Kyle Vansteelandt

2.5/4 While not exactly a great Oscar-worthy masterpiece by any means, "Open Season" is a simple but funny fish-out-of-water story that injects clever satire to poke fun of the annual hunting season, and a familiar but accurate incarnation of Shrek and Donkey (a huge and fiercely misunderstood beast with a small and chattering hoofed mammal) that possesses more accessible structure for good entertainment compared to "Madagascar" in the animated talking animal category, which is a refreshing breath of fresh air. Jill Culton and Roger Allers (directors) offers solid entertainment by elevating the script with effective style and structure for execution. As a comedy, it is a mixed bag that left me torn; some of the jokes (especially the scatological jokes) are crude, while most of the slapstick and even the quirky voice acting is slick and stylish for a dry sense of humor. And there are some jokes that are just plain silly, even though a few of them are redundant. The animation is all over the place; the animators manages to provide an effective hybrid of wackiness and charm to some of the character designs, compared to "Barnyard," specifically Boog the grizzly bear. Not to mention that there is some photorealistic fur for arresting detail. But a few of the characters look quite ugly. The animation delivers a sharp sense of timing and cadence to sell the physical comedy. The visual backgrounds are similar to the acrylic art style of children's story books to add winsome aesthetics. Most of the whimiscal music score by Ramin Djawadi relies on a harmonica, a banjo, and an acoustic guitar to offer an upbeat bluegrass sound for the cultural atmospherics of the North American wilderness. Yet, sometimes there are some orchestral set-pieces to elevate the score. Sadly, the songs in the soundtrack are totally forgettable. The voice cast did a mighty fine job with their comedic voice talent. Martin Lawrence was a hoot as Boog the bear; using his low gravelly resonant voice that channels from a smooth groovy swagger to growling anger with no effort. Boog is a domesticated grizzly bear who loves his owner named Beth the ranger. Debra Messing delivers a sensibly lively performance as Beth. Ashton Kutcher is constantly amusing as Elliot, an eccentric mule deer who befriends Boog, and wants to show him the outdoor world. Elliot is also a sympathetic side character who is evicted by his herd, and is hunted by the main antagonist: Shaw, the nastiest hunter who is reviled by all. Gary Sinise relishes in his wicked voice performance to bring Shaw to vivid life as this extremely sadistic jerk of a poacher who despises animals and loves his gun nicknamed Laraine. Patrick Warburton is perfectly over-the-top as the voice of Ian, a big alpha stag/buck who bullies Elliot. Worthwhile (suitable for kids 7 and up).

1/4 Twenty years ago, a little movie called "The Adventures of Sharkboy and Lavagirl" was released, and it was Inspired by the ideas of a seven-year-old boy named Racer Rodriguez. Robert Rodriguez is Racer's father, and he is the primary independent filmmaker who made his son's dream come true with this film. But the overall concoction (as a result) is a disposable muddled mess. The film injects a childlike-vibe reminiscent of Peter Pan, and it unfolds storytelling via dreaming, however the plotline lacks consistent logic from the dream world and reality, and the message delivery in the allegory department takes a misleading downfall, thanks to how it pushes the boundaries with some convoluted dialogue - "Some dreams are so powerful, they become real," and "When we make our dreams a reality, reality becomes a dream." But "dream a better dream, and then work to make it real" is a better message here. Yet unfortunately, the parable is a baffling mess of mixed messages. It just goes to show that made-up dreams do not become real, and it's a terrible example of making dreams a reality. If Racer and Robert Rodriguez came up with a story about a heroic marine conservation team where Sharkboy and Black Marlingirl work together to put a tracking device on a hungry great white shark, and go up against spiteful fishermen who possess empathetic depth, the story would have been a much better; a compelling parable reminiscent of "The Crocodile Hunter: Collision Course." As a filmmaker, Robert didn't put much passionate effort into his own enterprise, not even the slightest due to such indifferent direction. The film never takes itself seriously whatsoever, which makes it impossible accept as I struggled to find entertaining enjoyment in this movie, and there is none. Some of the dialogue is poorly written, and there is an abundance of unfunny literal puns that are predictably obvious. I get that Robert Rodriguez intended to make the visuals look digitally animated and brightly colored to provide cartoony aesthetics that caters to children - the same technique used for his own "Spy Kids" trilogy, but most of the time, I couldn't help noticing how utterly cheesy the quality of it's animated visual effects are. Not to mention that the imagery channels from weirdly uncanny to cringe-worthy. There is also a hideous usage of 3-D pop-outs on display here. For a synthetic music score performed on a synthesizer, the score delivers rich and lively compositions. The one musical number called the dream lullaby is toxic and annoying. None of the characters are likable, and the acting went from mediocre to bad. Cayden Boyd plays Max, a ten-year-old boy who loves to dream every day and every night. Taylor Lautner is a force to be reckoned with as Sharkboy, while Taylor Dooley has her pretty charm as Lavagirl. Sharkboy is a vigorous fighter with some impressive martial arts, but his vicious temper makes him a mean-spirited jerk, and he is too toxic to be regarded as an empathetic hero with an origin story. Lavagirl's cute appearance and her maternal attitude makes her a loyal companion, but not always, because she questions herself about her alignment. George Lopez voices Tobor the robot, he plays as the teacher Mr. Electricidad, and plays as the villain Mr. Electric with an evil personality. Jacob Davich plays Linus the nasty bully, and Minus the unruly king. Not Recommended.

