SYNOPSIS: For the first time in movie history, audiences will truly see and feel what it was like when dinosaurs ruled the Earth. WALKING WITH DINOSAURS: THE MOVIE is the ultimate immersive, big-screen, 3-D experience. Recent discoveries and a breakthrough in technology will introduce new and unique dinosaurs that are more real than ever before and put moviegoers in the middle of a thrilling prehistoric adventure, where an underdog dinosaur triumphs against all odds to become a hero for the ages.
MOVIE REVIEW:
Long before Fox turned BBC’s Walking With Dinosaurs documentary series into this CG animation feature, there’s already a Spielberg’s produced Land Before Time and the Disney’s produced CG animation, Dinosaur which is done in a way better manner if your son is a dinosaur fan.
Believing that it is the best way to connect with the audiences, Fox decides to add dialogue to the characters instead of a narrator which is what the original Walking With Dinosaurs series is all about. The worst thing of all, the dinos are not lip-synched to the voiceover actors. So basically you are watching an educational show about dinosaurs living in the Cretaceous period but with them talking modern slang American English and their mouth not moving. That’s kind of annoying.
Putting this main gripe aside and redundant bookend sequences which featured a Paleontologist (played by Karl Urban) and his nephew and niece, the actual movie tells the growing years of a Pachyrhinosaurus named Patchi (Justin Long) who witnessed the death of his father when he was little and subsequently learnt to become the leader of his herd. I heard you say the story reeks of Lion King and yes it’s undeniable there’s always recurring theme of family and love especially the latter. Well, Patchi is so obsessed with his dreamgirl Juniper (Tiya Sircar) that he forgotten his own father just died moments earlier protecting him and his brother.
Unlike the classy BBC treatment, the movie is jam-packed with poop and cheap toilet humour courtesy of John Leguizamo as an Alexornis bird. There are no worries if you are stumbled by words such as Alexornis because Fox actually provides valuable information about all the different species’s eating habits etc onscreen. Remember this is an educational show about dinosaurs. To give the movie some credit, some of the breathtaking backgrounds are shot in New Zealand and Alaska. They are in fact real not computer generated.
Walking With Dinosaurs The Movie without a doubt appeals more to the younger children demographics. For the rest of the adults, we can look forward to the next Jurassic Park sequel to satisfy our dinosaurs craving or better still, get the original BBC series and watched them with your kids.
SPECIAL FEATURES:
Extras include Dino Files which contains information on the various dinosaur speices and Match The Call Game where you need to identify different dinosaur calls.
AUDIO/VISUAL:
Visual is often stunning and detailed. The audio quality never slackens and several moments feature immersive surround activity.
MOVIE RATING:
DVD RATING :
Review by Linus Tee
Genre: Mystery/Thriller
Director: Omid Nooshin
Cast: Dougray Scott, Kara Tointon, Iddo Goldberg, Lindsay Duncan, David Schofield
RunTime: 1 hr 37 mins
Rating: NC-16 (Some Coarse Language and Violence)
Released By: Shaw
Official Website: http://www.lastpassengermovie.co.uk
Opening Day: 19 June 2014
Synopsis: A small group of everyday passengers on a speeding London commuter train battle the sociopathic driver who has a dark plan for everyone on-board.
Movie Review:
At first glance, ‘Last Passenger’ seems like a low-budget rip-off of Tony Scott’s ‘Unstoppable’, which like the former was also about a runaway train. Nonetheless, Omid Nooshin’s debut feature plays more like a Hitchcokian thriller than a Hollywood action blockbuster, and for the most part largely succeeds at keeping up the suspense for a good one half hours - that is, until you realise it has no motive.
Co-written by Nooshin and Andrew Love, it begs its audience’s patience while setting up its key characters, a half dozen or so night riders who find themselves stranded on a London commuter train whose brakes have been sabotaged. Dougray Scott plays the lead, a doctor and single dad named Lewis Shaler who is travelling home to the London suburbs with his seven-year-old son for Christmas. Kara Tointon is the attractive young woman he befriends along the way, striking up a conversation with some whizzing sparks.
There’s also a hotheaded Polish immigrant (Iddo Goldberg), an overly authoritarian older gentleman always seen with his briefcase (David Schofield), and a kindly grandmother (Lindsay Duncan) whose main role is to play caretaker to Lewis’ kid while Daddy tries to play hero. Only after the first half hour do things get zippier, as Lewis spots a body on the tracks and starts to realise something is amiss. Soon a stop is missed, the brakes are found non-functional and the driver uncommunicatively hell-bent on taking the train straight into the English Channel.
