Imagine a world where space travel is common place, where there are crafts travelling faster than light speed warping through space and time, where transporting humans across distances can be achieved with teleportation, where ingenuity, courage, determination and loyalty are character traits to be expected. Now imagine experiencing all that during your formative years watching Star Trek: The Original Series. While we’ve all become jaded over the years, and special effects have come a long way since the 70’s, sometimes we all need a movie to come along to bring back the fond memories of watching the possibilities of the human species advancing beyond our time.
While a new gloss of paint is slathered over this reboot of the franchise, the underlying Trekkiness is all there. The characters and their mannerisms, the epic space battles, the Trek universe science, the ingenious problem solving, the sense of duty to the Federation; it’s all there, hitting the right notes, echoing the spirit of The Original Series. While not an exact carbon copy of exacting standards, merely an artist sketch and rendering of a source material that is fondly loved by most, and alien to some. In other hands, I don’t think this reboot would work, but in the hands of master artist J.J. Abrams, the final artwork manages to rekindle memories of past for die hard Trekkies, I mean Trekkers, and introduce the average moviegoer to what is arguably the best representation of Star Trek: T.O.S. for this decade.
While the story is essentially a genesis story of how the legendary crew of U.S.S. Enterprise came together, the star of the show was definitely Chris Pine’s portrayal of James Tiberius Kirk and Zachary Quinto as Spock. Mind you, fitting in the shoes left by William Shatner and Leonard Nimoy is a herculean task considering the intellectual property and the millions of die hard Trek fans out there; they’ve taken these beloved characters’ essence and made it their own. While Heroes fans might have a hard time to dissociate Quinto from Sylar, by the end of the movie, Quinto is unmistakably Spock, no nonsense, and logical antithesis to Kirk, brash, devil may care attitude with a wicked sense of gut instincts that proves to be useful to the Federation. The interplay between the duo’s distinctly different approaches are woefully brief however, as there needed to be screen time to develop the other characters as well, but it’s nothing a sequel can’t rectify.
All the other beloved characters are present and accounted for, with John Cho as Sulu and Anton Yelchin as Chekov, Karl Urban as the inimitable DeForest Kelley, I mean Dr. McCoy, Zoe Saldana as the love interest Uhura, and Simon Pegg as the beloved Scotty. While a sequel is still up in the air, there is room for the actors and actresses to grow into the characters and make it their own. While Karl Urban is undeniably DeForest Kelley reborn, Simon Pegg has redefined Scotty to be a very excitable Simon Pegg. Even the Enterprise has that certain T.O.S. retro charm to it, with the consoles and control panels looking like the updated versions of the T.O.S. ones, there is that feeling of adherence to the original cast, Enterprise included, while updating it for a fresher look to attract the new fans.
While the story’s plotlines are not what you’d expect from previous Star Trek movies, but in the world of J.J. Abrams, it fits right in. All the important plot points are plausible in the Star Trek universe, with a number of movies in the Star Trek saga having had established precedents. But if you somehow by now managed not to know the storyline, then you will be pleasantly surprised. While it might seem too complex to the average moviegoer at first, but during the viewing, the suspension of disbelief is carried forward ever so gently by the pacing and the avoidance of total sci-fi geekery by not bombarding technical jargon at the audience. By the time of the movie’s revelation scene, the audience will be so emotionally invested in the characters and their predicaments; they will be much more receptive of the ideas introduced in the movie.
Special mention has to go to the cinematography and the special effects. The sweeping angles, the dramatic, and poetic, slow motion sequences, the believable presence of the U.S.S. Enterprise, the most realistic CG sequences ever put on screen, even the controversial overuse of lens flare; it all adds up to a unique viewing experience not matched since Iron Man. Considering the movie was directed by the man who brought to us the unique Cloverfield, and the best sci-fi show since the X-Files, Fringe, there was no doubt from the start that Star Trek will be a unique movie experience. While die hard Trekkers would bemoan this very fact alone, but the net effect of boosting the popularity and accessibility of the Star Trek franchise cannot be ignored. This is the one movie to catch this summer blockbuster season. Bar none.
9 Red Shirt Ensigns out of 10.
In what was befitting of a finale performance by the late Heath Ledger, his portrayal of The Joker as a madman hellbent on bringing chaos to Gotham City truly deserves the rave reviews and accolades it has received. A deranged psychopathic lunatic with anarchy on his mind, sometimes you’d forget that underneath that make up, was once an actor that played teen heartthrob roles and confused cowboys.
