"The Losers" directed by Sylvain White is about a black ops team that was set up to kill a drug lord. Everything was going to plan when children was involved and a mysterious voice was jamming their radar. They went in to save the children and deliver them to the chopper. The mysterious voice in their radar then executed and order to shoot down the chopper, killing 25 innocent children. Knowing they were the ones suppose to be killed, they faked their deaths and went into hiding in Bolivia, carefully planning their way back to the states.
Pros of this movie
Some action scene were good. The shooting and fight scene were well executed and very realistic.
Cons of this movie
I believe that this movie had all the right piece and the right idea to base it off. Although it was not well put together. The story of this movie was not bad, I get it! It is how they told the story that bothers me. Most of it has to do with the script. There are part in the movie were the lines did not flow and was not erecting the right emotion. The story felt choppy the way lines were said. The conversation between Max (the villain) and Wade (the henchman) were just awkward.
There are parts of this movie that was bad. In the beginning scene they had 25 kids in a half size school bus. No seat belts and everyone was on top of each other. They even hit a bump that made them glide 5 feet of the ground. Through out all that no one got hurt? Also two people were shot in this movie. One was shot in the shoulder. A day later he was able to climb and scale walls. The other was shot in both legs and was able to support his weight standing up! I have never been shot but I know he wouldn't be able to stand.
The 2010 film Inception, written and directed by Christopher Nolan is an
exceptional movie to say the least. This thrilling movie is about a thief who
gets a last chance at redemption by receiving a job of mastering the art of
inception--- being able to go deeper into dreams. In order to see his family
again he has to complete this difficult task for a powerful man named Saito and
for his own freedom. But to his surprise, he has something holding him back in
his dreams--- his dead wife. In the last
five minutes of the film Leonardo DiCaprio’s character, Cobb, awakes from the
dream on a plane along with his team of specialists who just conquered their
mission of receiving information through the use of inception on Robert Fischer.
Not only did he get his freedom back but also, he was able to see his family
again. While his children run up to him with glee and climb into his arms, his totem
keeps spinning, which is used to decipher reality from a dream. But what if the
ending wasn’t quite as it seemed…
Cobb awakes
on the plane, with his totem clutched in his left hand and crumbs on his suit
pants from the peanuts he snacked on before the plane departed. He looks around
the plane to realize his team of specialists is slowly awaking from their sleep
of a perfect heist. Arthur, his right hand man in the mission, smiles sharply,
gives him a nod of endorsement and takes another sip of his Gin and tonic that
was a bit watery because he asked for ice hours before. He saves another quick
glance for Cobb when they both find themselves gazing out the slightly dirty
window on the left side of a plane as they hover over Los Angeles. Saito looks
over at Cobb after instructing the airline attendant to fetch him a hot towel,
he looks her up and down as if weary of her actions. He blinks a few times,
checks his pockets to make sure all of his important items were still in their
original places and adjusts his stripped tie around his neck. Cobb eyes Saito’s
phone in his pocket initializing the fact that they held a deal: if Cobb
completed the mission, Saito would grant him his freedom back through a promised
phone call. Saito never touches his phone.
The plane safely lands on the
speedway and everyone in first class stands up rubbing the sleep out of their
eyes, seizes their personal items and promptly walks off as if they did not
know each other from the very beginning. The mission was completed and it was
time for everyone to go about their lives; there is no more association. Cobb
reaches the airport, picks up his luggage and looks around the crowded airport
to see that his specialists were disappearing amongst the frequent flyers and
vacationers. Cobb gets a hold of Saito who was standing by a group of men in matching
gray suits frequently tapping on their phones and shaking hands. Saito turns
around, looks at Cobb’s hand on his shoulder and brushes him away. Cobb asks
sternly about the deal they made earlier, rephrasing how he was supposed to be
a free man once he touched American soil. Saito, embarrassed at this
interruption, excuses himself from the other men with hesitance and apology.
Saito looks at his watch eyeing the time that creeps up on five o’clock. He had
made dinner plans, in advance, with some old colleagues of his tonight at eight
and his car was arriving soon to pick him up and drive him to Malibu. He
quietly says, “How do you know me?”
Cobb looks around the airport, furrowing his eyebrows and
recollecting his thoughts at once. “Did you forget everything Saito? We made a
deal, I helped you and now it’s your turn to help me!”
“How do you know my name?” he looks around the airport with
distress. He eyes the men who seem to keep a close eye on him and nod with
disapproval. He lowers his head, fixes his suit and straightens his posture. “I
don’t know you.”
Cobb laughs with agitation. “Are you senile? We made a
deal!”
