Mean Streets ★★★★

    When a director creates a picture that instills his distinctive vision, in this truly delicate of art forms, it is simply a beautiful thing to watch. "Mean Streets" is Martin Scorsese's third directorial ambition, and the second film in which he heavily contributes to the script. Although seemingly a gangster film, set in the Little Italy district of New York City, Scorsese's breakthrough film explores the intricacies of the human condition and the guilt associated with sin.

    Released in 1973, this picture became the hallmark of one of the most brilliant and respected careers of any filmmaker in cinema history. Scorsese's elegant amalgam of commercially successful soundtracks, and rich characterization, culminate in a memorable experience that sheds light into the life of one small time mobster, who desperately tries to balance his family's business with his personal affairs.

    Charlie is a young Italian-American, who is stuck between a life of devotion and a life filled with transgression. He finds himself to be the adhesive that bonds three neighborhood friends together, to produce a small band of brothers. Tony, a local bar owner, is a reserved individual, who provides a sanctum for Charlie in the form of alcohol, strippers, and gambling. Michael, an inept street level businessman, is a loan shark and life-long friend of Charlie.

    Last, but certainly not least, is Johnny Boy. An immature and brash young hot head, Johnny Boy provides Charlie with small doses of laughter and heavy doses of stress. He is essentially a walking incarnation of chaos. Much like The Joker in Christopher Nolen's "The Dark Knight," Johnny Boy does things just to do them. He doesn't know why he places small bombs in street mailboxes or climbs on roofs with a .38 caliber revolver to shoot at the Empire State Building; he just does.

    Amid the tension created by these three individuals rests Charlie. His lifelong ambition of becoming an integral piece to his uncle's mob is in a fragile state, as Charlie continues to protect and cover debts for young Johnny, and persists to indulge in a romantically inclined relationship with Johnny's cousin, Teresa. Not only does he feel that Johnny Boy is his responsibility, but Charlie genuinely believes in helping others.

    This film's plot is not constructed in a unified fashion. Considering that the thematic concern rests on the delineation of Charlie's characterization, any action and the subsequent effect is utilized to showcase the personality of Charlie. With this being the case, we find ourselves immersed in motifs progressing to a theme of guilt, and self-loathing, from living in a world of sin.

    Charlie frequently exercises penance in the form of physical pain. He thrusts his hand over an open flame to feel the tangible agony that his sins generate. A feeling that will be multiplied a million times over in the dark loneliness of hell; an infinite torture of the soul.

    To provide us with this fascinating depiction surrounded by culpability, is Harvey Keitel as Charlie. Keitel is nothing short of brilliant in a role that defined his early career. His embodiment of this character is a testament to the passion and enthusiasm for this performance. He displays an excellent sense of chemistry with his fellow actors, which creates a conceivable life on the streets of New York City--a subtle truth of how it is.

    Among the other actors, whose interaction with Keitel seems natural and fitting, is Robert De Niro as Johnny Boy. De Niro is impeccable as the wild young man who looks up to Charlie, and tests his relationships with everyone else. Johnny Boy is essentially a trial of will for the established Charlie, as Charlie attempts to administer peace and understanding into everyone around him, especially Johnny.

   Not only does De Niro leave us with a sensational performance (that jump-started a prestigious career), but he provides one of the most tension filled scenes, which leads to a climatic ending of unforeseen proportions.

    The year of 1973 was a monumental period for filmmaking. It left us with two prime examples of what could be accomplished with a superior director manipulating the camera. Although Scorsese had directed two previous films, he was relatively unknown, and his particular style had not manifested itself until now. Another amateur filmmaker, who made a bold statement in this year, was Terrence Malick, with the aesthetically pleasing "Badlands."

   "Mean Streets" is a classic piece of cinema designed to entertain us with its captivating dialogue and test our intellectual minds with its thought-provoking symbolism. Scorsese highlights his theme with the tone of this direction and the environment of Charlie. Our lead character is free from sin outside of the bar; however, once inside, the red-tinted lights permeate a sense of impurity. His inner struggle to break free from this life is the epitome of self-eradication.

   "I guess you could safely say that things haven't gone so well tonight. But I'm tryin' Lord. I'm tryin'."

Tron ★★1/2

      
    With the progression of computer generated imaging in today's film industry, it is hard to imagine a time when special effects were influential or groundbreaking. The 1980's was a decade littered with science fiction films that dared to venture into the realm of these efforts and provide an aesthetically pleasing experience for viewers.

    "Tron" is the epitome of these films, as it not only provides an array of newly developed film technologies, but it centers its plot around the inner dwellings of a computer. Although the fascination of this mystical world has all but dwindled, it remains as one of the few pictures to break the barrier of technological limitations. Yet, even with an enticing atmosphere and an original story, "Tron" simply fails to break free from its own constraints.

    Kevin Flynn is essentially a grown child. He spends the better part of his time indulging in video games at the local arcade, which he lives above in a cluttered apartment. Of course, this is on top of the fact that he is a brilliant software engineer, who has created several commercially successful video games, although his name has been unaffiliated with the projects.

    Flynn is not only a former employee of ENCOM but a victim of opportunity. Ed Dillinger, our ruthless antagonist, passed off Flynn's creations for his own, thus seeing himself to numerous promotions and Flynn to unemployment. This leads to Flynn attempting to hack into the system of ENCOM and provide evidence of his victimization; however, this will not be an effortless task.

    Dillinger has constructed the Master Control Program (MCP), an artificial intelligence entity with plans of its own. Flynn will need the help of his ex-girlfriend, Lora Baines, and fellow engineer, Alan Bradley, to sneak into the vast empire of ENCOM to provide Alan's security program, entitled Tron, with a gateway to the MCP and a path to his personal mending.

    Jeff Bridges provides us with the persona of Kevin Flynn. Bridges' performance is routine at best, as it becomes apparent that the characterization of our protagonist was shunned for more time inside the mainframe system of his former employer. The human element is relatively short-lived and, once transported into the digitalized world, we start to wonder if we ever really knew Kevin Flynn at all.

    Flynn seemingly owns the video arcade that boldly displays his name on the brick exterior; however, there is never an explanation as to how he became the founder. (Was there a severance package obtained once released from his position at ENCOM?) Nevertheless, if there is one aspect of Bridges' role that should be commended, it would be his ability to act in the virtually nonexistent and intangible ambiance that the film permits--a skill that every actor or actress has now become very accustomed to.

    Within the confines of this computerized extravaganza, Flynn teams up with Tron and makes a break from the gladiatorial games in which they are forced to participate to advance to the lair of the Master Control Program. There are several obstacles that are avoided and, the film essentially becomes a drawn-out race to beat Ed Dillinger's computerized persona from stopping them at the door of victory. Their journey culminates in a rather tedious fashion, thereby summarizing the picture unknowingly.

    "Tron" is practically a simplistic film that has now become more of a statement than a vessel of entertainment. It is a pure and genuine illustration of what could be accomplished with the combination of computer programming and the medium of film. Although this film competed with the likes of "Blade Runner" and the family inclined adventure of "E.T.," it has remained as the pinnacle of potential.

