Posts Tagged ‘2010’

Altitude (2010)

06/20/2011 2 comments

Some cryptozoologists have described accounts of creatures called “atmospheric beasts”, non-winged creatures that dwell in the antmospheres of planets. Carl Sagan proposed that such creatures could potentially live in the atmosphere of gas giants like Jupiter, while more esoteric thinkers have speculated that UFO sightings might actually be eyewitness accounts of atmospheric beasts in Earth’s stratosphere. Well, if people can imagine it, other people can make a movie out of it, and this one decided to pass this phenomenon through the Lovecraft filter. How well did it do? Let’s find out.

Altitude is a Lovecraftian horror film directed by Canadian comic book writer and artist Kaare Andrews. It stars Jessica Lowndes, Julianna Guill, Landon Loboiron, Ryan Donowho, and a big tentacle monster.

When Sara was a little girl, her mother was killed when the plane she was flying crashed into another plane in midair, also killing two of the three passengers. Nobody knew where the other plane had come from, and it would remain a mystery for years. Fortunately, the threat of random ninja planes has not dissuaded Sara from getting her own pilot’s license, and years later she plans to fly herself and four friends to Montreal in another small plane. Sara’s boyfriend Bruce is nervous about the flight, but the others (resident douchebag Sal, his girlfriend Mel, and Sara’s cousin Cory) are excited about the trip, so Bruce grins and bears it for Sara’s sake. However, midflight a bolt in the tail comes loose, jamming the elevator and sending the plane into an uncontrolled climb. As Sara tries to regain control of the small plane, their trajectory sends them into a storm, where they lose all radio contact with the ground. This would be bad enough, were it not for the tentacle monster living in the storm…

I found this movie fairly randomly on Netflix, and when it arrived this weekend I mentally shrugged and said, “what the hell”. I’d seen some good indie movies from Canada (Cube comes to mind), and I was a fan of well-done Lovecraftian horror (see also Event Horizon). However, this movie had two strikes against it right off the bat. First, it was a direct-to-video feature. I’d seen some entertaining DTV movies in my day, and while many of them were entertaining, the overwhelming majority were hilariously bad. Secondly, director Kaare Andrews is better known for his comic books than his movies – Altitude being his first feature film. While this means that he has a good sense for visuals, Frank Miller has shown us that being a bitchin’ comics guy does not mean you will necessarily be a bitchin’ movies guy.

The story did hold some promise, in a Twilight Zone sort of way, offering a weird random phenomenon that could not be adequately explained by the laws of science, but in actual execution it fell flat. We are given only the briefest characterization for the core cast before the story unfolds, not nearly enough to make the viewer care about these people even in the last third when the really hinky stuff starts happening in earnest. While this movie is relatively short – only about an hour and a half long – most of the parts that did not involve solving the plane’s malfunction or the plane and its passengers being tentacle raped by the cloud monster felt like padding. In truth, a lot of this filler could have been trimmed out, and the result shown as an episode of Tales from the Darkside or The Twilight Zone. When things start getting really twisty at the end, I was left feeling less like, “Oh, that was clever” and more, “Where the hell did that come from?!” There are good twists and lazy twists, and this felt like a lazy twist. This, coupled with dodgy special effects, left me feeling like this could have been a much better movie is more effort had been put into it.

I will be the first to admit that it is difficult to make a good Lovecraft pastiche, but in the case of Altitude, it started out in the real world, set a course for Lovecraft Country, but overshot and crashlanded in the Twilight Zone. It’s a badly assembled collection of parts that might have been good, but ended up mediocre. Give this one a miss.


The A-Team (2010)

“I love it when a plan comes together.”

From 1983 to 1987, The A-Team followed the adventures of a group of Vietnam vets turned mercenaries as they helped the innocent, solved problems, and generally blew shit up. In 2010 they decided to make a movie of it, with none of the original cast and generally kicking the storyline back to its origin. How did they do? Let’s find out.

The A-Team is a 2010 action movie directed by Joe Carnahan, based on the 80’s television series of the same name. It stars Liam Neeson, Bradley Cooper, Quinton Jackson, Sharlto Copley, Jessica Biel, Patrick Wilson, and Brian Bloom.