Although there might be some initial suspicion that someone among the six of them could be behind the hijacking, it becomes clear that the real - and only - enemy is the individual who has locked himself in the driver’s compartment and killed both the driver and the guard in the process. Once that is established, all that remains is for the group to work together to try to escape from imminent death, including attempting to operate a handbrake, breaking through the driver’s door and finally decoupling the locomotive.
To Nooshin’s credit, he does generate a fair amount of tension from the proceedings, limited as they are by budget to be set entirely on board two carriages housed at UK’s Shepperton Studios. Together with his d.p. Angus Hudson, Nooshin enhances the urgency with some creative use of the widescreen frame to evoke railway carriage claustrophobia. What however proves his undoing is his reluctance to shed light on certain situational elements, most prominently just ‘who the hell is driving the train’.
Whether to avoid looking stupid or to deepen the sense of mystery, Nooshin skirts around answering the million-dollar question of just who and why is behind the hijacking. There are some red herrings thrown about here and there, but the answer remains as elusive as ever before and after the movie has ended. That determination not to offer any answer may prove less problematic to some audiences, though we cannot deny that it ultimately robbed us of the all-important payoff at the end.
Still, there are some good low-key thrills to be had on board this low-budget excursion, which appears even more impressive once you consider the budgetary constraints he had been working under. It is however lacking in purpose and motivation, and somewhat in credibility as well, which proves to be its own undoing no matter its Hitchcokian ambitions.
Movie Rating:
(It isn't quite just a rip-off of 'Speed' or 'Unstoppable', but this low-budget thriller with Hitchcokian ambitions is ultimately undone by a lack of purpose)
Review by Gabriel Chong
SYNOPSIS: “The Hobbit: The Desolation of Smaug” continues the adventure of the title character Bilbo Baggins as he journeys with the Wizard Gandalf and thirteen Dwarves, led by Thorin Oakenshield, on an epic quest to reclaim the Lonely Mountain and the lost Dwarf Kingdom of Erebor. After escaping capture by the dangerous Wood-elves, the Dwarves journey to Lake-town, and finally to the Lonely Mountain itself, where they must face the greatest danger of all—a creature more terrifying than any other; one which will test not only the depth of their courage but the limits of their friendship and the wisdom of the journey itself—the Dragon Smaug.
MOVIE REVIEW:
This reviewer is not going to delve into how unfaithful the second instalment of The Hobbit: The Desolation of Smaug is comparing to the book by J.R.R. Tolkien simply because he hasn’t read any of the original material. Instead, we shall discuss the issue on hand based on Sir Peter Jackson’s cinematic treatment of it.
If you are one of those who complained the dragginess of An Unexpected Journey, I suppose Jackson has heard your complaints. Other than introducing a new female character, the gung-ho female Elf warrior Tauriel (Evangeline Lilly), the return of everyone’s favourite suave Elf, Legolas (Orlando Bloom), Luke Evans as Bard the Bowman and Sherlock aka Benedict Cumberbatch as the voice of Smaug, everything remains as before.
The story as expected continues to bring audiences from Point A to Point B and then to C. The thirteen dwarfs led by Thorin (Richard Armitage) and Bilbo Baggins (Martin Freeman) continues their treacherous journey to reclaim the Lonely Mountain from the greedy wicked Dragon Smaug while Gandalf the Grey (Ian McKellen) disappears from the bulk of the movie in a feeble excuse to deal with the growing evilness at Dol Guldur.
Fortunately, the story by Jackson, Fran Walsh, Philippa Boyens and Guillermo Del Toro (who is credited as one of the writers) wastes no time in conjuring up some rather massive exhilarating action sequences after the opening which feature a skin-changer and some slow exposition between Legolas and his father, Thrandull (Lee Pace). For entrée, there’s a fierce spider attack on the dwarfs followed by the first main course the movie’s best showcase of excitement, a prolonged dwarfs escape on barrels. The second full course is a chase and attack by Orcs at the lake town and of course dessert is none other served by Smaug himself.