    In the end, this is a difficult film to critique considering the time period in which it premiered and the influence it subsequently had on the film industry. In order to view this film in all of its technical glory, it would have had to be seen relatively soon after its initial release. Ultimately, "Tron" is a time capsule of a period in film where experimentation was rarely seen; it is a film to be experienced in a particular era, otherwise losing its meaning.

Memoirs of a Geisha ★★★1/2

    The life of a geisha is one filled with honor, discipline and isolation. These women partake in rigorous training, at a very young age, to become a living and breathing work of art. Their lives serve as a reminder of Japan's prestigious heritage, and they are nothing short of captivating.

    "Memoirs of a Geisha" is a 2005 drama that follows the story of a young girl, Chiyo, and her journey of becoming one of Japan's most renown geisha. This is an inspiring film that showcases the perseverance of human nature and the reluctance to forget true love. With a terrific cast and a spectacular display of cinematography, this film will delight and charm for years to come.

    Chiyo, an innocent young Japanese girl, is given up by her parents and sold into a life not of her choosing--the life of a geisha. Although it may seem like the beginning of an enchanting lifestyle, Chiyo ultimately becomes the lowly servant to Mother, the proprietress of this particular geisha house, and a target to Hatsumomo, the most beautiful geisha in the district.

    She spends the majority of her days completing chores, serving punishment and dreaming of reuniting with her sister, who was sold into a life of prostitution. After finding the whereabouts of her sister and executing a plan to escape, Chiyo falls off a roof and injures herself, thus diminishing her chances of becoming a geisha. She will spend the remainder of her adolescence as a servant to Mother in the hopes that she can repay the debt she has incurred.

    The tone of Chiyo's early life is set on that fateful and dreary night when she is sold into this rather mysterious existence. It continues on the streets of Japan, as this film provides a dark and despondent depiction of this humbling experience. I wondered why I was so effortlessly captivated by this remarkable tale, and only one answer came to mind: It was the professionalism of Suzuka Ohgo, the young actress who plays Chiyo. Her innocence prevails in a role that intends to defeat the purely guided soul.

    To accompany the aesthetically pleasing portions of this film are the scores written by John Williams. Williams is undoubtedly the most successful composer in cinema history, and his beautifully performed renditions only add to the allure of this film. Considering this is the only picture in which Williams wasn't hired simply for his skill but for his desire to compose, it only alludes to the passion that was invested into the spirit of this fictional tale.

    Meanwhile, Chiyo subsequently slips into a state of depression after her failed attempt to leave this forced and restrained way of life. She is found by an enigmatic Chairman weeping on the rails of a bridge; consequently, allowing this man to bestow an act of kindness on a sorrowful young girl. He buys her a treat of shaved ice and gives her a handkerchief filled with coins. This solitary act of affection will provide the foundation for Chiyo's renewed inspiration to become a geisha and win the heart of this man.

    The second half of this film delves into the adult life of Chiyo, who takes the name of Sayuri, and her struggle to overcome insurmountable odds to gain the lost tenderness of the Chairman. Ziyi Zhang steps into the role of Sayuri and provides a subtle depiction of this young woman who must hide her love in order to fulfill the path that fate has laid down for her.

    Although truly noteworthy, Zhang's performance lacks the continuity set forth by the atmosphere of the beginning of the film, and her dialogue does seem forced at times, especially during a scene in which Sayuri pleads that her innocence has not been compromised. Zhang's beauty conceals the inconsistencies in her exercising of dialogue, and she doesn't quite exude the tangible qualities of her character.

    "Memoirs of a Geisha" is a remarkable piece, and it highlights the talents of several relatively unknown actors and actresses who aid in providing an enchanting story of lost love and redemption. This picture is not suited to provide an in-depth study into the lifestyle of geishas. It is solely a fictional tale of a young woman and her journey through adolescence and despair.

     If there was one aspect of this film that could be emphasized more, it would be the loss of innocence of young Chiyo. This would lend the opportunity for a more emotionally charged film, which would ease the transition between her phases of life; in the second act, Sayuri essentially becomes a character of unfamiliarity.

    This film has been widely criticized for the casting of Chinese actors and actresses to portray Japanese characters. Although I am not as highly critical of this decision as most individuals, there is a slight feeling of a loss of authenticity. Nevertheless, the origins and nationalities of the actors do not compromise the integrity of the film, and it would be thoughtless to revoke the merit of this picture on that sole notion.

Her ★★1/2

    One of the most universally accepted sentiments of humanity in the twenty-first century has to be the notion that technology is a profound instrument that has become an indispensable aspect of our lives. This progression has spanned over a centuries time, and it is rather inconceivable to believe that one could live without such technological advances, even if they tried.

    "Her" is a film that delves into the near future to explore the intricacies of the bond between man and technology. It is a viable conception that man will become so fixated with these advanced devices, that seemingly aid us in our everyday tasks, to the point where the emotion of love becomes discernible. Although this film revels in the delight of this romanticized, futuristic love story, it is far from producing a picture that can yield a palpable atmosphere to elucidate its intentions.

    Theodore Twombly is a reserved and peculiar individual who spends his days as a professional writer creating intimate letters and cards for significant others, not of his own. This only adds to his depression and reluctance to become involved with his surrounding environment, as Theodore is in the final stages of an unwanted divorce. The culmination of life's hardships leads Theodore to purchase an OS1, a highly intelligent operating system, which will assist him in his daily activities and give him a direly needed social outlet to ease the suffocation of loneliness.

    He effortlessly decides to give the system a female voice and disposition, which lends the opportunity for romantically inclined attachment. Theodore and Samantha, the name chosen personally by the OS, bond almost immediately, and they indulge in conversations about life, love, and happiness. Samantha shows continual evolution throughout the beginning of the relationship and even claims she can feel Theodore's touch during a late night encounter. Love has blossomed.

    The role of Theodore is extremely difficult in theory. There is virtually no physical interaction with the other leading role, and the majority of the dialogue is limited to conversations in time and space. Joaquin Phoenix's portrayal of Theodore is a stimulating experience that ultimately becomes bogged down by the ramifications of the forefront relationship. (Imagine viewing conversations between two individuals in a long distance partnership.) Nevertheless, Phoenix eases the discomfort with his delicate approach to the character. Theodore's soft toned personality intrigues us even if his character lacks the appeal of most lead performances.

    Scarlett Johansson provides us with the sultry and intelligent voice of Samanta. This is another role that justifies a certain level of professionalism to ensure that the portrayal adds substance to the film. We never physically view Samantha as she is not a human being, but a program within the confines of a computer. This is a burdensome role to critique, as Johansson is seemingly just a voice that communicates with the lead character through an earpiece.

    What I can comment on, however, is the chemistry that is provided by Johansson. Her dialogue flows naturally, and her voice charms in a way that cannot quite be defined. She breathes life into this program, and she undoubtedly becomes the star of the show. Additionally, Samantha is entirely genuine, which helps us to believe in this unlikely association.

    With their new found love in tow, Theodore and Samantha become inseparable. They spend time at the beach and even go out on a double date, as dating an OS has grown to be socially acceptable. However, the issue of physical intimacy remains and the fact that Samantha is evolving into something more than just an operating system lingers. This relationship will test the integrity of Theodore and the perceived thought that love can survive between man and an intangible entity.