A performance that even rivals, surpasses at times, Jack Nicholson’s screen presence and charisma, every screen time The Joker gets was used effectively in showing how crazy he is and his singular focus of bringing chaos to the established order, while bringing order to his chaos. Underneath the facade of craziness, lies a calculating, manipulative genius that, unless matched by Batman himself, would see Gotham crumble into the mess that it was before Batman’s arrival. Always staying a step or two in front of the authorities and Batman himself, pushing and pulling everyone to overstep their moral boundaries and nosediving Gotham into anarchy.
The title chosen for this iteration was not coincidental, as the whole movie involves the interplay of Batman, and Harvey Dent, the ‘White Knight’ of the story. Both recognize their own role in cleaning up Gotham, but ultimately realizing that the other would be better suited in doing what them themselves can’t, to the point that either one of the two is willing to risk themselves to protect the other’s ideals. This also serves as another dimension of the love triangle set up when Rachel Dawes, played by Maggie Gyllenhaal, is romantically linked with Aaron Eckhart’s character.
As Batman cleans off the last few crime bosses that was left behind after Falcone’s arrest, they band together to rebuild anew. But try as they might, nothing could be done while Batman still roam the night, until The Joker steps in and shakes everything up, not just the renewed control of the cleaner Gotham streets, but as well the notion of what the perfect criminal truly is.
And that is one without any qualms about killing everyone regardless of affiliation, no qualms about doing the craziest thing you can or can’t think of, no qualms of even hitting where people hurt most, that is their loved ones. Because Christopher Nolan chose not to even flesh out the Joker backstory, preferring him to be “absolute”, an ‘unstoppable force’ pitted against Batman’s ‘immovable object’, you can sense that the two are even matches when it comes to their intelligence and tenacity, and the ingenious ways both employs, Joker in trying to pressure Batman, and Batman in trying to pursue Joker.
Then there’s his other ‘plans’, that made everyone go batdroppings insane. These really pushed Gotham to the brink of anarchy, and the resulting chaos would be a far greater magnitude than what Ra’s Al Ghul did in Batman Begins. And even if you think you know the story by now, it doesn’t mean there’s no twists at the end, by which point if you didn’t think Joker as the psychopath that he is, you will by then.
One of my most anticipated movie this Summer, I can gladly say the wait has not been for naught. Even if Ledger is robbed of an Oscar, I can say without uncertainty, he will be awarded a couple of Moonmen’s, one of which should be the Best Villain. Truly a performance that was worthy of a great actor, who locked himself up in a room to study the mannerisms of a Joker of the comics transposed into a real life, flesh and breathing deranged lunatic. 9/10.
I was drinking water when a decidedly Jack Black-ian Po the Panda gestured as he had to climb up a seemingly finiteless number of steps towards the Jade Temple, that’s when I had the most terrible choking of my life. And the most rewarding!
This is one movie that everyone might enjoy. The parents who brought their wee lil demon spawns might enjoy a bit of respite watching this movie. I swear, the amount of sudden outburst of laughter might make the popcorn or water a dangerous weapon when propelled out of your nose.
In a decidedly refreshing move, Kung Fu Panda was made with a more mature audience in mind, with Jack Black as the main character Po, and a stellar cast of voice actors that includes Angelina Jolie and Jackie Chan of all people, this was not a movie specifically made just for kids. The jokes and comic timing were a bit more clever, and if you loved Jack Blacks other works in the musical and theatrical arena, you might recognize his signature all over the animation.
But let me talk about the 3D animation for a bit. I really liked the stylized animation style, and the gorgeous scenery that the characters interact in. Unlike the cold and plastic looking characters in Shrek, it has The Incredibles feel to it, as in the animation fits the subject matter.
The peach tree scene was really lovely, as the leaves floated among Master Oogway.
At the outset of this post I didn’t wanna ruin any of the big laughs for you, but I figured one out of many is good enough. Watch it with good natured people, and not frumpy ones, and I promise you guys will have a good time. 8/10.