Right off we get to meet the primary players. John “Hannibal” Smith is being held captive by some corrupt Mexican police working for the renegade General Tuco, who mock him for carrying a gun with no firing pin (discovered when they try to execute him with it. Turns out he does have the firing pin, and it comes in damn handy for picking his cuffs. He’s an Army Ranger. He can do this. He sets out to rescue his partner Templeton “Faceman” Peck, currently held by Tuco’s men, and enlists the aid of a guy whose van he tries to hijack, one Bosco “B. A.” Baracus, who declines to be carjacked but, as a fellow Army Ranger, decides to help. Further hilarity ensues at Tuco’s ranch as they pick up Peck (likewise an Army Ranger) and they set out to make their escape with the help of cracked pilot H. M. Murdock, who they must pick up at an Army hospital. Oh yeah – he’s also an Army Ranger. We don’t know how. He’s also batshit crazy. The rescue consists of driving a truck through the wall (on which Murdock and the other inmates are watching an episode of The A-Team in 3-D) and skedaddling in a medical chopper during a dogfight that leaves Baracus with a fear of flying (not just flying with Murdock, but flying in general) and ends up with Hannibal leading Tuco into American military space, whereupon Tuco gets blown out of the sky.

And… breathe.

Eight years later, the boys are riding high as an elite Special Forces team. While stationed in Iraq, they are unofficially assigned to relieve some Iraqi insurgents of U.S. Treasury plates and about a billion dollars in currency. An old girlfriend of Face warns them away from the mission, but this is the A-Team, dammit, so they go after the plates and succeed in spades, but when they get back to base the plates, cash, and the only one who knows they were authorized to steal them get blown to kingdom come by an opposing private military firm called Black Forest. The A-Team are stripped of their rank, kicked out of the Army, and sentenced to ten years in prison. Now, you know they aren’t just going to let this slide. Fortunately, Hannibal is extremely patient, waiting for just the right moment… and when it comes, over-the-top action-movie physics ensue.

This movie follows in the spiritual footsteps of the series, with the clever chessmaster Hannibal cooking up plans, the handsome Faceman doing the social engineering bits, the aptly named “Howlin’ Mad” Murdock acting as the laser-guided Jack Sparrow of the group, and Barracus being the Big Scary Guy Who Hits Things. The movie serves as an origin story for the team, in much the same way that recent superhero films have covered the origins of familiar faces like Batman, Spider-Man, the Hulk, Daredevil, Ghost Rider, and the Fantastic Four for the benefit of those who might have heard of them but are largely unfamiliar with the mythos, and it offers some nods to the original series as well. Liam Neeson is the most familiar face in the group, and he acts as a cool-headed father figure of sorts to the men, while Sharlto Copely (whom I’ve seen in exactly one other movie besides this one) is a lunatic with a pilot’s license and the origin of Barracus’ fear of flying. (Handy tip: never do a barrel roll in a medical helicopter that has the doors open.) The action is thrilling and gleefully over-the-top, and the moments when the proverbial plan comes together will have you cheering at Hannibal’s sheer ingenuity.

However, there were a few parts were the action was a bit too insane, and pushed me out of my comfortable suspension of disbelief (which must be loosely girded to begin with when watching a movie like this). The most notable scene has the lads escaping in a cargo jet containing a tank. Okay, fine. If it has wings, Murdock can fly it. A few attack drones come by a commence trying to shoot down said cargo jet. Fancy flying and battle damage ensue. Okay, fine. It’s an action movie. The cargo jet finally gets destroyed, and the team escapes in the tank, which is now parachuting down. Okay, fine. There’s really nowhere else for them to go, and the tank is the best alternative they have. The drones come by again and start trying to take out the falling tank, shredding a couple of the parachutes, so that the tank is now in near free-fall. Okay, fine. Of course the drones would still go after their target. Now for the silly part: Hannibal sees a lake below them, a fair stone’s throw that way. He has Face (IIRC) turn the tank’s turret and fire sideways, using Newton’s First and Third Laws to propel them in the opposite so they can splash down in the lake. That’s right. They flew a tank. Unfortunately, the laws of physics don’t work that way, and the Mythbusters already busted their technique of firing into the water to cushion the impact. But hey. This is an action movie. Action movies laugh at our silly preconceived notions of physics.

If you’re a fan of the 80’s series and you don’t mind heroes who essentially hack the physics engine of the real world to pull off hair-raising escapes, you’ll probably find The A-Team to be an enjoyable little romp through Action Movie Land. The spirit is largely the same, and with only a few complaints the action is thrilling and entertaining. Worth a rental.