    Love is indeed a mysterious force; it is both powerful and haunting. It can consume oneself at the most opportune time and flourish when the connection is sincere. Although this unusual love story provides an interesting perspective into how nature in itself functions, the fascination subsides as Samantha grows. She simply becomes a more interesting character that is restricted to the length of Theodore.

    The tone of the film also loses its continuity with stints of unnecessary and rather vapid dialogue. Samantha can communicate with thousands of other beings and can learn an infinite amount of knowledge within a minuscule time period. With the boundless mysteries and unknown answers to life's existence at hand, it is extremely unlikely that she would lend herself to ignorant thoughts as to why our anuses are located where they are and not in a place such as our armpits. Unfortunately, we not only have to endure this benighted conversation but must observe a graphic depiction as well.

    There once was a fear that technology would separate man from his family and community. A fear that we would become less concerned with these values and transform into introverted human beings, who only preoccupy themselves within the boundaries of the World Wide Web. Although this notion has arguably come true to this point, it is an entirely different discussion when the attachment progresses to emotions of the sensual matter. "Her" is the personification of this theory that would see humanity become nothing more than an extension of his own creation. When the love for material objects has gotten to this pinnacle, it is no longer an obsession, but a sickness.

12 Years a Slave ★★★★

    If there was ever a film to achieve the insurmountable task of capturing the barbarous realities of the nineteenth-century American South, it would be the 2013 historical drama entitled "12 Years a Slave." Adapted from the memoirs of Solomon Northup himself, this is a powerful film that seeks to delve into one of the darkest hours of humanity; it is a film that forces us to endure the sorrow and alienation set forth by our ancestors. With superb direction and limitless performances, this picture cements itself as the epitome of human struggle and redemption.

    Solomon Northup is a free African-American man in a time when freedom was a despairing notion. He makes an honest living as a musician whose expertise is that of the violin. Northup also has a loving family consisting of a wife and two children. Never has he experienced the hardships endured by the countless number of his peers.

    However, after accepting a job in Washington, D.C. that would see him to be absent for a fortnight, Northup will become the victim of a treacherous effort to exploit an African-American male for prosperity; a devious act that will change his life forever.

    The role of Solomon Northup is characterized by a complex amalgam of despair and hope. Chiwetel Ejiofor, an established actor with a relatively unknown body of work, portrays this kidnapped and tortured soul. This is an extremely delicate role to embrace, and it is clear that Ejiofor was prepared for the undertaking. This character all but encompasses our actor, as it is rare to see such professionalism executed through dialogue and emotion.

    Ejiofor's tools as an actor are as sharp as can be permitted, thus penetrating our blockade of impartiality scene after tension-filled scene; consequently, charming our hearts with an unforeseen zealousness. It becomes apparent that we are no longer viewing an actor in a specific role, but a man who is battling his inner encumbrances to provide us with a tapestry of emotion.

    After the abduction is complete, Northup is branded with the name of Platt and sold to a plantation owner in New Orleans, Louisiana. His life becomes routine and, although he isn't dealt much brutality or mistreatment, a lowly overseer does begin to agonize him--not for the color of his skin, but for his excelling skill as a craftsman and for his intelligent solutions to problem-solving. His life ultimately becomes endangered and the owner, who is a relatively compassionate man, agrees to sell him to another plantation in order to relieve him of peril.

    Edwin Epps, a stern and uncompromising plantation owner, becomes the recipient of Northup. This man will test Northup's ability, not only as a field worker but as a dignified human being. The work is unrelentingly rigorous, and it is clear that Epps' empathy for African-Americans has vanished, along with the perceived notion that a man with a darker complexion is still indeed a man and not a disposable piece of property. This relationship will culminate in a series of tension-filled scenes that will put you on edge and astonish the facets of the mind.

    Michael Fassbender, a personal favorite of mine among today's young collection of actors, is Edwin Epps. This depiction is a very important display of human nature found among nineteenth-century plantation owners. Epps not only believes that it is his God-given right to detain his slaves, but feels that he may do so with guiltless pride. One of the more startling relationships that contributes to this film is the dynamic bond between Epps and a young female slave named Patsey.

    Epps loves Patsey for her work ethic and is bound to her by his unwarranted sexual desires. This leads to an inner feeling of mortification and revulsion, which he subsequently releases in the form of anger upon his workers. Fassbender is impeccable as this portrait of a man fueled by self-righteousness. His delivery is unmatched in confidence and passion.

    A vital aspect of Fassbender's performance can be attributed to his chemistry with his fellow actors and actresses off screen. This includes Lupita Nyong'o, the Academy Award winner for best supporting actress for her portrayal of Patsey. Nyong'o brings a fresh face to a role filled with chaos. It is quite refreshing to see a young and talented actress succeed with little experience on her resume. Although Patsey may not be an integral constituent of the film, her importance lies within her relationship to Solomon and Epps; without Patsey, Epps loses all sense of temperament.

    "12 Years a Slave" is a film enshrouded by pain. There are several beautiful sequences and shots featuring the serene and tranquil atmosphere of the surrounding nature, as the film progresses in a completely opposing manner. And here lies the elegance of film. For, it is not so much about what's said by the characters or actions that are boldly highlighted to exercise a certain point, but what the camera relinquishes to the viewer.

    There is a scene that features Solomon near death, unable to speak or virtually move. As the camera settles on this horrendous scene, we almost certainly assure ourselves that something will happen to relieve the silence. That moment does come, but not for a few anxiety-filled minutes, which enables us to calmly examine the circumstance at hand. It is within this silence that we begin to become one with this tormented individual. Without that bond, a film will essentially become a fragment of incapability.
 

The Secret Life of Walter Mitty ★★★1/2

    Sometimes in life it is inevitable that we become engrossed with our daily lives and routine occupations, never finding the time to involve ourselves with spontaneity or adventure. Walter Mitty is the personification of these values and this mundane life of his (which is often filled with spans of impractical delusions of grandeur) becomes the focal point of the 2013 film entitled "The Secret Life of Walter Mitty."

    Walter is a reserved and rather diffident individual, who spends the majority of his hours in the darkness enshrouded basement of Life magazine headquarters. His responsibilities include prepping cover photos and being virtually nonexistent in the eyes of his peers. Additionally, Walter's love life is as desolate as the desert is dry, unless, of course, you find his hopeless crush on a female co-worker to be of any significance.

    However, as Life magazine prepares to make the transition into cyberspace, Walter's life is suddenly thrown into a tumultuous frenzy of exhilaration, as he finally sheds his tedious personality and becomes the man he has only dreamed of being in the past.

    This is a film that contains a heartwarming story and relatively silly sequences of fictitious events depicting Walter's daydreams. Ben Stiller, who makes this picture his fifth directorial venture, portrays this character with a sense of authenticity as he channels his inner awkwardness to fill the shoes of Walter Mitty. Stiller excels in both respects, providing us with a surprising yet appreciative display of cinematography and a memorable characterization of this reclusive and introverted individual.

    A conversion to an online format means Walter is in charge of the last cover photo of a tangible Life magazine. Sean O'Connell, a mysterious and brilliant photographer, has been one of the most integral contributors to the photojournalism department, thus cementing himself as the only logical choice for providing the cover of the final print issue aptly entitled "the quintessence of life."