“I suggest you turn around and walk away from me! I know a
lot of powerful people who could have you gone in a blink of an eye. This deal you
speak of doesn’t exist, I do not know you!” Saito checks his watch once again
as Cobb taps his foot and tried to conceive everything that happened in the
past ten hours. Why did everything seem so wrong all of the sudden? Cobb’s
heart started to beat faster and faster as panic took over him, attacking his
arms first and then his legs. He fell back into a seat and rubbed his temples. “What
about Robert Fisher and Arthur? What about me?”
Saito then picks up his phone and
dials a number. He looks at Cobb as he puts the phone up to his hear and
listens impatiently at each ring. All he says into the phone was the words
“yes” and “thank you” and within two minutes, the airport police walk up to
Cobb and ask him quietly, to not make a scene, to accompany them in the back.
Cobb looks at Saito and then at the men in grey suits before standing up and
following the officers. Once they walk into the back room, they cuff his arms
behind his back and sat him down next to another man.
Cobb tried to feel for his pockets hoping to find his totem
somewhere hidden beneath his wallet but the cuffs were too tight. Cobb catches
an officer who walks by and informs him that he was innocent and had kids at
home that he was going to see, a son and a daughter.
The police officer laughed and patted his pocket. “Cobb, you
say this every time! We find you here almost every month saying the same old
things about children, totems, bad deals and some guy named Robert Fisher. I’m
surprised that they ever let you out of that Looney bin!”
“What?” Cobb grimaced as if he had a bad taste in his mouth.
“I’m telling the truth. Ask my friend Arthur, he’ll tell you everything. ”
“No you’re a schizophrenic Cobb. You were at the psychiatric
ward for five years after suffering a mental break down when your wife killed
herself. And you keep coming to the airport and bothering strangers and this
time we have consent to file a restraining order against you.”
Cobb looks around the room in shock. He takes a few short
breaths, winces at the white wall and closes his eyes. This must be a dream, he
thought and he wanted to wake up now. He then opens his eyes and waits a few
seconds for everything to come back to him. After his pupils adjusted
themselves to the intense lighting, he realized the man sitting next to him was
indeed Robert Fischer. He opens his mouth to tell the officer that the guys was
sitting next to him but before he could let the words dance upon his tongue,
the man he knew as Robert Fisher transformed into his wife Mal. He utters her
name but she only replies back with a smile. In the softest whisper she informs
him that everything would be fine. Suddenly, she disappears leaving Cobb
completely distraught.
No one will ever forget William Wallace and his speech on
the war front with his fellow Scotts men. Achilles and his love for his
soldiers expressed on that rocky boat is no less extravagant. And how about the
Gladiator, Maximus Decimus Meridius, uniting his troops on the forefront for
Rome? Maybe it was the infamous phrases of the Spartan king that stuck in your
mind.
So what
makes these war speeches spectacular and memorable like no other? There are
many aspects that go unnoticed that create an effect of amazement, heroism, and
excitement. The music, for example, stimulates emotion in the viewer. The soundtrack
of a scene is designed based on the sensation that the director wants
projected. Hope is usually the “drug of choice” when a hero addresses his army.
Sometimes, however, it can be a rush of action and anticipation, as seen in 300.
In this example, the Spartan king is giving his speech while another army is
charging his, waiting in anticipation for a blood brawl.
Also apparent
is the speech itself. Though ironic, the hero speaks to his army, usually
thousands of soldiers. The irony is that in “Hollywood” the speech seems to
have been heard by all the troops. In reality, only the first few lines of
soldiers would have been able to hear their general. What I do not understand
then, is how a story that is based on true events actually had occurred. Nonetheless,
both aspects – music and speech - solidify the protagonist’s heroism and
immortality.
The entertaining franchise of the
Fast and the Furious movies started early in 2001 and continued over the years
proceeding with Fast 2 Furious
(2003), The Fast and the Furious: Tokyo
Drift (2006), Fast and Furious
(2009) and lastly Fast Five (2011). Focusing on the last film, Fast Five, directed by Justin Lin
featured actors Vin Diesel (Saving Private Ryan), Paul Walker (Pleasantville) and
Dwayne Johnson (The Scorpion King).
In this first picture (left), the main
character Dominic is standing in the center of the photo wearing a white shirt
and a cross on his neck. He is the only character amongst the three men who
stand in front of the rest of the group that is wearing white, which is
associated with light, goodness, innocence and purity whereas black is
associated with power, elegance and mystery. Dominic is also positioned in a
stance where he is turned slightly to the right whereas O’Conner and Luke Hobbs
bodies are faced towards the camera.