This movie was quite a surprise in that it avoided the cheesy lameness of Marvel comics movie adaptations as of late, and it manages to attract stars such as Robert Downey Jr, Gwyneth Paltrow, Terence Howard and Jeff Bridges! This line up of stellar stars gave character to these, uh… characters in that they have that underlying mannerism that doesn’t really boil to the surface, but it’s tangible and it’s there. No doubt the stars drew these traits from their own personalities, so you can see parts of Robert Downey Jr. shining through Tony Stark, or even the lovely Pepper Potts has a little Gwyneth in her.
I don’t know who Jeff Bridges channeled his asshole demeanor from, but man, did he play that part perfectly.
In keeping with the original storyline of the comic books, Tony Stark is a genius play boy industrialist that inherited Stark Industries from his parents. After a brief stint under Obadiah Stane’s mentoring, Stark emerged from beyond the shadows and became one of the most charismatic, yet naive, merchant of death. Only after his convoy was ambushed, and he fell into enemy hands, only then he realized all the weapons he produced found creative ways reaching to the people he rather not want using his weapons.
During his captivity, his captors wanted him to replicate a weapon he designed capable of unleashing hell fire from just a single missile. Considering the state of the prison was in, you would think it absurd to recreate a sophisticated weapons system; but he managed to create a chest implanted device necessary to keep him alive from all the missiles and weapons made available to him. Knowing the tremendous available power from the chest implant device, he set out to create the first of the prototype of his infamous suit of armor.
As he made his escape, you can see the change of heart he underwent, adamant in preventing his captors from using the weapons he produced, correcting his wrongs by destroying the stockpiles of weapons bearing the mark “Stark Industries”.
What’s amazing is that they chose to keep the look of the suit realistic, insofar creating metal and rubber suits to be interspersed with CG sequences. The team that previously worked on Zathura under Favreau came and did the suits for this movie as well. And as that movie showed us, the final product really blurs the line between what is real and what is CG.
I’m not saying that the CG version of the suit isn’t impressive, far from it. Every detail of the final Mk III suit has a specific purpose to control his flight and his life support system. Every surface animated, every flap opening and closing, controlling his flight trajectory, every function is grounded in movie based science, where it has the plausability factor of a far greater magnitude than being bitten by a spider and getting superpowers.
The technology and the science they use to explain and use to depict the gadgetry of the Iron Man suit and Tony Stark’s house is based on real life, albeit a few more years in the future. The home automation, the 3D projection, the interconnectibility of the devices, even the Iron Man suit can theoretically be achieved given a few more years and a few more billions of dollars. No wonder the officemates I went to watch the movie with were swooning at all the gadgets.
That’s about it though, that’s as much as I’m willing to disclose so as to let you fine readers to go watch this action packed, well written, and well directed movie. Director Jon Favreau, which also is in this movie as one of Stark’s body guard who got to race around in a Rolls Royce, hit a jackpot on this one. Combining CG effects that blends well with live action sequences, focusing on the major storyline points while letting the actors improvise their lines made for a great experience. The character of each actor shows through their silver screen counterpart, and it only made the movie that much more likeable. No wonder it’s shaping up to be the most well received movie of 2008, and stands to become the highest rated superhero movie of all time.
9 out of 10. It is that good!
Image copied from ComingSoon.net
Thanks ladies for coming!
A movie-goer checks out Reeds’ pics.
A review of PS. I Love You coming up next.
This remake of The Omega Man starring Charlton Heston sees Will Smith (Robert Neville) as the last man on earth, tasking himself with finding the cure for a virus that turns its victims into mindless killers, placing this movie along the likes of other zombie fests 28 Days Later or Dawn of the Dead, with the twist that these zombies, nay, more like shedding, super, gymnastic humans that can transfer their virus via touch or air, lending credence to statistical impossibility of the virus wiping out the rest of the world.
Neville is an army doctor that discovered that a retrovirus that was engineered to cure cancer turned rogue, turning all its recipients into mindless killers that ultimately loses their even basic human instinct, with the hunger for blood driving them. When he discovered that the virus has evolved the ability to jump from host to host airborne, he made all efforts to get his family off of the island of Manhattan, where this movie is based in. This airborne transfer of the virus echoes our real life fears of the human bird flu virus jumping via the same means, which will make you start to think the possibility of all the events on screen happening in real life.
Our attempts at correlating events happening in these kinds of movies usually draw us into the story far more effectively. How many times have you wondered what would you do in a zombie outbreak? What weapon would you grab first? Where would you fortify and barricade yourself in? No doubt, this is the kinds of thought provoking questions that the script is posing to the audience. What would you do if you thought that you are indeed the last man on earth? How would you keep yourself sane?