Scott Pilgrim vs. the World (2010)

In any dating situation, one can expect both sides to enter the relationship with a bit of baggage – it’s part of having a past. Sometimes this baggage affects the impending relationship, sometimes not so much. Scott Pilgrim has just met the girl of his dreams. Naturally, she has baggage. Too bad all her baggage has superpowers. That’s okay, though. Scott Pilgrim knows kung fu.

Or something.

Scott Pilgrim vs. the World is a comedy film directed by Edgar Wright, based on the independent graphic novel series Scott Pilgrim by Bryan Lee O’Malley. It stars Michael Cera, Mary Elizabeth Winstead, Jason Schwartzman, Kieran Culkin, and Ellen Wong.

Scott Pilgrim (age 22) lives in Toronto. He is the bassist for the band Sex Bob-Omb, and has just begun dating a high school girl named Knives Chau (over the protests of all his friends), who shares his love of video games and really digs his music. Then he meets Ramona Flowers, an American girl with technicolor hair who has been appearing in her dreams. Suddenly his entire world revolves around wooing Ramona, leaving Knives in the dust – and then he learns about Ramona’s little baggage issue – seven evil exes whom he must defeat in order to gain the right to date Ramona. They’re, like, a League of Evil. And they all want to annihilate Scott. In the meantime, Sex Bob-Omb hopes to sign a record deal with a major producer, and Scott has to cope with issues surrounding his gay roommate Wallace. And… a really weird movie ensues.

I’ve never read Scott Pilgrim, so this movie was essentially my first taste of this world, and the presentation left me pretty confused. On the one hand, Pilgrim himself seems like an average guy with very few social skills, a garage band, and a slightly complicated love life. That plot alone, would make a decent slice-of-life drama. And then there’s the video-game stuff that ensues surrounding the Seven Evil Exes, with sequences that come out of nowhere like the final boss rush of a beat-em-up game and don’t seem to fit in with the rest of the movie. The battles with the Evil Exes are highly stylized, more so even than the rest of the movie, suggesting that they take place in a Calvin and Hobbes-esque view of reality rather than in what we would call reality. The only characters that manage to ascend beyond the rank of one-dimensional cardboad cutout are Scott himself, whose character development is portrayed in the context to racking up points and coins with the defeat of each ex, and Ramona herself, who remains mysterious even as we learn more about her and her checkered past.

The presentation of Scott Pilgrim’s world was often distracting, with certain sound effects manifesting visibly, comic-book style, and a minor running gag wherein a foulmouthed character’s salty language is obscured by a black censor bar over her mouth and a sound effect obscuring the words themselves. These effects, coupled with the fantasy-laced fight scenes that come out of nowhere like random encounters in an RPG and thereafter play out like battle in Mortal Kombat, culminating in an explosion of coins (seriously – where the hell do the coins come from?) and the occasional powerup (one of which becomes crucial to Scott’s ultimate victory) from each defeated foe, made this movie seem like the independent comics equivalent of Ang Lee’s Hulk, laced liberally with comic book tropes for good measure. The main plotline was decently interesting, with Scott fighting Ramona’s past in order to be part of her future, but it often drowned in the gallons of special effects surrounding it.

I tried very hard to enjoy this movie. Unfortunately, what could have been a good story was ultimately lost in the ludicrous amount of shiny used to present it. Fans of Scott Pilgrim might enjoy it, but I found it to be schizophrenic and spectacular, without a strong enough storyline to back it up.

Paranormal Activity 2 (2010)

04/19/2011 1 comment

Some horror movies work because you don’t know why things are happening. Of course, humans are curious creatures, and when faced with terrifying, inexplicable phenomena, we try to figure out what is going on and why. This is both a minor failing and a major boon for the species, as it helps us understand the world when we risk getting eaten by it. A number of horror movie sequels try to explain what happened in the first one. Sometimes it works, and sometimes it doesn’t. How does this one fare? Let’s find out.

Paranormal Activity 2 is a supernatural horror film directed by Tod Williams, serving as both a prequel and a sequel to the original Paranormal Activity. It stars Brian Boland, Molly Ephraim, Katie Featherston, Seth Ginsberg, Sprague Grayden, and Micah Sloat.