    When the negative for this photograph appears to be missing, Walter finds himself on a manhunt to locate O'Connell and save his job; for, the online transformation may displace many in-house positions. Little does Walter know that this seemingly required action of traveling and go getting will become the single most important outing he has ever experienced and the defining moment of his life.

    The events that come to pass take us from the busy and crowded streets of inner city New York to the beautiful lush landscapes of Iceland, and, ultimately, to the breathtaking Himalayas where Walter not only finds the elusive photographer, but he realizes just how delicate and meaningful life can be. His voyage is filled with instances of humor, elation, and despair, which results in an enjoyable experience for anyone who needs to escape from the strains of reality.

    Sean Penn, a renowned actor with exceeding talent, steps into the role of Sean O'Connell. This performance is less than honorable, as Penn is limited in his time on screen and dialogue; consequently, becoming nothing more than a plot pusher. Nevertheless, an aging Penn is a delight to see, and he adds star power to a relatively unknown cast. Kristen Wiig, an up and coming actress in Hollywood, portrays the charming love interest of Walter.

    Cheryl Melhoff is a low-level employee at Life magazine and becomes attracted to Walter's quirky personality. Wiig provides our lead character with a romantically inclined release from his everyday anguishes and becomes his inspiration for adventure. Wiig's performance is quite noteworthy and provides one of the most engaging scenes of the film, as she sings her rendition of David Bowie's timeless "Space Oddity."

    "The Secret Life of Walter Mitty" is a successful and encouraging film simply because of its ability to explore the imagination--to divulge into the uncertain and give rise to hope. Although there are numerous scenes that warrant laughter, the tone of the film is solemn in its presentation, and it does not exert itself solely on comedic circumstances. Stiller has created a picture that showcases the triumph of living.

    Who is Walter Mitty? Essentially, he is concealed inside every one of us at one time or another. No matter where life's unexpected journey may take us, there is certainty in the fact that we will become submerged in the nuisances of everyday life. There will always be the need to break free and indulge in atypical events.

    I have previously asked my readers to enjoy the simplicity that this world offers. Too many times we are trapped inside our respective homes, transfixed by the technological hindrances that this twenty-first century imposes on our will. Too many times have I seen unfamiliar faces staring down at their smartphones when a magnificent sunset is just a head turn away. If there is one thing this film urgently suggests, it is the fact that life is short. In the iconic words of Ferris Bueller: "Life moves pretty fast. If you don't stop and look around once in a while, you could miss it."

Maleficent ★★★

    Walt Disney was one of the most important minds to ever grace this Earth. Not only was his contribution to animation and magical storytelling substantial, but Walt was the epitome of a successful businessman. His ambition was to bring happiness to everyone so that they could also share in the joy of his creations.

    Today's Disney is vastly different. Much of the same innovative thought and originality has disappeared, and storyboards have lost the allure that once propelled the company through their golden and renaissance periods. Disney has ultimately been reduced to conjuring up stories of old and re-imagining them as if the original had ceased to exist.

    Nevertheless, if there is one thing that has remained in the repertoire of Disney, it is the look of elation brought to children's faces as they experience these remarkable characters for the first time. Of course, this is all that mattered to Walt.

    "Maleficent" is this year's rendition of the classic tale of "Sleeping Beauty." The lead character of Aurora has been relegated and Maleficent, the ever dark and powerful enigma, has been ushered to the forefront. The essential backbone of the story remains the same; however, the point of view has been shifted in favor of the omniscient queen of the Moors.

    A vibrant young fairy named Maleficent oversees the daily activities of all the magical beings in the fair land known as the Moors. Creatures of virtually every size and shape inhabit this beautiful terrain, which borders the world of man. The fateful day that sees a boy enter into this kingdom will change the shape of this world and Maleficent's heart forever.

    Stefan, a peasant born yet ambitious young man, begins an ingenuous relationship with the youthful Maleficent, and they continue to bond over the course of their early lives. Their love for each other climaxes with a "true love's" kiss, in which Stefan bestows upon Maleficent; however, the magic was not to last. Distance grows between them and love is all but forgotten.

    After Stefan betrays Maleficent's trust and becomes king, she transforms into the wicked and evil spirited image seen in the original depiction of this timeless classic. Broken and filled with sorrow, Maleficent is fueled by revenge once she hears of the christening of the newborn princess. A curse is placed upon the infant, Aurora, and Maleficent retreats into the depths of the forest.

    If there was ever a shining star in this production, it would be the performance of Angelina Jolie. And rightfully so. Jolie embodies the character of Maleficent with relative ease and delivers on all accounts. She is as formidable and elegant as one would imagine her to be. She provides an enticing magnetism while fulfilling the menacing characteristics of the original adaption. Jolie is the quintessential actress for this role, and I cannot fathom any other woman who could fill the black dress of Maleficent with such dignity. With cheekbones so indestructible they could seemingly penetrate steel, Jolie not only looks the part but will linger in our hearts forever as the villainous beauty to rule them all.

    The treatment of Maleficent in this film is dissimilar with regard to the original tale and intends to stray from the treachery to give us more of a heartwarming story of redemption. The ill-fated fairy becomes the caretaker of young Aurora, even from a distance, and does not fully believe in the spell once cast to anathematize the innocent princess. That action was performed in haste and Maleficent's true conflict is feelings of disdain that flow from within.

    This is a film that strives for success simply because of the reputation of the story and the brand attached to the production. I was not overly impressed with the special effects as much as I was with the costumes and wardrobe. Other performances are bland and passionless. A climatic ending falls short of admirable.

    If there is one aspect of this picture to revel in, it is the conviction that Maleficent truly deserves the spotlight in which she so humbly seizes in this moment. The added depth to this characterization is believable and encouraging. Additionally, the depiction of man as a paranoid and greed-induced entity has been overemphasized; however, it is still relevant to this day.

    With all of that being said and expressed, there is a much more profound statement that should be scrutinized here. It is blatantly obvious that Disney has altered the interpretation of true love. Beginning with the 2012 film "Brave" and continuing with last year's critically acclaimed "Frozen," Disney has tarnished the bond of man and woman, opting instead for sibling and parental affection.

    Where is the inclination for this unforeseen metamorphosis? Although the above-mentioned perceived ideals are reputable, there is a feeling of emptiness when viewing these peculiar resolutions. Love indeed comes in numerous forms; however, there is a precise difference between unconditional warmth imposed by a parent or sibling and the love of a soul mate. I understand the need to bring a reinvigorated sense of fulfillment to the brand of Disney in the twenty-first century, but this change simply undermines the essence of what Walt Disney began all those years ago.

Bram Stoker's Dracula ★★★

    Dracula is indubitably one of the most significant characters ever developed in the vast world of literature. His likeness has been adapted into virtually every conceivable medium, including film.

    "Bram Stoker's Dracula" contains one of the more flattering depictions of the prince of darkness, and it provides a startling atmosphere brimming with seductiveness. Francis Ford Coppola lends his hand to the direction of this film, which is arguably his last notable appearance in that position. Coppola has an illustrious career as a filmmaker, which, for the most part, is filled with timeless masterpieces.

    Although this picture isn't the swan song we would imagine from Coppola, it is a compelling and bold adventure that stays true to the classic novel written at the turn of the twentieth century.