The answer is that he has the family dog that keep him company while going around doing routines to that fills out his days. Either hunting for food, or collecting supplies, or a trip to the video store, his dog is his trusty companion, giving him something to talk to. It’s also a link to his past, where he tries to get his family off of the island of Manhattan. But isn’t this a zombie-like movie you ask? Aren’t the streets filled with screeching creatures that breaks into a run whenever they see a human?
If there were afflicted humans running around running amok all the time, it’d make a darn boring movie, what with the main protagonist huddling in his bath tub for three years. The plot of these creatures not being able to tolerate UV rays gives off a vibe of vampire movies, and has them being labeled as Darkseekers at one point later on in the movie, as these things usually seek the darkness in abandoned buildings to keep themselves out of the sun’s rays during the day. This plot device allows Neville to go out during the day, while trying to occupy his time documenting his efforts of finding a cure for the virus that he himself is immune to.
His immunity leads him to believe that the burden of finding the cure at the source of the outbreak is his alone to bear, concocting various mutations of his immune blood and injecting them into various virus carriers. This means that he has to catch these things whenever he has the chance, displeasure even, of running into a pack of them. He sets elaborate traps to capture these creatures; and at one point, which was unclear if it was due to his sanity finally slipping or somehow the plot reverses unto itself and the creatures manage to think all of a sudden; he gets caught by the same kind of trap that he used to capture the creatures. And at that point, the proverbial shit hits the proverbial fan.
I think I shall refrain from typing any more, as there would be huge spoilers that will ruin the movie for you. For me, I didn’t even catch a single full, official trailer before coming into the cinema, only knowing the existence of the movie from watching HBO’s special on it, and as previous movies have shown, I’d rather not know even a single tidbit of information so I can reserve my judgment in the theatre.
What’s my take on it? Good movie and it makes you think as well. The repercussions of genetic engineering or the possibility of a virus wiping out all humans might weigh in during your viewing. The emotional struggle to keep one’s sanity during the whole ordeal is one thing that’s rarely touched upon in most zombie apocalyptic movies. This is an 8/10 for me, only slightly marred by the obviously CG creatures. And what would be the first thing I’d grab in the event of a zombie apocalypse? My lawnmower, a la Dead Alive, or probably a hand attached chainsaw.
Michael Bay being attached to this franchise made a couple of my friends nervous, and for good reason. He gave us the Bad Boys series,
Miami Vice and The Island, and his contribution showed; slow mo sequences, outrageous fighting scene angles, gravity defying, intense car chase scenes, gun fights, the list goes on and on. And seeing his contribution, people might think that it’d be a whole two and a half hours gun fest in slow motion. You won’t be further from the truth.
An origins storyline of sort, which is all the rage nowadays with comics to movies adaptations, it chronicles the arrival of Optimus Prime and most of his more memorable comrades from the Generation 1 TV Series. While a far departure from the real Generation 1 storyline, eschewing the storyline of the Autobots and Decepticons arriving on earth 4 million years ago, the storyline they’ve used here is well compressed for the average movie goer today.
The Allspark, a device that gives life to Cybertron, and sustain said life, was lost to the depths of space when a civil war between the Autobots and Decepticons erupted. The Allspark somehow lands on Earth, with Megatron following suit. He crash lands in the North Pole, and has been held in cryostasis the entire time until the events in the movie.
While convenient to the masses and they can dive in into the story immediately, fans of the cartoon series and toy line, which I can say almost all of us, are going to be a bit miffed at the liberties taken with the story. While it would have been cool to have the original storyline, the confusing and sometimes contradictory continuity with the different seasons of the TV series would be a hard sell to the average Joe. After all, they’re coming for the action sequences.
And action sequence they will have. Gone are the lasers, and in come the bullets and missiles. Gatling guns materialize out of a bot’s hand, while some body parts firing off missiles, all while going through acrobatic routines that would even shame the most agile of spider monkeys. They duck and roll, run and jump, and causing general destruction to the fictional city, blasting bullets back and forth and firing off heat seeking missiles. By the one hour mark, I bet you’ll have action sequence overload not seen anywhere else before.
