for one long table at the end. Loud music, poor acoustics, so definitely not the place for an intimate night out.

Service was polite and acceptable, but nothing to rave about. Good explanation of the menu and their house specials but rather didactic. More rote memory regurgitation than personal taste and expression. The bartender was too busy with the caucasian ladies at his end to be effective.

The open kitchen is a good concept if the team is strong. And here, they evidently are. It can be clearly seen that they work well together, but sadly, even mistakes are easily witnessed by the guests (if they are paying attention). However, that is one of the pleasures of an open kitchen by witnessing the chef take control.

Anyways, as for the food. Pacing needs to be better. The prices are on the high side of acceptable, except for their alcohol which were grossly over-priced. And you better like your Aussie wines, because that is all they have. To each his own poison.

The starters were all ready-prepared. The smoked quail eggs were a delight. Soft-boiled with a light smoky taste to the whites and the woody fragrance within the yolk. The crackling was excellent but the mustard-mayo was a bit too much and could use a bit more kick.

The duck hearts were well grilled - reminds one of the chicken hearts in the yakitori-yas. It went well with the burnt artichokes, however the aioli mix did not add much other than to mask the slightly bloody smell of the muscles (which is to be expected if you order heart).

The quail was a standout. Succulent, soft and tasty. Very good except the sauce was too heavy. Covered too much of the natural taste of the bird which was a pity.

Then we had the Burnt Ends Sangers. Essentially a pulled pork burger with melted cheese and jalepenos. I could just come down here to get this as a take-away and will be happy. Very well grilled and soft pork with the appropriate bite from the cheese and spice from the chilli. A good sign if I am eating with my fingers by this point.

Then the disappointments came. Sadly, the beef were all missing the mark.

The onglet was blah. The meat lacked that wholesome beefiness and it really did not go well with the bone marrow sauce. But at least it was cheap, that could not be said of the Blackmore rolled cube (Australia Wagyu).

Costing $75/100g with a minimum order of 250g, you get a nice piece of well-marbled wagyu beef. But a) Australian wagyu can never compare to Japaneses wagyu; b) Wagyu never does very well as a piece of steak because of the fat content. Therefore, despite the excellent grilling and temperature control, yielding a perfectly pink steak with a crisp outer layer flavoured with just some coarse sea salt, the taste itself stills fall behind a well-aged and dried, grain fed USDA or Aussie ribeye. So, do order with the appropriate expectations.

The King Crab was a delight though. Well grilled, tasty and sweet with a fitting butter and capers sauce. However, freshness is top grade. It is fresh, but not Japanese-fresh. You can taste it in the meat. The texture lacked the firmness.

Skip the weak drip coffee.

Desserts were acceptable. Good way to end the meal, but also nothing much to shout about. The pineapple with rum and vanilla was slightly better than the banana and (salted) caramel. Got a free apricot cake too, and that was much better. A good balance of sweet, sour and salty, and soft and crumbly.

Verdict: Will come again, but maybe not with a booking.