    Our story begins with the introduction of Vlad Dracula, a highly regarded warrior who relishes in the slayings of his enemies. He is a protector of Christianity and the Romanian population. After defeating the Turks in a merciless battle, Vlad returns home to see that his wife, Elisabeta, has taken her own life. Unfortunately, she was given false information regarding Vlad's death and decided she could not live without him.

    Subsequently, this leads Vlad to renounce Christianity and God because of the inevitable eternal damnation of his precious Elisabeta. He strikes the cross with his sword and drinks the blood that gushes outward. (This particular scene is quite disturbing and will leave you somewhat perturbed.)

    Centuries pass and Vlad, now known as Count Dracula, has become a shell of his former self. He is consumed with the vile and wicked powers that he embraced over four hundred years earlier and has confined himself to a castle in Transylvania. Apart from dwelling on the loss of his former true love, Dracula has become a notable real estate consumer and has become infatuated with buying numerous properties in London. This brings newly qualified lawyer Jonathan Harker to Dracula's home as an aid to see him through his most recent acquisitions.

    The subtle and fascinating personality of Dracula is a rather burdensome task for one to portray; however, Gary Oldman leaves no doubt as to why he was chosen for the part. Oldman excels in the role of Dracula and astonishes with the tone and style that he brings to this famed character. He embraces Coppola's vision of this portrayal and exhibits an air of sensuality throughout the film. Oldman's charisma and visible chemistry with his fellow actresses allow this film to conform to its own perception of thought. Without the charm of Oldman, this film would not revel in the perceived notion that Dracula is still a man with a heart, even if it is undead.

    The presence of Jonathan Harker in Dracula's humble abode provides the count with a new ambition. Harker's fiancee, Mina, is an uncanny reincarnation of Dracula's beloved Elisabeta. After seeing a picture of her, Dracula proceeds to visit London in an effort to search for this beautiful Mina, and Harker is left to be fed upon by his three seductive brides.

    While in London, Dracula begins his seduction of Mina and, after a blood-lustful night, has a sexual encounter with Mina's well to do friend, Lucy. This culminates in the transfer of blood into Lucy, who consequently becomes a spawn of Dracula. Her change is quite obvious to the loved ones that surround her, and this leads to the summoning of Dr. Abraham Van Helsing.

    Van Helsing is an eccentric fellow, who knows what Lucy is becoming. After much thought and research, he comes to the precise conclusion that Dracula is among the inhabitants of the cobblestoned streets of London; a shadow lurking in the blackness enshrouded halls of man. Van Helsing and a group of Lucy's former suitors begin to track down Dracula before he can entice Mina into a world of darkness.

    Other memorable performances in this film include that of Anthony Hopkins as Van Helsing and Winona Ryder depicting Mina. Hopkins is highly entertaining and quite brilliant as the local doctor, who also divulges in the knowledge of the underworld. (He exercises demons and beheads vampires as if it were his pastime.) Despite the fact that Hopkins' time on screen is limited, he delivers a much-needed release from the sexually tension-filled atmosphere.

    Ryder is a wonderful actress whose presence here is extremely integral to the production of this film. She provides a tangible sense of elegance and chemistry with Oldman, which helps to ignite the four-hundred-year-old romance that Dracula has been direly in search of. Her innocence and allure make her one of the most believable characters in a film where conceivability is hard to come by.

    The emphasis on costume and wardrobe is conspicuous and impressive to say the least. It lends credibility to the eye in the form of accurate presentation. It is much easier to believe events are taking place when the characters and locations look the part. Another commendable notion to be applauded is the stubbornness of Coppola.

    Although computer graphic imaging was not as sophisticated or widely utilized in the early 1990s as it is today, it still found its way into multiple films of this era. Coppola refused to use CGI in this rendition of Dracula and opted instead for the use of on set and in-camera techniques. I can only praise him for these actions. Nevertheless, with today's modern film production, these methods are all but unimaginable.

    If there is one prominent emotion relevant to Coppola's "Dracula," it is one of carnal sensation and desire. These are temptations that envelop us all, whether they are warranted or not. Lust has persisted throughout the age of man and will most certainly continue to linger for centuries to come. However, it should never be confused with love. Love is something every creature on this Earth needs to survive. Lust is experienced, then lost in the winds of time. This is why Dracula longed for love and was never content with the lustful demons within his home, who attempted to steal his heart.

Godzilla ★★1/2

    With summer less than a month away, the movie industry has already begun its plunge into blockbuster films that evoke little emotion and deliver an overabundance of vacuous entertainment.

    "Godzilla" has made his way back into the theater with this reboot of the classic monster film genre. With an upgrade in the computer imaging department, this rendition of Godzilla also provides an atmosphere of modernity and a human element that has been direly absent in the franchise in the past.

    Our film begins with a montage of images from the 1950s that tell the story of our beloved king of all monsters. We learn that Godzilla was awakened by nuclear tests and that the United States government strived to destroy the beast with a nuclear bomb. (Imagine that.) The attempt was predictably unsuccessful, and Godzilla retired back into the depths of the ocean.

    The film fast forwards to the year of 1999 and becomes eerily reminiscent to "Jurassic Park." Helicopters zoom over an island located in the Philippines, and we come face to face with an enormous mining site, which, apparently, has been harboring a prehistoric skeleton and eggs. One of the eggs has recently hatched and the unidentified creature escapes, only to rain destruction on a nuclear plant in nearby Japan.

    And this is where the previously forgotten human component is introduced. At this moment, it becomes evident that the focus will be less on Godzilla and will shift to this family who, willingly or not, will become active participants in this story.      

    Joe Brody and his wife are employees at the nuclear plant in Janjira, Japan. The plant is leveled due to the startling increase in seismic activity, unknowingly caused by this mysterious creature, and Joe's wife dies in the tragic accident. (This is the only scene in the film that lends itself to any perception of sentimental value or to a tension filled atmosphere.)

    Bryan Cranston, who is best known for his role in the hit television series entitled "Breaking Bad," portrays this man whose life was tarnished by this supposed mishap caused by an earthquake. His life becomes one of an endless inquisitive nature, and Joe knows that something is being hidden. It is his sole desire to learn the truth of that event and find out what exactly was the source of his wife's death.              

    The story shifts to the present and Joe's son, Ford, becomes the center of attention. Ford is a grown man who, unlike his father, has let go of the past and has established himself with a career and family in San Francisco, California. After receiving a call that informs him of his father's arrest in Japan, Ford begrudgingly catches the next flight out to resolve the issue.

    This will lead directly to the uncovering of the Janjira nuclear plant accident and to the return of the MUTO, or massive unidentified terrestrial organism, that originally brought disaster to the area. Additionally, the second MUTO will hatch, thus awakening Godzilla from hibernation in order to eliminate these nuisances, who feed off radiation, and to prevent civilization from entering into a second Stone Age.

    The performances in this film are hardly commendable and feature a cast with little to no allure. Aaron Taylor-Johnson plays Ford Brody with a lack of enthusiasm and a rather monotonic approach to his dialogue. (Void of all emotion.) With such an emphasis on human characterization, this film does not succeed in giving the viewer a reason to essentially care about these individuals.

    If death is their ultimate fate, then I must say that sorrow would be a lost notion altogether.