It’s this overload that takes away your amazement the fifth or sixth time you see an Autobot or a Deception transform back and forth between their two modes. The first few times you see Scorponok chasing the human characters, Bumblebee transform into a robot, or Optimus Prime transforming from a totally awesome truck to a totally awesome 20 feet tall robot, a sense of giddy excitement comes over you. It’s euphoric, even teetering on arousal. Towards the end of the movie, the action picks up so much that you can’t savor the robots animation anymore. It’s just two hulking mass duking it out in the middle of downtown.
I’m not saying that the whole theater didn’t appreciate the animation sequences, which, giving credit where credit is due, ILM did a spectacular job by the way. 38 hours to generate a single frame is mind boggling to say the least. It earned the standing ovation at the end of the showing; and I wholeheartedly agree. I yelped in glee at the first sight of Optimus Prime, that’s how excited I was, and I will not retract that yelp for anything in the world.
The selection of Autobots and Decepticons portrayed in the movie are purely for the purpose of making it easier to digest, and even satisfy fan’s demand for their favourite ‘bot to appear. While Soundwave won’t be making an appearance for instance, due to the fact that they want to explain the mass shifting in future sequels (!), Starscream is a perfect choice as he has the biggest fanbase for a Decepticon, next to Soundwave. Even updating the vehicles they all transform to seemed like a blasphemous move at first, but you can forgive them for making the vehicles much more easier on the eyes.
Shia LeBeouf is a perfect actor to fill the role of Sam Witwicky, becoming the comic relief of the movie, while Megan Fox supplies the eye candy department. Josh Duhamel and Tyrese Gibson are the military jarheads and John Voight deserves a mention as well as the US Secretary of Defense.
The best thing about the whole movie was that they’ve made an effort to sticking to the original material as best as they can, even to the point of getting the original voices for the original cartoon TV series to reprise their roles for the movie. They even went so far as to include Optimus’ famous energy Ax in once crucial scene. It was fun picking out and pointing out what you remember from your childhood in this movie.
I’m giving this movie 8 Energon Cubes out of 10.
I’ve never been a fan of the Fantastic Four series, comic, cartoon or movie wise, as they’re lower ranked in the top tier of comic book superheroes. Having seen the first movie, I can see why the movie adaptations aren’t the top of most comic book fans wishlist to see this summer season. But for me, it has a rater acceptable level of believability, as you can imagine them living their now newfound celebrity lives in New York.
The main antagonist for this movie is of course, the titular character, the Silver Surfer. Played by Doug Jones, but voiced by Laurence Fishburne, a tall well built silvery being goes around the universe on his silver surf board. Once known as Norrin Radd, he’s forced to serve Galactus as a Herald in order to save his own home planet from destruction. While doing Galactus’ bidding all over the earth, he finally meets the wise cracking team of Fantastic Four and does the noble-change-of-heart things villains would do.
While being a badass in the earlier part of the movie, he exhibits the traits of the Silver Surfer as people know him. A confident, no nonsense, powerful being that can take on the entire Fantastic Four team all by himself, but ultimately foiled in one of those “A-ha! That’s the answer!” pseudo scientific moments. But man, him surfing through the streets, tearing everything apart around him gave me goosebumps all over. It’s the one time where the now obligatory flying-through-crowded-streets-scene l0oks almost realistic. Almost.
But then that’s the only highlight of the movie. If you can conjure up the running time of the movie, it stands at a disappointing 1 hour 30 minutes, which to me is too damn brief to tell any meaningful story that all the older comic book readers would appreciate. I just hate the fact that they have stooped down to the lowest common denominator of the movie going crowd, satiating the segment of people that want movies to end right at the 1 hour 30 minutes mark. The kinds that complain and whine about a 2 to 3 hour long movie. I want my money’s worth, and at that running time, I’m getting gipped on an extra half hour or more storyline, and the fact that they crammed a wonderful trilogy into a compressed Cliff’s Notes on the events in the trilogy.
It’s not a bad story per se, as the comic performance between the Fantastics can be funny at times, but man, another dancing scene in another superhero movies? Does Stan Lee have anything to do with that I wonder? And they had to have another naked Jessica Alba scene just to induce some laughs and some erections.
A good light hearted action romp, and doesn’t take itself too seriously with moral quandaries and philosophical heroes spouting one line too much, you’d hate it that you paid full admission to see a brief, unsatisfying movie, and wished it was half price so you could like it more. It’s like… An Episode of Heroes mixed in with Armageddon and Blue Crush (with the surfings and everything), and you’re halfway there.