3/4 "Volume One" may not be the satisfying masterpiece that I wanted it to be, but it is still one of the most unforgettable and impressive feats in the cinematic art department. Not only that "Kill Bill: Volume Two" continues this engrossing revenge story, but it also feels like a stand-alone sequel, due to how Quentin reuses the same opening scene (but with a different music score), and unveils more about what happened at the wedding before the death of the Bride's husband. Considering that this is the final installment, we get to see what Bill looks like, and learn about Bill's whole background to flesh him out as character - where "Volume One" depicts Bill as a mysterious menace, "Volume Two" depicts him as an intriguing fleshed-out character - revealing his entire characterization. David Carradine is as amazing as ever, yet this time, he brings a sensibly philosophical persona as the notoriously sinister Bill himself. We also get to see the Bride/Black Mamba at her most vulnerable, which is harrowing to watch; adding the fact that she has a very soft side that is both loving and warm-hearted. The craftsmanship on display by Quinten Tarantino (director/writer) and Robert Richardson (cinematography) is still as eye-popping as before, but less kinetic here, because this sequel is more of a character-driven story; where we get to see how characters interact with each other and lecture. However, just like it's predecessor, the filmmaking techniques here are a slick, stylized hybrid of spaghetti western and samurai martial arts. With some support from Robert Rodriguez (orchestrator/co-composer), RZA's dramatic music score is more ominous and more victorious at certain times to sell the execution of the film with powerful precision. While the pacing may seem to drag a little at times compared to "Volume One," it never overstays it's welcome. Relatively speaking on the bright side, there is a lot less gore here. Yet the action sequences are still just as thrilling as "Volume One." The second half of the film creates a taut cocktail of drama, suspense, and even charm, with just some light touches of humor; progressing to a grand conclusion that delivers an utterly agreeable ending that really feels earned indeed. Recommended (suitable for teens 18 and up)

3/4 Right from the get-go, all thanks to a haunting opening scene, I was hooked, and I knew I was in for something intense. Throughout the film, the proceedings of it's circumstances feel so urgent, and the pacing is fast and breezy. When watching this film, I realized that Quentin Tarantino (director/writer) was heavily influenced by many action movies that he adored with all of his heart, specifically from spaghetti westerns to martial arts films. I can tell that he put a lot of heart and soul into "Kill Bill: Volume One," the classic action-packed revenge thriller that reminds us that anyone has the talent to put their passionate vision into their own film projects. As a gifted filmmaking trio, Quentin Tarantino, Robert Richardson (cinematographer), and Sally Menke (editor) concocted a vividly stylish and beautifully-composed visual stunner of a thriller. Taking the lead of his crew, Quentin possesses a dazzling eye for meticulously striking details. Every single shot of the film is cinematic with artistic precision. The action sequences are truly impressive as they are thrilling with proficient choreography, incredibly slick editing, and eye-popping details. Unfortunately, for all of it's awe-inspiring piece of gripping excitement, this visual stunner is not without it's flaws; usually, I am up for a good action flick, as long as they are not excessively over-the-top with mean-spirited toxicity, as well as high-levels of intense gratuitous violence that can lead to potentially dangerous addictions. And only if they are made for motivational purposes. Just because a movie is extremely violent with sheer brutality, doesn't necessarily mean that it is a great masterpiece. Yet no matter how stylized the violent action is, this film is just balls to the wall with it's graphic imagery and splashy gore. It just goes to show that "Kill Bill: Volume One" may not be for everyone, because it's too gory and graphic for it's own good. If Quinten made this film into a two-and-a-half-hour epic where the Bride/the Black Mamba finally kills Bill at the end to excel a gratifying sense of euphoria, this would have been a satisfying masterpiece. But instead, this is only the first piece of the story that