    And now for our computer-enhanced star: Godzilla's presence is the most satisfying portion of the film, as it rightfully should be. He is as domineering and ferocious as one would think him to be. He lurks among the shadows of the gloom filled skies of San Francisco Bay and creates tumultuous roars that would make any grown man tremble.

    Yet, Godzilla seemingly has no motivation to kill these monsters and to save humanity, except, of course, for the fact that it is his job. He is a product of nature and acts as the balancing force between peace and tribulation on Earth. Why else would he help the race of man, who intended to kill him half a century earlier?

    There is something mysteriously intriguing about the character of Godzilla. Maybe it is because after all these years we still do not know what makes him tick. Is it possible that Godzilla can become more than just a warrior among the skyscrapers? I wonder if perhaps he has a family or children in which he cares for in his free time.

    As the film closes, we get the inevitable feeling that this will not be the last time we see this new   presentation of Godzilla. A sequel featuring fresh and innovative creations to threaten humanity is destined to be, and our lead monster will once again play the role of savior. I just hope that, next time around, Godzilla doesn't take a backseat to the plot and becomes more than just a walking and roaring anti-hero.

Easy Rider ★★★★

    A plane roars overhead at a Los Angeles airport, hampering the events taking place below for a moment, as four individuals cross each other's path. An exchange of cocaine and cash is made within a mere instant, and the two seemingly free-spirited men head off into the sunset--literally. A teardrop gas tank, beaming with American pride, is filled with money in a plastic tube.

    A watch is taken off and looked over one last time before being discarded, thus shedding the last material item that separates man from freedom and the establishment.

    These are the opening images of the 1969 film entitled "Easy Rider." This film is a product of the combined efforts of Dennis Hopper and Peter Fonda; it is a picture that highlights the social issues which permeated the 1960s, and it almost certainly symbolizes the death of a culture.

    Surely this era of the mid-twentieth century would not be forgotten even if this film never existed; however, this film has become an iconic symbol of this time period simply for its radiating poignancy and subtle, yet riveting displays of characterization and direction.

    Our main subjects in this film are Billy and Wyatt. Although there is never an explanation as to how these characters have gotten to this particular point in their lives or any unforeseen actions that would allow us to decipher any significant qualities, we can ascertain their distinct personalities through dialogue and artful conversations.

    Billy is disguised as the stereotypical hippie, with long hair, a passion for drugs, and the aspiration to live a nonconformist existence. He is an ecstatic individual, who lives for the moment at hand. Billy is essentially an extension of the natural flow of life; the epitome of free will and a loyal companion.

    Wyatt is a well-reserved individual who, unlike Billy, seems to understand his role in the natural order, and it becomes evident that he is at peace with his mind and soul. He is always in control of his thoughts and acts as the conciliator between peace and anarchy when it comes to this unique relationship. Wyatt is a man who can respect a simple life and has never wanted to pretend to be anyone else. A man who could never be subdued into a life of acquiescence.    

    Despite the fact that this film is composed of a rather simplistic storyline, it is nothing short of memorable and simply a delight to view. The plethora of motorcycle riding scenes is accompanied by marvelous panoramic shots of charming scenery and music that would strum the soul of anyone who lived through this nostalgic epoch of human history.

    Billy and Wyatt are embarking on a journey toward enlightenment. Of course, this is in the sense of the identity of this counterculture that rebels against the organization and dreams of living free from the clutches of restraint. To finance their trip, which will climax in New Orleans, Billy and Wyatt purchase cocaine across the border and sell it in their native city of Los Angeles.

    Along the way, they encounter numerous characters, including a commune leader and an alcoholic lawyer who bails them out of trouble. Additionally, they experience a few tension filled instances where they are discriminated against for their long hair and well-crafted machines.      

    The most ingenious dialogue in this film takes place at night under the moonlit sky of the wilderness. Dennis Hopper lends his hand at direction and does not disappoint. Although there is much speculation surrounding the actual filming of this picture and the mental state of Hopper, I undoubtedly believe the notion that this film is a pure extension of Hopper's artistic perception. The film is littered with an excellent utilization of foreshadowing and symbolism.    

    Nevertheless, one of the most salient aspects of this tale would be the presence of Jack Nicholson. Nicholson, in his first prominent role, depicts a small southern town lawyer named George Hanson. This performance is highly underrated, as Nicholson's portrayal of this member of conformity provides a balance to the tone of the film.

    Hanson can understand the construction of this guideline-ruled society which our main characters cannot. A scene divulging into the subject of extraterrestrial beings highlights Nicholson's allure as an actor and provides us with a peek into what his legendary career will hold.

    When analyzing a film of this stature, the question of universality comes into context. Although the social and moral implications illustrated in "Easy Rider" are limited to a particular time and place, the message is a concise reflection of the most imaginative and iconoclastic decade of the twentieth century; therefore, creating a remarkable atmosphere. It was a time filled with love, experimentation, and rebellion.

    The nature of life presented in this film is almost entirely incomprehensible with regard to the modern world in which we live today. Whether consciously or not, we are attached to our technological devices, which prohibit us from becoming one with ourselves. These vices almost single-handedly control our existence, as they are present in our business and personal lives. And here lies the seduction of these free-wheeling motorcyclists and their uninhibited ideals. If the possibility of re-living this journey was still attainable, then this world would surely be a better place.            

Planet of the Apes ★★★1/2

     Interstellar expeditions and time travel have been the subject of numerous pictures found in the lengthy history of the film industry. These often impractical and fanciful notion based tales have successfully delighted audiences for decades. However, none of these distinct miscellanies of films would have been created if not for the 1968 science fiction classic entitled "Planet of the Apes." This picture is the perfect amalgam of adventure and struggle. The dignity of man becomes the forefront issue in this timeless escape from reality.

     George Taylor, our leading protagonist, is a man of integrity. He has lost faith in mankind and ventures to find something superior to the feeble-minded and frail physical nature of the human. Little does he know that this expectation will be fulfilled in the unlikeliest of forms.

     An expedition crew of four are abruptly awoken from hibernation and have discovered their crash landing on an unknown planet. The aspiration to procreate and exercise fertility is almost immediately dashed, as the only female of the company and the new "Eve" could not survive an air leak in her sleeping chamber. The three male crew members abandon ship and advance through a seemingly uninhabitable landscape simulating the terrain of the western desert.

     Here lies the most ingenious and aesthetically pleasing portion of the film. While being shot along the Colorado River, these scenes provide the essential allure to persuade the viewer of the mysticism of this new world. The panoramic array of shots are crafted exceptionally well and easily achieves the effect of semblance. Although we can ascertain that this world is much like our own, the atmosphere of the moment suggests otherwise.

     After subsequently finding a small plant that would imply that life can persevere on this dry and humid planet, our subjects stumble upon a pleasant oasis and vegetative plant life. They quickly realize that they are not alone and find themselves face to face with a primitive model of mankind. Their speculation is short-lived, however, as a group of humanlike apes begin to capture and kill many of these newly discovered life forms. Taylor is shot and captured among the chaos and is transferred back to the ape village.

