Interstellar

Interstellar is like the illegitimate love child between Gravity and Contact with The Hitchhiker Guide To The Galaxy and Space Odyssey 2001 both fighting to be its godparent. You know you are in trouble when the best thing about the movie is the wise-cracking robot a la Marvin from THHGTTG. 

Christopher Nolan has not made a good movie since The Dark Knight and even then his best movie still remained Memento. Perhaps responding to criticisms about Inception, this movie has been dumbed down exponentially definitely as a bid to wow all of Nolan's new found fans. But there is a difference between dumbing down to appeal to the masses and dumbing down to being outright stupid. For the former, see Michael Bay's Transformers; the latter - I can't even think of one now.

Jonathan and Christopher Nolan's script was filled with such bad writing. Clunky dialogue and heavy handed exposition. Poor line readings also did not help matter - will get into that soon. The robots had the best lines and their delivery were spot on. 

The concepts are great and interesting but the execution was horrendous. So many leaps of logic were necessary and even then one would even need to bend the whole space-time contiuumn to make sense out of it. Plots lines would just appear and disappear like wormholes. Just stay and accept the fact that things happen because the Nolans say so. 

Christopher's directing were also suboptimal. The pacing dragged and scenes stretched. Gravity has given all subsequent space-movies a new benchmark to hit and Interstellar unfortunately is too far down the new hierarchy. 

The movie lacked heart. The idea is there but neither the script nor the directing managed to bring it out. However, the fault would also have to lie on the actors. Without a good script some actors can still sell you the moon, but here we see Matthew McConaughey for what he can really do. There was no emotional connect between him and the audience not do we feel the emotional tie between him and his family. 

Anne Hatheway had the thankless honour of trying to sell the movie's clunkiest bit of dialogue. She did her best but the words failed her. 

Then we have Jessica Chastain. Suffice to say her younger self was more convincing than she was, but then again she did throw the most emotional punch of the movie. And she did that spectacularly. If I cared more about that relationship I might have teared. 

Hans Zimmer's score was also not the strongest. Ironically, at some points it was too strong and over-shadowed the movie itself. Hoyte van Hoytema lensed the film and there were some gorgeous shots but nothing too memorable. 

Constantine

Pilot: To be fair, I do not really know much about Constantine the DC comic that this is based on, and as for the Keanu Reeves movie back in 2005, I vaguely remembered that it was entertaining for a Keanu Reeves movie. Anyways, Matt Ryan seems like a good fit thus far, although surprisingly un-british enough: his Constantine needs to be a bit more sardonic and deadpanned (Johnny Lee Miller's Sherlock in Elementary comes to mind, but less eccentric). Thankfully, the show is losing Lucy Griffith's Liv. Unfortunately she really did not fit the show, seemingly awkward and lacking chemistry with Ryan. There were some good scares in this pilot - kudos to director Neil Marshall - and hopefully the show runners can maintain that level of creepiness. However, David S. Goyer remains one of the most over-rated writer in Hollywood. His script was the second weakest link (after Griffith) with pokey dialogue and clunky exchanges. The idea is there but the execution lacked polish. Hopefully it can remain watchable until Hannibal returns.

Episode 1 - 7: The show has steadily improved, and Matt Ryan is an engaging protagonist. He makes Constantine relatable but yet symptathetic. More back history would be fun, and the show really shines when they focused more on the "rising darkness" plot-line involving God and The First of The Fallen (a hypothesis). Angelica Celaya is a better match for Ryan, however her character needs more growth and history; similarly her powers needs to be more defined. Currently she is more there to move the narrative along. Same thing for Charles Halford whose character - Chas - is more interesting than Zed. Then lastly, we have Harold Perrineau's Manny who is underused and over-enigmatic.

Words and Pictures [SQ Inflight Entertainment]

A more matured-directed rom-com that had its heart in the right place but the soul itself fleeting in and out. Clive Owen and Juliette Binoche are great in their own roles (come on...a Brit as a literary supporter and a French as the snobbish artist - Perfect!) but together their chemistry was stronger when they started out as frenemies than when they became lovers. 

The concept is strong and the material funny, and using a rom-com as a premise to discuss the age old question of words or pictures was a smart decision. A more intellectual discussion would not be very fitting to a movie structure. However, they may have answered their own debate with Music; first there were neither words or painting but sound. 