In the second photo (right), both
characters Dominic and O’Conner are grasping two different types of guns in
their hands and looking off into the distance with an eerie vengeance. The size
of their guns and the way they hold them in their palms expresses the
characters lifestyles; Dominic cradles the gun like most men would who feel the
need to defend themselves from their enemies and O’Conner grasps his gun like a
police officer would with both of his hands on the barrel. The lighting in this
picture is bright, almost a white color, for the average photo and in the background
you can see palm trees, an ocean and hotel buildings, which makes the viewer
think of vacation spots as of Florida. The other noticeable objects on each
character are the cross and the watch. The cross on Dominic’s neck symbolizes his
religious backgrounds and beliefs towards a higher being which helps the
viewers realize he does have morals although he holds a gun. The watch on O’Conner’s
right wrist represents his perception of time and not having enough of it when
living such a hard lifestyle of recklessly driving fast and cool cars.
This Message Will Self
Destruct... Then You Can Shoot.
Bond or Hunt? MI-6 or IFC? Both
secret agents trying to save the world, while still getting the girl. Both have
a distinct theme that represent them. Let's compare.
Bond - for the past 50 years, each
and every movie starring the secret agent James Bond begins with the gun barrel
opener:
Though
over time the picture has enhanced, the clothes have changed, and the graphics
have improved, the idea remains the same. The gun barrel opener is the mark of
a Bond movie, and cannot be mistaken for any other picture.
Mr. Ethan Hunt has a theme just as
significant, thought it does not begin with the motion picture that debuted in
1995. In September 1966, the first episode of Mission: Impossible aired as
a television series on CBS. Even then, however, every mission received by Mission:
Impossible's protagonist would self destruct after the mission was
assigned:
The significance behind the montage
of the gun barrel with Ethan Hunt in the middle is to symbolize and show how the
two secret agents carry a theme. In this montage, Ethan is throwing a pair of sunglasses that carried his mission
information. After watching his briefing through the optical lenses and
listening through an attached ear bud, Hunt throws the sunglasses so that they
do not explode on his face. No soul will ever be able to find the information
that was on that briefing, but Ethan knows what to do.
This is the new script adapted for the two films, Kill Bill (2003) directed by Quentin
Tarantino and V for Vendetta (2005) directed
by James McTeigue. Swapping the two films, I created a new version of the script
to show how the characters Black Mamba and V react and converse in a totally
different atmosphere of a dissimilar situation; Black Mamba fighting against
the government in a dystopia and V against a man named Bill. Since both
characters have a similar vengeance, I thought it’d be fairly interesting to
see how each character would handle the opposite situation in their own way. I took a scene from each movie and reworded
it to express the generalizations of what each character would say in the given
situation.
Kill Vendetta:
Copperhead: Look, if I could go back in a
machine, I would. But I can't. All can tell you is that I'm a different person
now.
Vendetta:Yes, yes my dear. I’m sure
you are.
Copperhead: Be that as it may, I know I
don't deserve your mercy or your forgiveness. However, I beseech you for both
on behalf of my daughter.
Vendetta:Madame, you
can stop right there. Just because I have no wish to murder you in front of
your child doesn't mean that boasting her around me and hoping I won’t kill you
in front of her is the right idea. Remember that you and I have unfinished
business. And not even you’re precious little girl will change that; you are
dying tonight and there is no doubt about it, I’m afraid.
Vendetta:It all
depends my dear. When do you want to die? Tomorrow? How is day after tomorrow
for you? Beyond that I may have to pencil you in, you see, I’m a bit busier
nowadays.
Vendetta:Yes, yes
most excellent! What a marvelous idea. Where do you plan to have our little
brawl?
Copperhead: There's a baseball diamond
where I coach Little League about a mile from here. We meet there around in the
morning dressed all in black. Your hair in a black stocking. And we have us a
knife fight. We won't be bothered. Now... I have to fix Nikki's cereal.
V for Bill:
Creedy: Defiant to
the end, huh? You won't cry like him, will you? You're not afraid of death.
You're like me.
Black Mamba:No! I’m not
afraid of you nor am I afraid of death. I am nothing like you except well, we
are both going to die tonight.
Creedy: Bollocks. Whatchya gonna do, huh?
We've swept this place. You've got nothing. Nothing but your bloody knives and
your fancy karate gimmicks. We have guns.
Black Mamba:They always
say how stupid it is to bring a knife to a gun show but I thought that I could
have this one minor exception besides by the time you and your men reloaded
your pesky guns, you’re head will already be severed and in my hand. Pray for
mercy now Creedy.
Creedy: Die! Die! Why won't you die?...
Why won't you die?
Black Mamba:My anger will
always reflect your measly bullets. You can continue to shoot me like some
crazy jackass but just know that you will always be the one who will be getting
hurt.