Mighty lofty proclamation, even for me. But hear me out. There’s good reason to catch another chapter of Jack Sparrow’s antics with his, dare I say, beautiful crew, Elizabeth Bennet and to an extent, Will Turner.
If you’ve watched the two previous movies, you get an idea of the whole charm of the Pirates series, sailing the open seas, friends or foes one upping each other in their treachery and deceit, morally grey areas, that sense of rooting for the underdog, and of course being surprised by the twist and turns throughout the whole movie.
And don’t forget that wit and guile that only Jack Sparrow can manage, and you got a recipe for opening weekend success.
It’s status being a trilogy will of course see itself compete with Spiderman 3 in the box office, but seeing how Spidey 3 was quite a flop in the eyes of it’s rabid fans, there’s much more reason to expect that PotC will rake in as much, if not more, than Spidey’s opening weekend earnings.
The action is much more intense, with your eyes being treated to a veritable feast of briney proportions. The death scene of the main baddie in this movie is quite a masterpiece in it’s own right, slow mo effects while everything around him is being disintegrated. Just, wow.
I’m quite anal about noticing the special effects bit to be… “special effects”. If I want to suspend my disbelief, I want it to be suspended without being jerked back into my cynical brain and mutter, “Ooh, polygonal fakery”. Thankfully, the effects in this movie is a labor of love. The scene where the pirate ships amassing for the final battle? It looks like a fleet of rickety old ships. Opting not to focus heavily on the special effects, rather, to focus on the interaction of the characters has always been a staple of the Pirates series.
You will believe that they are a rag tag bunch of misfits, you’ll love every bit of comedic interaction, which is not forced like Tobey Maguire’s tabletop dancing shenanigans. You’ll love the subtle in jokes, you’ll love the not-so-subtle jokes, you’ll love the emotions the characters are portraying to each other. You’ll love this movie. Period.
p/s: Many thanks to the two lovely ladies who accompanied me to the movie.
To tell you honestly, I wasn’t even feeling excited about this movie. Not that I wasn’t looking forward to it, but knowing that I have piled on heaps of expectation and excitement towards a movie doesn’t pan out very well for me (Star Wars Prequel Trilogy comes to mind). 300, Superman Returns, Batman Begins, even Casino Royale were met with an open and relatively receptive me, so any failure to even meet my expectation was not there.
You’d be forgiven thinking that with Spiderman 2’s relatively action packed nature, you would think Spiderman 3 will be one whole, 2 and a half hour of action sequences. But the thing is, once you’ve seen the whole trailer, you’ve seen all that you needed to see, visual effect’s wise. You are not getting that sense of awe seeing a huge sand person tearing down Manhattan, you are not getting that sense of anxiety when Venom finally appears, you are not getting your eyes treated to all the visual effects that you want to see. Why?
Because you’ve seen it in the trailers, and more importantly, the action sequences are few and far between. Sam Raimi in his infinite wisdom managed to fit three differing stories from all the different point of views, and wholly screwing it all up in the process by not giving equal importance to all the characters. Way too ambitious, but way to ham handed in execution, that you keep egging the movie to move onto the action sequences.
By trying to fit all those story in, you have moments where the movie moves really slowly, with characters lining out all the stuff that needed to be known so Joe Public would get it, so as to not let him become Clueless Halfwit Joe. In all fairness, I could live with that, but what really sets me off is the predictability of all the characters, and the predictability of the story.
I’d be the first one to admit, the action sequences are way cool, acknowledging the fact that animating individual characters of sand and even the way they rendered the symbiotes are no less masterful. And again, they’ve kept the effects in a realistic comic kinda way, with a believable Spidey swinging around looking like a real person. That’s the reason I like the Spiderman movie franchise.
Interspersing these action sequences and inserting stupid dialog, stupid character interactions, a half assed intertwining story, and lame ‘comedic’ sequences getting the Joe and Jane Public laughing is a cop out in my opinion. The only part that got me to utter “Ooh! Cool!” was the part where Stan Lee appeared, when Bruce Campbell made a cameo, and when I thought I saw Denise Richards somewhere.
By all means watch this movie for the sake of not missing this movie, but don’t bring high expectations into it.