The Immigrant [SQ inflight entertainment]

An achingly sad yet paradoxically hopeful period drama about one woman's struggle to survive wrapped enigmatically in an unlikely love story. Excellent and touching performances by both Marion Cortillard and Joaquin Phoenix, with Jeremy Renner in an outstanding supporting role. 

Director and co-writer James Gray (the latter with Richard Menello) painted a portrait of a bleak and desperate woman but also one who has immense strength in character and faith. Well directed with a good pace and sharp focus on characters. Interesting themes explored particularly sin and survival vs salvation, and forgiveness. 

Cotillard was outstanding as the titular main character: raw, fragile yet her steely gaze can stare down the hardest man. In this case, we have Phoenix giving us another one of his brilliant character creation as the anti-hero that you are secretly rooting for even if pretty boy Renner came in and swooned you/us over. 

Cinematography by Darius Khondji was equally as bleak as the story needed but the moments of light and salvation was equally as measured. Gorgeous use of lights and shadows in certain scenes. Music by Christopher Spellman carried a Polish theme and was similarly bleak with tinges of hope. 

The Mysteries of Laura

Pilot: I will admit that I had never watched Will & Grace but, other than her scarves, Debra Messing was rather charismatic on Smash, so I approached this seemingly procedural drama with a bit of trepidation. Usually I am not a fan of criminal procedurals, however if done right, they can be range from absolutely brilliant and mind-blowing like Hannibal (which admittedly became less procedural) to good and interesting like Elementary and the late, under-rated Prime Suspect. But the key to the aforementioned shows is the fascinating and riveting chemistry the main cast has. So can Laura do the same? The case-of-the-week itself was rather silly and does not really involve the audience, so is that a hint for the future? Where the case itself is secondary to the drama of Messing's messy life? She definitely has the screen charisma to carry it off and Josh Lucas as her soon-to-be-or-maybe-not ex husband and her have good chemistry together (he as eye candy does help too). As for side-kicks, detective aide Max Jenkins is quirky enough like a young Giovanni Ribisi to be entertaining in small doses; Janina Gavankar provides the female sex appeal but her character needs more reason rather than just being antagonistic to Messing. Definitely watchable at the moment just to see in which direction this series will evolve towards to.

Magic in the Moonlight

Woody Allen's newest movie is definitely not one of his finest work, or perhaps we judged him too harshly now after his recent run of spectacular films starting from Midnight in Paris and the last one: Blue Jasmine. And unfortunately, the bulk of the blame lay squarely on both Allen and his two leads: Collin Firth and Emma Stone.

Firth and Stone are undoubtedly one of the best actors of their time (him) and their generation (her), but here, as leads in a romantic comedy - even one written and directed by Allen - they lack chemistry. And that is essentially the death knell of any rom-coms. Singularly, they are fine actors. Firth has the whole English snobbish, eccentric, rational wit going on, and Stone is fine on her own as the seemingly naïvete but romantically passionate American. However, between them, not even ice would melt.

Furthermore, another sorely lack piece of puzzle in this movie is the lack of an outstanding supporting cast. Jacki Weaver and Eileen Atkins were the exception but they just had too little to do. Poor Marcia Gay Harden was under-utilised - that woman has a mean funny bone! Just watch Trophy Wife!

Allen's script had his usual wittiness and some great one liners. His clearly defined Three Parts Acts also made the movie straightforward and easy to digest. What started of a typical rom-com, became Allen's short Gatsby-esque dissertation on Love, Religion (or Atheism) and Sociology. and then finally back to the Romanticism and irrationality of Love.

The directing was even with some good shots and angles. The images looked like they were appropriately aged, and south of France looked amazing as always.

Kudos to the set designers and costumers. And also to the florists, gardeners and floral designers!

Planet Earth in Concert

Documentaries like these always fill me with a profound sense of wanderlust, and when backed up with a live orchestra like the SSO, this wanderlust just gets amplified.

Regardless whether you have watched this series before or not, it is impossible not to be awed by awesomeness and mysteries of Mother Nature and Planet Earth. But undoubtedly, some of that awe is blunted with prior exposure. Although seeing half a million snow geese take flight and the money-shot of the orca leaping out of the water on a big screen is beyond words.  

One of the downside to this presentation is that David Attenborough was sorely missed! kJoshua Tan performs better with his back to the audience, and his narration lacked the grandeur and wisdom so inherent in Attenborough's narration. 

Nonetheless, kudos to the film-making team at BBC Earth - although this was so clearly an unabashed money grab.

Looking forward to Frozen Planet in Concert!