opens the door wide open for a conclusive sequel to end the whole story, which is quite a quibble. The soundtrack was superbly utilized by RZA - fitting each song for the right mood, while elevating the elements for dramatically strong execution. How can I not forget the iconic Battle Without Honor or Humanity? It's an impressively catchy funk rock song by Tomoyasu Hotei. The entire cast did an exquisite job with their excellent performances; the women deserves admiration for their seductive hypnosis and grounded drama with hints of malicious undertones, while the men excel with their rugged sincerity within their manly swagger. They have all spoken their sophisticated lines of dialogue. Uma Thurman delivers propulsive determination as The Bride/The Black Mamba; she is haunted by her traumatizing tragedy that happened four years ago. She is sworn to get murderous vengeance on Bill, the leader of the Deadly Viper Assassination Squad. Bill is a haunting antagonist because of his malicious personality and his intelligently menacing voice. Lucy Liu shines with stern grace as O-Ren/the Cottonmouth, the forceful leader of her own Japanese gang. Recommended (suitable for teens 18 and up).

3.5/4 Based on the cartoon from the 1960s, "George of the Jungle" is a spoof of the Tarzan novel series with a very catchy theme song. I have never laughed this hard, and more constantly at a movie in a while. When it comes to 90s comedy movies, the lowbrow humor in "George of the Jungle" is a satisfying surprise; nothing goes to waste here, nothing awkward, nothing corny, and my intelligence was never insulted. Sam Weisman (director) and Dana Olsen (writer) did a splendid job setting up jokes and delivering comedy at a brisk pace. They even set up the crude humor with effective cleverness, thanks to the right lines of dialogue, fine editing by Roger Bondelli, and rhythmic timing. Sure, it definitely has inaccuracies in terms of zoogeography, however, the animals are well-trained for the the movie's reality-bending cartoony tone. Here's the real example: Shep the elephant may obviously be played by an Indian elephant named Tai, but the shape of Tai's whole body resembles closely to the animated design of Shep from the original cartoon - adding the fact that Asian elephants are more trainable and less feral than their African cousins. Not to mention that the movie knows how silly it is, and embraces that, as It truly wears it's heart on it's sleeve - being a good-natured and enjoyable romp of a rom-com. The movie tells a charming romantic story that involves a love triangle between George, Ursula, and Lyle - and it has some messages about gaining courageous confidence, and shows that two different people don't have to be exactly the same to find love for each other. Filmed in Hawaii and California, the movie has a beautiful look to it with sumptuous production designs. The special effects (including the practical effects) are surprisingly solid compared to "The Mask." The music score by Marc Shaiman is superbly dynamic as it masterfully fits each moment with whimsical, lush compositions, and it has sprightly energy. The soundtrack (including the original song called Dela) is a delight for the ears. Sam Weisman accentuates the distinctive personalities of an impeccable cast. Brendan Fraser shines as our likable titular hero with his handsome appearance, and innocent exuberance. He is a goofy but fun-loving ape-man who loves his animals. Ursula is played by the adorable Leslie Mann, a lovely but insecure heiress who has a choice to make: deciding which man to love for her marriage. George and Ursula have a lot of great chemistry together, and they are delightful to watch. John Cleese voices a gorilla named Ape; sounding like a no-nonsense charmer. Thomas Haden Church plays the primary antagonist named Lyle. a narcissistic man who has lust for Ursula. The comedic side characters, led by the tour guide (Richard Roundtree), are hilarious as they constantly taunt Lyle. Max and Thor (Greg Cruttwell and Abraham Benrubi), are hot-tempered poachers who plan to hunt George's animal friends for wealth. Holland Taylor did a swell job as Ursula's wise, tyrannical mother, while John Perry is on the more comforting side as Ursula's father. Overall: "George of the Jungle" is self-aware of it's own silliness, and the hilarity and charm is undeniable; it's an absolute blast from beginning to end, and it gave me a huge smile on my face. Highly Recommended (suitable for kids 6 and up).