    This becomes the setting for much of the film, as Taylor is held captive and becomes the center of attention among the detainees. Dr. Zira, the animal psychologist, becomes particularly infatuated with Taylor and names him "bright eyes." Although Taylor's injury to his neck rendered him speechless, he eventually obtains Dr. Zira's notepad and proves his intelligence through the pen. This unexpected turn of events forces the elders of the village to debate the origins of this man and to ponder concepts that oppose their faith and social construction.

    Charlton Heston is a distinguished actor who has portrayed individuals of exceeding importance, and this includes his role in "Ben-Hur" and his role as Moses in "The Ten Commandments." Heston's presence in this film is indispensable, thus providing a nucleus of authenticity for a story that divulges into quixotic notions of perceptibility.

    This essentially forces Heston to interact with his fellow actors and actresses while they are masked behind the visage of an intelligent animal being. This is a daunting task that Heston conquers with his professionalism and expertise as a premier actor. Despite the fact that this portrayal cannot measure up to Heston's previous achievements, he essentially provides the glue that holds this film together and charms us with his resilience.

    The high elders of this caste structured society condemn Taylor and sentence him to lobotomy. With the help of Dr. Zira and her fiancé, Taylor and his muted female companion escape the crucifixion and voyage beyond the "forbidden zone." This leads to a startling discovery that places Taylor in a mental state of vexation and a forced realization that everything he believed about mankind was undoubtedly true.

    I can most certainly comprehend the skepticism that surrounds this film, considering that it has been the subject of many dubious sequels and remakes. (How can a film with actors dressed up as apes convey any sense of intellectuality or thought provoking ideas?) However, no matter how simplistic or absurd the exterior of this film may seem, it is a classic in the science fiction genre and has paved the way for some of the most brilliant stories ever captured on celluloid film.

    Although the prominent thematic concern in this picture is the plot, there is a sense of struggle with regard to Taylor's dignity and the dignity of mankind as a whole. Man as we know it has been reduced to a primitive life form and deemed a futile attempt at domestication.

    This topsy-turvy constructed way of life and inverted nature of evolution is something to cogitate on for some of us who, like Taylor, have found that man has lost the morality of his soul. Is it feasible that man could succumb to the conditions that would bring this impractical future upon us? Well, surely nothing is impossible. The image of the United States flag situated among the red dust of what used to be a fruitful existence of humanity should never be forgotten.  

Gattaca ★★★1/2

    Can you imagine a world where significant diseases and mental deficiencies are eliminated before you are even born? A world in which imperfection is virtually non-existent? This is the idea spawned from the 1997 science fiction film entitled "Gattaca." Although it is a romanticized notion of human nature, it is our flaws that make us who we are. If everyone was bred to perfection, then life would almost certainly become very uninteresting.

    In the not so distant future, Vincent Freeman is born from the hands of God; therefore, there was no manipulation of mental or physical performance before birth. This leads Vincent to be susceptible to numerous health conditions, which can be diagnosed and predicted seconds after birth. Vincent's parents are told that he will live approximately 30.2 years and that he will indisputably suffer from heart complications.

    This will underline the meaning of Vincent's life from childhood to adulthood.

    Daring not to make the same mistake with a second child, Vincent's parents opt for the genetic security for their next son, Anton. This ultimately leads to feelings of neglect and disdain on behalf of Vincent. The two brothers grow up challenging one another, most notably to games of chicken, which leads to the boys swimming out as far as they can before one gives up. As a grown adult, Vincent dreams of leaving the atmosphere of Earth and flying among the stars. He will not be denied this and strives to overcome the genetic discrimination that would oppose this opportunity.

    The lead role of Vincent is given to Ethan Hawke. Although Hawke doesn't have the most prestigious résumé, he shines in this portrayal of a man who will overcome any obstacle, even genetic defect, to achieve his dreams. Hawke provides sensational voiceover work for multiple scenes, including a flashback that sets the tone for the entire film. Vincent is a very intelligent and cunning individual, and Hawke genuinely exhibits these qualities with relative ease.

    After leaving home and embarking on life's journey on his lonesome, Vincent finds himself working as a janitorial employee, which is common for humans born of natural conception. He ultimately finds himself cleaning windows and buffing floors at Gattaca, a space flight corporation, and realizes just how far he actually is from obtaining his goal although he is physically as close as he can be. To aid his quest in becoming a flight navigator, Vincent sets himself up to become a "borrowed ladder," which essentially steals the identity of a genetically enhanced individual to avoid discrimination.

    The man whose identity Vincent will be taking is that of Jerome Murrow, who was a competing swimmer until an accident left him paralyzed from the waist down. Jerome is perfectly content with giving up his name and bodily fluids, as long as Vincent provides him with alcohol and the lifestyle he is accustomed to. A rigorous daily routine of providing blood (and occasionally urine samples) to Gattaca, along with scrubbing off excess skin and hair, commences and everything goes as planned until a murder necessitates a thorough investigation of all employees. Vincent will find himself in a game of cat and mouse, which, ultimately, will bring Vincent face to face with his past and his future.

    Other notable performances include those of Jude Law and Uma Thurman. Law is the real Jerome Murrow, who is equipped with every benefit that human nature or genetic manipulation can provide. At first, Murrow begrudgingly participates in this scheme for the financial benefit; however, he warms up to the idea and eventually relishes in Vincent's successes. Law was a perfect cast for this role and helps to relieve the anxiety of our protagonist. Thurman provides the romantic outlet for Vincent in the form of Irene Cassini. Despite the fact that Irene was born of "valid" DNA, she also suffers from heart maladies. This reduces her to a desk position at Gattaca as she gains the admiration of Vincent, who is arguably the most talented navigator.

    This is not your stereotypical science fiction film. There are no alien life forms or preposterous special effects. It is a well-crafted exhibition of thought provoking content and ideas, some of which do not seem so far-fetched with the rapid evolution of technology in the twenty-first century and beyond. Even though pre-birth genetic enhancement is seemingly impractical, if given the chance, I am undoubtedly sure that mankind would foam at the mouth of such a thought. (Why live in a world of uncertainty when your very best can be ensured from conception?)

    "Gattaca" is a film filled with symbolism and intrigue. It relinquishes the atmosphere of a thriller while enticing us with its simple, yet futuristic environment. A beautiful score accompanies this film and the opening scene, which outlines the daily routine of Vincent preparing himself for a day at the office. Discrimination is a vice that many of us live with every day; however, when being birthed naturally warrants prejudice, then we have truly lost the meaning of life and the delight of its defining moments. You know, limitation can be a beautiful thing. If everything came easily, then we would surely lose the nature of our soul.

The Amazing Spider-Man 2 ★

    Much is to be said of blockbuster films simply because they earn hundreds of millions of dollars and they essentially strive to bring delight and elation to a rather monotonous reality. Superhero franchises are most certainly a constituent of these types of films because of their allure and entertainment appeal.

    "The Amazing Spider-Man 2" will generate millions in revenue and will place a smile on the individual's faces whose hands were involved; however, it does not excuse the fact that this film is a failed attempt at delivering any sense of integrity to its construction. It is a blatant slap in the face to anyone who can see past the tawdry humor and computer graphics to find that the cupboard is bare. The opportunity to save this rendition of our lovable Spider-Man is squandered into oblivion.