As usual, Sir Jackson aptly delivers the stunning visuals (courtesy of WETA Digital), some humorous moments and a grandeur Middle Earth experience together with the fine primary players old and new. Jackson tweaking with the source material might be bothersome to a small group of readers. From a moviegoer’s point of view, The Hobbit: The Desolation of Smaug continues to make us crave for the concluding chapter. Just take it as a fun fantasy flick.
SPECIAL FEATURES:
Peter Jackson Invites You to the Set is a 40 minutes feature that details the cast and crew’s daily routine on the set including the meticulous catering. So do you want a toufu or a steak burger at teatime?
Production Videos consists of four production features with the first three touching on the post-production, additional filming and the last on composer Howard Shore.
Live Event: In the Cutting Room is a recorded live event in which Peter Jackson answered fan’s questions in March 2013.
New Zealand: Home of Middle-earth, Part 2 shows viewers some of the breath-taking locations in New Zealand where shooting took place.
And lastly, a "I See Fire" Music Video by Ed Sheeran.
AUDIO/VISUAL:
In terms of audio and video aspects, the title remains an excellent choice to showcase your home theater system. Clarity and detailing are rich and the Dolby Digital 5.1 delivered strongly during the action scenes and terrific surround experiences when Smaug appears.
MOVIE RATING:
DVD RATING :
Review by Linus Tee
SYNOPSIS: Gwyneth Paltrow, Mark Ruffalo, Tim Robbins, Josh Gad and Alecia "Pink" Moore shine in an unconventional romantic comedy that follows the topsy-turvy lives and loves of three obsessive characters: an overachieving environmental consultant (Ruffalo), a stubborn small-business owner (Robbins), and a wisecracking ER doctor (Gad). They meet in a support group and set into motion a life-changing journey.
MOVIE REVIEW:
Thanks For Sharing is largely a movie about issues. The biggest issue however is despite the interesting setup; it never really goes in-depth in addressing the main issue on hand.
The story revolves around three men. First being, Adam who is played by Mark Ruffalo, a recovering sex addict who realized he has fallen in love with a beautiful lady, Phoebe (Gwyneth Paltrow), at a party. The second being Mike (Tim Robbins), also a sex addict and probably also alcoholic and abusive to his now grown-up son Danny (Patrick Fugit). Last being Neil (Josh Grad voice of Olaf in Frozen), an ER doctor who is being fired because he was caught filming under the skirt of his boss.
So there you have it, three men and three interrelated stories about sex addiction. Stuart Blumberg’s (who also wrote The Kids Are All Right) debut directorial feature attempts to pass off a movie about the process of sex addiction recovery into a rom-com. The first half actually works with Adam and Phoebe getting all so cozy with each other and Mike finally getting along with his long-estranged son and the crazy antics of Neil.
The chemistry of the cast is phenomenal which probably explains in all honesty it was a captivating viewing experience. Then as the various characters starts to derail back to their old paths and confront their inner demons, the script simply falls apart and felt so empty especially with the clumsily assembled finale. Fortunately, pop singer “Pink” (Alecia Moore) in her screen debut shine as a female sex addict Dede who befriended Neil during the 12 step recovering program. Their matchup in the end is easily the most charming factor of all and genuinely funny.
While Thanks For Sharing is nothing as lurid or serious like Steve McQueen’s sex-addiction drama, Shame. This movie about three sex-addicts in New York merely scrapped the surface of a far more potential dramedy.
SPECIAL FEATURES:
NIL
AUDIO/VISUAL:
Images and colours are detailed and fine. Dialogue which consists a majority of the audio aspect is excellent.
MOVIE RATING:
DVD RATING :
Review by Linus Tee
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"TRANSFORMERS: AGE OF EXTINCTION" BECOMES THE BIGGEST GROSSING FILM EVER IN CHINA IN JUST 12-DAYS OF RELEASEPosted on 11 Jul 2014 |
It’s a party indeed, having Fantine (Anne Hathaway, Les Miserables), Mark Zuckerberg (Jesse Eisenberg, The Social Network), Electro (Jaime Foxx, The Amazing Spider-man 2) and Terry Benedict (Andy Garcia, Ocean’s Eleven) coming together to sing in one movie.
And charming his way to the top of the list is, hold your breath – Bruno Mars as a suave Spix’s macaw. The singer songwriter, record producer, and now voice actor performs only one track in this soundtrack of the sequel to the 2011 movie. You can almost imagine the Hawaiiborn musician crooning his way to his fans’ hearts in “Welcome Back”, an all too brief 69 second song on the CD.