4/4 During the great depression, this groundbreaking phenomenon of a film introduced a bracing genre hybrid: a creature feature in the form of an action-packed adventure; the original "King Kong" is the great grandfather of all of those kinds of movies (with "Jurassic Park" being the great grandson). Even by today's standards, this significant classic is notably impressive as it is exciting; "King Kong" is such an astonishing experience, and it really delivers awe-inspiring impact. As a prime example of absorbing escapism, "King Kong" tells an engrossing story that unveils the insane audacity, and reckless dominance of man. It is also about the compelling charm of beauty; how it affects us, maybe even manipulates us - letting our guard down, until eventually leading us to the potentially deadly consequences that lie up ahead without realizing. The damsel-in-distress in this film is the representation of this kind of compelling beauty, while the monstrous titular beast himself is the opposite: he may look intimidating, but most of the time, he is generally peaceful, unless when he is provoked, just like a real silverback gorilla. Even for a movie that came out over ninety years ago, both Marian C. Cooper (producer/director/co-writer) and Ernest B. Schoedsack (co-director/co-producer) have a passionate eye for meticulous detail and structured timing, especially for gestures. Not to mention that Marian and Ernest are behind almost every nuance. Every single set-piece is superbly staged. Even some of the light humor offers a playful sense of wit. Some of the cinematography shows it's sweeping magnitude to give the film an epic sense of scale. The lush primordial aesthetics of it's marvelous production design is a feast for the eyes - another asset to offer it's wild escapism. The special effects are a striking combination of stop-motion animation, practical props, and a special technique called "matte." Adding a groundbreaking usage of editing, the body movements of the creatures have more graceful fluidity. As the king of skull island who stands four times taller than any human, Kong himself is a giant gorilla who is feared by all with his uncanny sense of awe, and his brutal ferocity attributed by his awesome power. Despite his formidable appearance, Kong is curious and tender, but unfortunately, Ann - who is petrified of him - doesn't understand, which enables us viewers to sympathize with Kong. Yet he will fiercely protect her against any perceived threat during some of the memorable action sequences, including a T-Rex. Adding the fact that he only uses his canines to bite, rather than eat people. Kong's raucous vocalizations were provided by the edited roars of a tiger, and Murray Spivack's low grunts to make Kong sound like a monstrous ape. The orchestral score by Max Steiner is big, brooding, and dramatically rousing. The whole cast did a fantastic job with their performances. Robert Armstrong brings sharp enthusiasm as Carl Denham, an audaciously determined film director who films wild animals, while Fay Wray shines with perky charm as Ann Darrow, a cute young woman who is so excited about her adventure with Carl. Bruce Cabot is more on the earnest side as John Jack Driscoll the first mate, who starts to share a romantic bond with Ann. Highly Recommended (suitable for kids 10 and up).