In the year 2006, new parents Kristi and Dan Rey find themselves faced with a chilling event: their house has apparently been burglarized, with every single room ransacked save for the nursery. However, the only item that has been taken is a necklace belonging to Kristi’s sister Katie. Justifiably spooked, Dan installs a number of security cameras around the house, through whose neutral eyes we witness the events that unfold throughout the film. Over the next few days, Kristi and Ali, Dan’s daughter from a previous marriage, start to hear strange noises and see items moved by an unseen forces, and their housekeeper and nanny Martine is convinced that they are being tormented by evil spirits. Dan is skeptical, and fires Martine after her repeated attempts at spiritual cleansing. All the while, though, the security cameras continue to record, until it becomes apparent that the spooky activity is centered around baby Hunter, and it might be connected with a secret in Kristi’s family’s past…

I enjoyed this one about as much as I did the first movie. In haunted house franchises like this, too often the attempts to explain or justify the haunting makes it something lame, but not so here. While the collective plight of Katie and Micah from the first movie is given an explanation, the reason behind it makes their situation seem so much worse. This, paired with the stinger at the end, combines to chilling effect as you see the ultimate result of Dan’s final decision. Watching the first one along with this one helps a lot, especially as the timeframe of the second one is established relative to the first. The ending definitely leaves you with an “Aw, crap!” feeling that sticks with you.

As with the first, the characters here feel like real people. Dan’s attempts to reckon with the mysterious activity mirrors Micah’s from the first movie, but he’s less of a dick about it and he genuinely comes off as wanting to protect his new family. The role of poking the demon with a stick falls to older daughter Ali, who believes in the paranormal but doesn’t recognize the danger of the hauntings until much later, and her boyfriend Brad, who thinks the whole thing is a joke. Ali parses out a likely reason for the demon to torment their family through her research, and in the context of the tale it appears chillingly plausible. Her attempts to contact the thing with an Ouija board get half a pass here, as she had no psychic to warn her against such a thing, but even so she seems like she should know how stupid that would be. At least she doesn’t make their situation (much) worse with her messing around.

If you liked the first Paranormal Activity, you will likely enjoy Paranormal Activity 2. It expands on the overall story and explains some of the unseen spectre’s motives, without ruining the perceived menace. I do recommend watching the first movie before watching this one, so things make sense, but this one is a pretty spooky movie in its own right.

The Wolfman (2010)

Even a man whose heart is pure
And says his prayers by night
May become a wolf when the wolfbane blooms
And the autumn moon is bright…

Lawrence Talbot is about to have the worst family reunion ever…

The Wolfman is the 2010 remake of the 1941 horror film The Wolf Man. It was directed by Joe Johnston and stars Benicio Del Toro, Anthony Hopkins, Hugo Weaving, Emily Blunt, and werewolf makeup by veteran monster maker Rick Baker.

After Ben Talbot is mauled to death by an unknown creature in Wales, his brother Lawrence is summoned from a stage production of Hamlet by Ben’s fiancee Gwen to find out what happened to him. Lawrence has a tense reunion with his father, Sir John Talbot; Lawrence’s mother had committed suicide when he was a boy, and Lawrence himself had been sent to an insane asylum to cure him of the delusions that John had killed her. Many of the locals blame a nearby troupe of gypsies for the killings, but others claim that there was a similar rash of murders decades ago, with the culprit suspected to be a werewolf. When Lawrence visits the gypsy camp, an old fortune teller named Maleva tells him that an evil had befallen his brother – just before a creature attacks the camp, killing many of the gypsies and leaving Lawrence gravely wounded. Little does Lawrence know that he is about to get an up-close look at the terror menacing the countryside, as well as the dark secrets of his own past, as he finds himself on the run from the police, led by the famed Inspector Aberline…

For some reason it seems to be really hard to make convincing-looking werewolves in recent horror movies. Costumes look like people in bear suits, and CGI tends to look like cheap video game graphics. So, it was refreshing to see filmmakers take a step back towards the Universal Studios roots of the modern werewolf movie and do a wolf-man-style makeup for the title beastie. Rick Baker’s work here in effect helps him come full-circle, as he had been inspired to go into effects makeup by watching the original The Wolf Man, and went on to do the effects in An American Werewolf in London. The wolf man makeup looks great here, espcially considering how much like a werewolf Del Toro looks by default (seriously, he is a very hairy man), and enhancing the transformations with CG only strengthens the effect. Many of the stunts were done with live performers rather than CG, another good move, and the whole thing comes together well to breathe new life into an old legend.