    The film begins with the back story of our protagonist's parents and builds on what we already knew following the previous film of this installment. Richard Parker was dismissed from his position at OsCorp, and his research essentially placed his family's lives in danger. After fleeing aboard a private jet, an assassin succeeds in killing the pilot of the aircraft and sending the Parkers into the unknown, but not before Richard uploads a very important file to his database.

    For the present, Spider-Man succeeds in derailing a criminal's hijacking of a truck filled with volatile substances in an extremely comical fashion. (This is the first indication that this film will not lend itself to a dramatic tone.) Spider-Man also receives a call via cell phone in which we learn that he is running late for his high school graduation. Of course, Peter makes it back just in time to obtain his diploma and plant a hero's smooch onto Gwen Stacy, the apple of his eye.

    Andrew Garfield and Emma Stone reprise their roles of Peter Parker and Gwen Stacy, respectively. Their relationship becomes more complicated this time around, considering the promise that Peter made to her father and its effect on his conscious. Gwen breaks up with our hero, but it is not long before they rekindle their flame and become friends once again. Stone is relatively unimpressive in this sequel, and her innocence becomes astray, along with the importance of her character.

    After bestowing some praise on Garfield for his performance in the previous film, he becomes nothing more than a prop in this computer-enhanced dominated story line. His quirky and shy demeanor is not as tolerable as before and some scenes, including the first meeting with Harry Osborn, are downright awkward and insufferable.

    The conflict for our story comes in the form of three villains, although one briefly appears at the end as a transition into the next film. Max Dillon, a nerdy and forgotten employee of OsCorp, is rescued by Spider-Man in the opening action sequence and, subsequently, gains an unhealthy obsession for our hero. After being forced to work overtime, Dillon becomes the victim of a horrendous accident that transforms him into a walking manifestation of electricity. Jamie Foxx, a hot commodity in Hollywood the last two years, steps into this role and delivers a subpar performance. Unfortunately, Foxx is subdued into the character of Electro, whose only goal is to kill Spider-Man.

    Harry Osborn, a staple in the Spider-Man universe, returns to the silver screen as the inheritor of his father's corporation. Harry learns of the illness that has taken over his father and is told that it will soon reveal itself in his body. After trying to negotiate with Spider-Man for the cure, Harry is forced to consider other options, which leads to the creation of the Green Goblin. Spider-Man must overcome these obstacles, which culminates in a rather unimaginative conclusion.

    Personally, I am very much accustomed to the character of Spider-Man that can be found in the colorful pages of a 1980s comic book; he is intelligent, clever, and thought-provoking. The morality of this persona has been forgotten and thus muted by computer enhanced graphics. A large portion of the film is dedicated to scenes dominated by CGI, and it is truly sad to think that much of this film was done behind a computer and not behind an actual camera.

    Peter Parker is seemingly insignificant, and his career with the Daily Bugle has been reduced to e-mail correspondence with Jonah Jameson. Despite the fact that I am utterly repulsed by this film, I remain hopeful that the next chapter will finally steer into the direction of tribulation and gloom. This film teases that notion with the hallucinations of Gwen's father and the guilty conscience of Peter. (The presence of Felicia Hardy may also help right the ship.)

    As the character of Spider-Man is continually portrayed in an unflattering manner, a question presents itself: Where is Stan Lee? The creator of our hero has also been reduced to a negligent role and can only be found in cheap cameos. I only hope that at the end of the day Lee doesn't regret the sale of his creation.

The Amazing Spider-Man ★★

    A dingy box in a flooded basement is re-positioned, and an unforeseen light shines upon a brown leather briefcase. The initials "RP" are etched onto the latch, thus creating the foundation for a trilogy of films intending to re-invent the story of Spider-Man. Although it is a brave attempt of romanticizing a superhero in a twenty-first-century light, we are ultimately left with a rather vacant feeling. With a lackluster plot and an exhibition of numerous shortcomings, "The Amazing Spider-Man" is nothing short of ordinary.

    Of course, many of the same components of the Spider-Man universe make it into this 2012 reboot. Uncle Ben and Aunt May are still the caretakers of a teenage Peter Parker; Flash Thompson continues to reign destruction on the flock of nerds at the local high school; Even Dr. Curtis Conners, who is removed as Peter's professor, continues to act as the premier scientist of New York City and remains a role model for our young superhero; Mary Jane, despite her seemingly irreplaceable presence, is superseded by another love interest. (The only notable difference comes in the form of blonde hair.)

    Gwen Stacy, who is portrayed by the young and talented actress, Emma Stone, becomes the leading lady in this rendition, which recounts the origin of your friendly neighborhood Spider-Man. Stone is quite exuberant and kindles a sense of innocence out of her character, who is as beautiful as she is brilliant in the field of science. Stacy is very much a straight-laced young woman who happens to be the daughter of the police captain. She never asks to fall for this mysterious teenage boy, but cannot distance herself from the clutches of adolescent love.

    The life of young Peter Parker is no different than that of your stereotypical nerd. He is a science whiz, and his extracurricular activities include photography and being socially awkward. However, this Peter Parker does not entirely fit the description of your quintessential dork. His wardrobe is that of a proclaimed hipster, he wears contacts, and he displays the skills of a seemingly talented skateboarder.

    Nevertheless, Peter Parker attends Midtown Science High School and is at the top of his class. After coming across his father's briefcase in the basement of his aunt and uncle's home, Peter becomes infatuated with learning what happened to his parents on that dark and stormy night, which highlights the opening of the film. This will also lead Peter on a journey from within as he copes with his past and his new found abilities.

    Andrew Garfield takes on the lead role of Peter Parker and does his best to approach this character with his own sense of style and integrity. Garfield displays excellent awareness with his execution of dialogue and mannerisms, which helps to set the tone for the film. He comes off as a shy and relaxed individual, who can burst into emotion when necessary. In addition, Garfield and Stone's chemistry is clearly present, although it does seem forced at times.

    After becoming endowed with these extraordinary abilities, Peter decides to confront Dr. Curt Conners and give him the missing formula that would put his research over the top. However, coupled with the fact that Norman Osborn is dying and that an anecdote is needed, the pressure to enact human trials forces Dr. Conners to use the formula on himself, which leads to disastrous results. The Lizard is born, and it is up to Spider-Man to stop his reign of terror and the plan that would see all of New York City become humanized lizards.

    This all leads to a rather tedious climatic ending, which sees sacrifice and a touch of dumb luck. A promise is made and broken within the next few scenes; therefore, leaving us with the notion of a second film that will seemingly generate much of the same miscalculations that this film preserves. Longing for an atmosphere produced by films such as "The Dark Knight" is all but a misguided dream. Only a film of that magnitude would save this franchise from complete nonfulfillment.

    There are many things that we can look past with regard to this film, but it still cannot fill the void of dismay. Sure, we can get used to the fact that this Spider-Man uses a cell phone and that Ben Parker's murder scene is all but humdrum; however, there are many facets of this film that just cannot be overlooked. (This includes a scene in which Spidey learns of the Lizard's diabolical plan simply by pressing a button on Dr. Conner's computer, which, in turn, spawns miniature lizard men to sprout from a tower and cover the screen.) This makeover of Spider-Man is nothing more than an increased diet of CGI, which strives to overshadow the fallacies that believe a lack of planning and execution can yield a terrific film.