Five out of Five. Peter Jackson's take on the eighth wonder of the world blew me away. Peter Jackson is one of my favorite film directors, because he is a master in epic filmmaking; the beloved "Lord of the Rings" trilogy that I loved clearly shows that he knows how to make a three-hour long fantasy adventure smartly-crafted and emotionally engaging. Peter Jackson's "King Kong" is a major success on so many levels: It works as an affecting and complex love story, as I have gotten a love triangle between Ann, Jack, and Kong. It works as a criticism of animal captivity (as well as greed), like all animals, Kong is a misunderstood animal that deserves admiration, conservation, a lot of space, to be left alone, and to be living free and in the wild. It works as a subtle metaphor for not letting your guard down, Denham's final words in the film is a thought-provoking line that made me realize that something that looks attractive can lead you into a deadly trap. It works an effects extravaganza with a seamless blend of visual effects, green or blue screen effects, props, live actors, and real locations. By the way, the production design is incredible. And it works as a spectacular, foreboding, epic adventure; my eyes were soaking up the stunning visuals, my ears are attracted to the background ambience, I was engrossed and daunted by the interesting characters going to Skull Island, a primeval place of awe and death. And they were being attacked by all kinds of gruesome killers. Peter Jackson (director/co-producer/co-writer) is on point with the craftsmanship with perfect pacing that captured my mind's attention, he sustains the suspense, he used slow motion for dramatic effect, the action sequences that he crafted are brilliantly constructed, and deliver rousing excitement. He even added some touches of comedy that are genuinely funny with clever execution. I must add that there are some sorrowful elements that are genuinely heart-wrenching, and the latter is the most heartbreaking finale since "Titanic." The vocalizations for the beasts were used by all kinds of animal for the right creature with impressive results. James Newton Howard really gets involved in to this film with his hugely stirring score that enhances the entire movie with sweeping strings, affecting woodwinds, grandiose brass, thunderous percussion, and sentimental piano. The cast is impeccable for their interesting characterizations. They have clear motivations, and they offer sharp, well-timed comedy. Namoi Watts is fantastic as Ann, she is perfect for her effective delivery witch such emotional drama, Ann also has good character development too. Jack Black is great as Denham, he is an ambitious filmmaker who can get real with anyone, and I can sense that he is a film fanatic and demands money. But the real star of the film is Andy Serkis. He plays a cooking sailor with a tough and wise personality. He also played the formidable Kong himself. Kong is brought to breathtaking life by motion capture and authentic gorilla-like behavior that Andy reflected nicely. Like all gorillas, Kong is a misunderstood dominant ruler in his domain. his facial expressions are the highlight of his characterization, and I can see the soul in his eyes. The chemistry between Ann and Kong is so endearing because of how nicely developed and how poignant it is. In conclusion: Peter Jackson's magnificent marvel is the pinnacle of epic filmmaking. Highly Recommended!

3/4 "The Last Crusade" is the film that faithfully captured the tonal brilliance of it's first installment ("Raiders of the Lost Ark"), although it's not nearly as sharp as it is not as thoroughly solid with passionate precision; It's just something that we expect from an Indiana Jones movie. But regardless, it manages to go in it's own direction, and what sets itself apart from it's last two installments is that Jeffery Boam (writer) adds mystery to the script for a sub-genre to make the film unpredictably thought-provoking, and even an engaging theme of adult relationships between a son and his father. Not to mention that there is no damsel-in-distress to generate any romantic relationship, which makes it all the more refreshing. The one plot twist in this film makes more sense - it's not only surprising, but also coherent, making the plot twist involving Roy Chiao's character (Lao Che) in "The Tmple of Doom" feel more like a questionable plot hole. Steven Spielberg complemented this script by keeping the audience in mind; possessing the knowledge and experience regarding family relationships and knowing the fact that viewers have the ability to think, speculate, and pay close attention. Not only that, but we also get to find out how Indy, as a teenager, became the dashing hero that he is now in an opening scene that is a lot of fun to experience. Unlike the last two films, the cinematography is more sweeping in scope due to it's sheer vasting magnitude. The action sequences deliver hearty thrills, all leading up to one heck of a suspenseful climax which is nothing short of gripping. The music score is as lively and rich as ever by going from rollicking, to mysterious, to dramatic. Sean Connery was splendid as Henry Jones, father of Indy. Sean manages to fin an amazing blend of jolly enthusiasm and manly authority. The interactions between Indy and Henry creates a complex yet typical relationship. The script for the Nazis provides intriguing character arcs. Suitable for teens 13 and up.