Elsewhere, we loved “Beautiful Creatures”, a swagger worthy tune performed by musical ensemble Barbatuques, Puerto Rican actress singer Rita Moreno (one of the few entertainers who have won an Oscar, an Emmy, a Grammy and a Tony) and Garcia performing a mean beat box. Other upbeat tracks include “O Vida” performed by Brazilian musician Carlinhos Brown and Nina De Freitas, “Batucada Familia” performed by the ensemble cast (listen out for Garcia’s beat box performance again!) and “Bola Vivia”, the musical number set against the wonderfully choreographed sky soccer match scene in the movie.
The amusing tracks come in the form of “Poisonous Love” and “I Will Survive” sung by Kristin Chenoweth and Jemaine Clement, the unlikely couple in the movie. Trust Hathaway to deliver the emotional goods in “Don’t Go Away”, a heartfelt tune performed with Flavia Maia, featuring Uakti.
The single “What is Love?” is also a booty licious composition performed by R & B and soul musician Janelle Monae, Also included is the cast version featuring vocals by Eisenberg and Foxx.
The 39 minute soundtrack boasts of an addictive compilation of songs that will have you spinning the CD on repeat mode. The only thing you’d need are some good dance moves to swing along.
ALBUM RATING:
Recommended Track: (11) Bola Viva – Carlinhos Brown
Review by John Li
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Winners of the 33rd Hong Kong Film AwardsPosted on 14 Apr 2014 |
Genre: Horror/Thriller
Director: Scott Derrickson
Cast: Eric Bana, Edgar Ramírez, Olivia Munn, Sean Harris, Joel McHale
RunTime: 1 hr 58 mins
Rating: NC-16 (Coarse Language and Some Disturbing Scenes)
Released By: Sony Pictures Releasing International
Official Website: https://www.facebook.com/DeliverUsFromEvilMovie
Opening Day: 3 July 2014
Synopsis: In DELIVER US FROM EVIL, New York police officer Ralph Sarchie (Eric Bana), struggling with his own personal issues, begins investigating a series of disturbing and inexplicable crimes. He joins forces with an unconventional priest (Edgar Ramírez), schooled in the rituals of exorcism, to combat the frightening and demonic possessions that are terrorizing their city. Inspired by the book, which details Sarchie’s bone-chilling real-life cases.
Movie Review:
It wasn’t too long ago that Jerry Bruckheimer’s name would appear on at least one summer tentpole every year, but the years since have not been kind to the powerhouse producer, whose name is today more synonymous with reality TV shows and the CSI procedural than a pricey big screen feature. It’s even stranger that one finds Bruckheimer’s name on the poster of an exorcism flick, but the novelty of finding out just what Bruckheimer can bring to a horror movie is hardly worth sitting through two hours of pure banality.
“Inspired by the actual accounts of an NYPD sergeant”, the crime/ horror mash-up draws its inspiration from the book “Beware the Night” by a certain Ralph Sarchie (played by Eric Bana), who in real life teamed up with a maverick Jesuit priest Father Mendoza (Edgar Ramirez) to investigate criminal activities with a paranormal twist in and around the Bronx. In this instance, Ralph finds himself on the hunt for a Iraqi war veteran named Santino (Sean Harris), who encountered a source of primordial evil while on his tour of duty in 2010 and subsequently brought it back when he came home with two other buddies.
As how these cases are oft to present themselves, the mystery begins with a series of seemingly unrelated cases – a woman who throws her child into the lions’ pen at the Bronx zoo, a hooded painter at the scene who vanishes when Ralph tries to track him down, a suburban house whose tenants claim is possessed and which becomes the gruesome scene of death of a painter. Ralph, as it so happens, has a sixth sense for such cases which mean more than what meets the eye, so it isn’t long before he draws the connection between him and pinpoints the dishonourably discharged Santino as the key suspect.
Even so, it does take a fair bit of persuasion by Father Mendoza before Ralph is convinced that he is dealing with an evil spirit (or demon for short) which will not only question his own lukewarm religious beliefs but also threaten the very souls of his family – as the case progresses, his daughter begins to hear scratching noises from under the floorboards inside her room. A confession is in order, but not before Father Mendoza reveals himself to have found redemption in the faith by confessing the sins of his youth before God and embracing God’s path of forgiveness.