The core cast is also brilliant, composed mainly of veteran actors with a fair amount of experience under their collective belts. Even Emily Blunt, a relative newcomer to horror, is well-experienced in doing period pieces and so is not far outside her usual environment here. Del Toro, as the tortured monster with a grim past, is fantastic here, and he speaks with a very convincing American accent… in, uh, Wales. Most of the Welsh characters default to what sounds like a generic British accent, even Anthony Hopkins (Welsh by birth), but this can be excused due to the likelihood that American theatergoers would know what a Welsh accent is supposed to sound like (slim to none). Fortunately there is a lot of chemistry there, particularly the romantic chemistry that develops between Lawrence and Gwen, and the familial tension between Lawrence and Sir John. And that little oh crap scene where Inspector Aberline sees the brutish reality behind the gypsy tales of the wolfman was extremely satisfying. Aberline was fresh off the Ripper case in London, and here he gets to see what real monsters look like.

If you are looking for a contemporary werewolf movie that backtracks to the roots of the Hollywood werewolf, I highly recommend The Wolfman. A well-woven story, a tight cast, and werewolf effects only lightly supplemented by CGI will leave you howling for more.

Alice in Wonderland (2010)

Alice Kingsleigh thought she left her childhood fantasies behind, particularly her father’s stories of Wonderland. She is about to discover that the tales of her childhood are about to crash into the reality of her adulthood, and a place she was starting to think existed only in her imagination needs her help to overthrow a tyrant…

Alice in Wonderland is a computer animated/live action film directed by Tim Burton, inspired by Lewis Carroll’s novels Alice’s Adventures in Wonderland and its sequel Through the Looking-Glass, and serving as a spiritual sequel to both. It stars Mia Wasikowska, Johnny Depp, Helena Bonham Carter, Anne Hathaway, Crispin Glover, Matt Lucas, and Stephen Fry.

Nineteen-year-old Alice has long been troubled by recurring dreams of a whimsical place called Wonderland. Today, still mourning the recent death of her beloved father, Alice attends a garden party at Lord Ascott’s estate, only to find that she is expected to marry his oldest son Hamish, and thus be subject to the stifling expectations of polite society. As she hesitates, she spies a white rabbit in a waistcoat, and chases after him; he leads her along a route that sends her tumbling down a rabbit hole, dumping her in Wonderland. She is met by a number of familiar Wonderland denizens, and learns that “Alice” has been foretold as the one who will slay the huge, dragonlike Jabberwock and end the Red Queen’s iron-fisted reign over Wonderland, but they debate over whether this Alice is the Alice. As the prophesied “Frabjous Day” swiftly approaches, she discovers new terrors and re-discovers old friends. Soon, Alice must find in herself the “muchness” that her Wonderland allies believe will be needed in order to restore peace to Wonderland.

When I heard the Tim Burton was making an Alice in Wonderland film, I had two conflicting reactions. First, Tim Burton was likely to be able to capture the dark whimsy of Wonderland and add his own special touch to an old, well-treaded story. On the other hand, Alice has been adapted into live action and animated films so many times that it was hard to imagine where he might take the story to keep it fresh, as his re-imagining of Planet of the Apes had crashed so hard that it left a crater in his career. Fortunately, Burton pulled through here, offering a fresh story centered in Wonderland, with familiar characters given a new spin that was only a few degrees less dark than American McGee’s Alice. The casting was excellent, with Johnny Depp giving his portrayal of the Hatter a real spark of madness and maybe a touch of dissociative personality disorder and a tragic backstory that offered a cause for his fractured mind. The Cheshire Cat, voiced expertly by Stephen Fry, was snarky and mad in a way that captured cats in general in addition to this particular one. Alan Rickman was spot-on as the Caterpillar (invoking his animated Disney counterpart from 1951), and Helena Bonham Carter explicitly stated that she based her portrayal of the Red Queen (a clear amalgamation of the Red Queen and the Queen of Hearts from the original source material) on her toddler daughter – she knows what she wants and throws a fit if she doesn’t get it right now.