2.5/4 After the superlative success of "Raiders of the Lost Ark," "The Temple of Doom" is the stand-alone sequel where Indy's subsequent journey takes a seriously dark turn. "The Temple of Doom" left me torn - it's offensively flawed at times, but there are some seriously compelling redeeming qualities that save this movie. Starting off with it's drawbacks, some of this movie lacks logic; Steven Spielberg (director) and George Lucas (writer) pushed of the boundaries for twisted insanity at times for some of the action sequences in the first act, while going off limits with it's fantasy aspects of it's genre, especially with it's zoogeography; the "crocodiles" in the movie are supposed to be mugger crocodiles, not American alligators (the filmmakers can't tell the difference). Vampire bats live in South America, not India. Adding the fact that bats are nocturnal. Not to mention that it also goes off limits with most of it's unintentional humor for redundant filler (did I mentioned that the people here eat eels alive, and other body parts which is preposterous?). All of the action set-pieces, alongside the elements, in the first film delivers a grounded sense of realistic imagination, while the unintentional humor is witty, playful, and hilarious. Here is another problem: considering the fact that "The Temple of Doom" is set in the year 1935, and "Raiders of the Lost Ark" is set in the year 1936; this is a misplaced issue here in this sequel. There are two scenes that look like a familiar retread of it's 1981 predecessor (although they generate some refreshment). I must add that there are a few times where the film is easy to predict whatever is going to happen next. Now, new characters are introduced here: Ke Huy Quan plays Short Round, Indy's loyal sidekick - smart and brave. Kate Capshaw plays Willie Scott, and she is painfully over-the-top as both a comic relief of a side character and a damsel-in-distress. Willie is a nightclub singer with the characteristics of any distasteful, insensitive female. She has an aversion towards outdoor adventures; she is both petrified and spiteful towards all animals (she actually threw a live python aggressively which is animal abuse). Thankfully, she has done a couple of heroic deeds as she conquers her fears - providing motivational character development for female viewers. As for the romantic chemistry between Indy and Willie, I don't really care for it that much, it just seems forced and occasionally mean-spirited. What also won me over is it's central running theme of child slavery, which is the heroic task of a plot point for Indy. Not only does Indy have to look for the magical striped stone that is used for control, and to save the children for the villagers from the viciously wicked Mola Rom, very well-played by Amrish Puri. The second half of the film is laced with high levels of harrowing intensity and dark drama. Some of the music set-pieces by John Williams offer some magnificent majesty in some parts. The production design is incredibly sumptuous, with the Pankot Palace being the highlight as this dreadful, infernal place. Suitable for teens 13 and up.

5/5 There is no denying that "Raiders of the Lost Ark" is one of the greatest movies in the action/adventure genre. It's one of the most impressive, most memorable, and most dynamically entertaining films I have ever experienced. George Lucas and Lawrence Kasdan delivered lots of unexpected surprises to the whole script, and these surprises just kept on coming. The script is complemented by the slick and elaborate direction by Steven Spielberg. What makes "Raiders of the Lost Ark" stand out in the action/adventure genre, as well as for a winner for fans of this genre, is how brilliant it is - consistently throwing perilous obstacles to keep the film unpredictable and exhilarating, and it really pays off. Even on repeat viewings, it is still unpredictable and satisfying in every way. Not to mention that the skillful craftsmanship on display will make it an inspiring film for those who want to be a filmmaker for the action/adventure genre. The production design is arresting and tangible, while the sound effects are gripping. From the audacious stunts, to the hard-hitting impact, and to the astonishing effects, The action sequences deliver a lot of sprightly momentum. The unintentionally comedic moments are clever in structure and quite gut-busting in execution, and I laughed at all of these comedic moments. I must add that no animals were hamred in the making of this film, including the snakes. They all spawned a dynamic adventure yarn that is altogether exhilarating, audacious, intelligent, and hilarious. Driven by high energy and melodic emotion, The dramatically invigorating music score by John Williams enhances the film entirely, as it vividly captures every element, and it strongly supports the film's genre and it's theme of heroism. The all of the characters have both brains and brawn that are equally matched. But each of them are distinct in personality. Also, the performances are first-rate indeed, and the interactions between the characters are intriguing and fun to watch. Both the protagonists and the antagonists are archeologists, but different in nationalities; the heroes (the main characters) are Americans, while the villains are Nazis, as they go head to head for the golden ark of god that invokes religious spirits, and the Nazis thought that the spirits will make the army invincible. Harrison Ford plays the main titular character; he is a heroic and collected archeologist. Karen Allen plays Marion, a tough and sassy bar tender who became Indy's partner and eventually a tormented damsel-in-distress. John Rhys-Davis is great as Indy's close friend "Sallah" with his amusingly perky performance. Paul Freeman plays Belloq, an ambitious jerk who is Indy's arch-nemesis, while Ronald Lacey is creepy as Major Arnold the Gestapo agent. In conclusion: With slick sophistication that offers superbly-staged set-pieces in spades throughout it's breezy pace, "Raiders of the Lost Ark" is a dynamic and rip-roaring non-stop ride of an adventure yarn with rollicking fun, breathtaking audacity, and sheer brilliance. Suitable for teens thirteen and up.