Such elements of faith and the eternal battle between the forces of good and evil are not new to director and co-writer Scott Derrickson, whose own ‘The Exorcism of Emily Rose’ was one of the better exorcism thrillers which we have seen in recent time. Nonetheless, his latest sees him try to combine such genre tropes with that of a police procedural, and the result is unfortunately a cut-rate ripoff of ‘Seven’ that isn’t half as compelling or convincing, try though it does with a mix of supernatural mumbo-jumbo with a generous dollop of grisly violence and gore.
Yes, it doesn’t take much to tell that Derrickson is struggling with the material. Instead of unsettling his audience the way he did with ‘Emily Rose’, he opts for cheap jump scares, mostly of the animal variety. His idea of building up the tension also relies too conveniently on having a rain-soaked night backdrop each time and thereafter having his characters walking down darkened spaces with a flashlight. Neither for that matter do the scenes of demonic horror terrify as much as they should; indeed, the climax which details a full exorcism in its six-stage glory comes off hokey and contrived rather than authentic no thanks to Derrickson’s over-reliance on Hollywood-style sound and special effects.
That the film is not a complete washout is credit to solid acting by Eric Bana and Sean Harris. Bana brings a suitably working-class grit to his character, his performance one of gravitas and poignancy. Comedian Joel McHale makes a good foil to Bana, called upon to deliver a string of witty and sometimes sarcastic quips which are probably more entertaining than the actual crime itself. Harris is intense as he should be, but the same cannot be said of Ramirez, whose spirit seems barely there in most of the scenes – which certainly doesn’t help the caricature of a character which Derrickson and his co-screenwriter Paul Harris Boardman have concocted.
But in a movie where too few notes ring true, Father Mendoza is but one of the flaws which you’re likely to dismiss along with the rest of the movie, no matter that the film purports to be inspired by fact. It is an interesting genre experiment of course, one that twists what could have been a straightforward police procedural into a horror hybrid by way of an exorcism flick; but Derrickson seems to have bitten off more than he can chew, losing his feel not just for the latter genre which he had staged successfully with ‘Emily Rose’ and ‘Sinister’ but also for the former which admittedly he has no experience with. Rarely scary or engaging, ‘Deliver Us from Evil’ will have you screaming ‘deliver us from this evil’.
Movie Rating:
(A hybrid of a police procedural and an exorcism flick that plays like a cut-rate ‘Seven’ neither absorbing nor terrifying)
Review by Gabriel Chong
Genre: Comedy/Action
Director: Phil Lord & Christopher Miller
Cast: Jonah Hill, Channing Tatum, Peter Stormare, Ice Cube, Dave Franco, Nick Offerman, Rob Riggle
RunTime: 1 hr 52 mins
Rating: M18 (Coarse Language And Sexual References)
Released By: Sony Pictures Releasing International
Official Website:
Opening Day: 19 June 2014
Synopsis: After making their way through high school (twice), big changes are in store for officers Schmidt (Jonah Hill) and Jenko (Channing Tatum) when they go deep undercover at a local college. But when Jenko meets a kindred spirit on the football team, and Schmidt infiltrates the bohemian art major scene, they begin to question their partnership. Now they don't have to just crack the case - they have to figure out if they can have a mature relationship. If these two overgrown adolescents can grow from freshmen into real men, college might be the best thing that ever happened to them.
Movie Review:
Before you start accusing ’22 Jump Street’ of being more of the same, well writers-directors Phil Lord and Christopher Miller want you to know that they hear your lament. Yes, the duo whose Midas touch has made box-office gold of ‘Cloudy with a Chance of Meatballs’ and ‘The Lego Movie’ are keenly aware of the Hollywood symptom of ‘sequelitis’, and so they have followed up their sly, self-referential reboot of the 1980s TV series with a follow-up that is even more meta, achieving in the process the rare feat of a sequel that is brasher, angrier and most importantly funnier than the original.
To be sure, no one expected the 2012 feature film starring Channing Tatum and Jonah Hill to become the runaway success that it did; but instead of a straightforward update, its helmers Lord and Miller decided to turn a police procedural of youthful-looking cops going undercover in schools and colleges into a self-mocking romp. With just the right amount of self-awareness and some inventive flourishes, the retooled ’21 Jump Street’ became both a critical and commercial hit, which of course is the reason why this sequel is seeing the light of day.