Of course, what really makes this movie is the CGI. Nearly every Wonderland character save the White Queen has been altered in some way: The Red Queen’s head is three times normal size, in a nod to the novel’s illustrations, the Tweedles are CGI characters with Mat Lucas’ face stitched onto both. the fully CGI characters are also well-crafted and well animated, and the green-screen work to allow the live actors to interact with computer-generated scenery and characters was ingeniously done. Perhaps the most subtle effect would be the Knave of Hearts, whose proportions are stretched just enough that the audience instinctively senses something wrong, poking them right in the uncanny valley. In the end, every character, while “real”, looks whimsical and “off” enough to keep the audience’s mind off-balance, in keeping with the inherent madness of the place.

If you enjoy Alice in Wonderland and you liked most of Tim Burton’s fantasy works, you will probably enjoy this one. It gives you a new take on an old story, and presents it in a way that handily captures the inherent whimsy of its source material.

Prince of Persia: The Sands of Time (2010)

As video games have evolved, so too have video game movies. Early video game movies, quite frankly, tended to suck, because of the difficulties of translating an interactive story (or lack of one) for the console or PC to a coherent, noninteractive story for the screen. This is why there will never be a Pac-Man movie – it just wouldn’t translate well. However, modern video games have been inching closer and closer to what amounts to interactive movies, it has become easier and more logical to translate these stories and universes to the big screen. How does this one fare? Let’s find out.

Prince of Persia: The Sands of Time is a movie adaptation of the 2003 video game of the same name, itself a continuity reboot of the Prince of Persia computer game series originally developed for MS-DOS and the Mac. It stars Jake Gyllenhaal, Gemma Arterton, Ben Kingsley, Alfred Molina, Ronald Pickup, Richard Coyle, and Toby Kebbell.

Dastan (Gyllenhaal) is an orphan adopted by King Sharaman (Pickup) in the Persian Empire. His royal foster brothers, Tus (Coyle) and Garsiv (Kebbell) are planning with their Uncle Nizam (Kingsley) to attack the sacred city of Alamut, suspected of providing weapons to Persia’s enemies. Alamut is also home to a massive sandglass stated to have mystical properties. During the initial attack, Dastan manages to claim a dagger as treasure; Princess Tamina is also captured and agrees to marry the eldest brother Tus in order to keep peace. Sharaman, however, rebukes Tus for attacking the city and gives Tamina’s hand in marriage to Dastan instead. Tus gives Dastan a robe to present to King Sharaman, but when the King dons it, it turns out to be poisoned, killing him and laying the blame on the unwitting Dastan. He flees with Princess Tamina, who reveals to him that the dagger he found can reverse time. Now on the run from his own people, Dastan must find out who would want to murder his father, and why the Dagger of Time seems to be the key to everything…

Okay. I know what you’re thinking, because I was thinking the same thing: Jake Gyllenhaal as the Prince of Persia? He’s about as Persian as John Wayne is Mongolian (not that that stopped the Duke from being cast as Genghis Khan, but I digress). Fortunately, Gyllenhaal seemed to take the role seriously, buffing up to play the athletic former-street-rat-turned-royal-traceur, and he offers just the right amount of mischief to the role to capture the spirit of his video game counterpart. Ben Kingsley, as Nizam, plays his usual ambiguously lawful neutral self, and Gemma Arterton is beautiful, enigmatic, and argumentative as Dastan’s unwilling travelling companion and rebellious Princess Tamina. The other two princes, regrettably, are not well fleshed out, and King Sharaman seems to exist solely to get killed off and kickstart the main plot.

And what a plot it is! I’ve seen previous video game movies, with the flashy effects and big-name actors tacked onto a flimsy facsimile of the core material’s premise, and most of them have fallen flat. with Prince of Persia, the filmmakers clearly wanted to avoid this trap and therefore took key elements of the Sands of Time Trilogy and built a largely fresh plot around it. The story is well-fleshed out and multilayered, with new angles on otherwise tired twists and enough stunts and effects to enhance the story without drowning it in the shiny. The fight scenes are thrilling and action-packed, and the time-reversal effects are well-rendered, translating a video game mechanic rather tidily to the big screen. This movie could have fallen hard, and it soared instead, proving that Disney is apparently getting is groove back in the live-action market.

Even if you’re not a video game nerd, if you enjoy action-packed adventure films, I recommend Prince of Persia: The Sands of Time. It’s what every video game movie has been trying to be, and it also stands alone as a thrilling desert adventure.