Tatum and Hill reprise their roles as the pair of bumbling cops Jenko and Schmidt respectively, who after bungling up the arrest of a wanted drug kingpin (Peter Stormare) find themselves assigned to a second stint in college. The address here refers to the location of their headquarters, now situated in a Vietnamese church located right opposite their last rendezvous point in the previous movie whose rundown exteriors are in stark contrast to the fancy modern-day surveillance equipment inside. Hardass Captain Dickson is still their superior, and as Ice Cube growls, “Nobody gave a shit about the Jump Street reboot. We've doubled the budget, as if that would double the profit.”
Yup, before you start dismissing it as more of the same, their beleaguered deputy chief (Nick Offerman) already warns Jenko and Schmidt - and us - “I want you to do exactly what you did last time.” You can’t therefore fault the screenplay by returning writer Michael Bacall and his new co-writers Oren Uziel and Rodney Rothman for placing our unlikely heroes into yet another shady drugs ring, although this time instead of bonding in the midst of their undercover assignment, Jenko and Schmidt find their bromance under pressure - as the fit, athletic and good-looking Jenko starts finding a soulmate in another jock named Zook (Wyatt Russell) on the football team, Schmidt finds himself snubbed and distraught.
It’s a classic case of the college break-up between our two high-school chums, but it ain’t without its surprises. Jenko’s distraction isn’t some hot chick, but a quarterback whom he seems to share absolute chemistry with - ‘bros before lesser bros’ according to him; and instead of hooking up with the nerdy crowd in school, Schmidt goes to excruciating poetry slams and finds a tender new relationship with sensitive arts major Maya (Amber Stevens), a relationship that builds to a hilarious turn of events at work. Before long, Jenko suggests to Schmidt that they “should investigate other people. Sow our cop oats”, or in less geek speak, meaning to go their separate ways.
There is no doubt - this is through and through Tatum and Hill’s show. As they had demonstrated in the first movie, the pair have a great double-act going, their disparities in physique and intelligence making them perfect complements whether they realise it or not. Sure, Lord and Miller amp up the homoeroticism between them, but there’s no denying the goofy, low-key warmth that passes between them whenever they interact with each other. Between the two however, it’s likely that you’ll fall in love with Tatum, who has never been more puppy-dog lovable - and as an excellent case in point, his blissful thickness can’t quite get more amusing than his delivery of a line about Cate Blanchett or ‘carte blanche’ in actual fact.
The rest of the casting is also unexpectedly spot-on. Ice Cube is in fine form as their surly captain, relishing the chance to go over-the-top as things get a little too personal between him and Schmidt. Jillian Bell is splendid as Maya’s snitty room-mate, whom Schmidt has the tough luck of waking up to every morning after he sleeps over. And though essentially extended cameos, identical twins Kenny and Keith Lucas are laugh-out-loud hilarious as a a perma-stoned duo who finish each other’s sentences. Together with Tatum and Hill, they make pitch-perfect satires of campus favourites, whether jock culture, the walk of shame or even the roommate you wish your date did not have.
With so many gags coming at you in record speed, it’s little wonder that the plot takes a backseat; nonetheless, Bacall and his co-writers manage to keep the mystery humming with some perfectly executed twists that keep you guessing just where and who the investigation is leading to. The finale is appropriately set in New Mexico, where our leads follow their cohort to for Spring Break, and where Lord and Miller crank up the action for some car chases and explosions in order to justify the bigger budget that this sequel has naturally commanded (hey you can’t pretend all of that went to paying the actors!).
But the show belongs undeniably to Tatum and Hill for their peerless chemistry, as well as to their characters whose mix of friendship, co-dependency and camaraderie. Their BFF homoerotic routine is unceasingly humorous, and the jokes are as meta as it gets without tipping into caricature. Indeed, this is a sequel even more enjoyable and entertaining than its predecessor, one that boasts more ingenuity, wit and derring-do than you would probably ever expect - after all, which sequel you know dares to burn its franchise boats in sharp satirical fashionby upending loads of serviceable ideas for future Jump Streets?
Movie Rating:
(By far the funniest comedy this summer has to offer, ‘22 Jump Street’ coasts on a delightfully meta attitude and the inimitable chemistry of Channing Tatum and Jonah Hill)
Review by Gabriel Chong
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Brick Mansions Parkour Jam (Sat 19 April)Posted on 14 Apr 2014 |
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