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Honey 2: Poor Dance Film Sequel
Honey 2 is the second instalment of Jessica Alba's dance-themed chick-flick, Honey. This time around, the story revolves around seventeen-year-old Maria (Graham), who dreams of joining award-winning dance group 718. After getting turned down by Luis (Martinez), leader of 718 and ex-boyfriend, she decides to abandon her dream and find an actual job. She finds sanctuary at Honey Daniel’s old dance studio, though; and moves in with Honey’s mother in order to escape her troubled past.
Things take a turn for the better when on a night out, Maria’s dance moves catch the eye of volunteer youth worker Brandon, who approaches her about helping a talented but unruly group of young dancers who go by the name of the HDs. Maria’s growing confidence and reputation reignites Luis’s interest in recruiting her to 718 and the underground trouble that comes with it. Seeing that she is better off taking her own path, Maria gives her all and takes the HDs to compete on the dance TV show Dance or Die, where they could well end up competing against 718.
The first instalment had many deficiencies, and this one comes with a whole lot more. Alba at least carried the first film, but this one lacks any kind of star power, and the choreography also doesn’t live up to that of its predecessor. This was never going to be a film with a deep plot, but even then, Honey 2 fails to bring anything new to cover its weaknesses. As for the performances, they are universally lacklustre. The most dramatic scenes are poorly scripted and are over the top, and they leave the inexperienced cast high and dry.
Honey 2 will probably go down as the worst of what is a pretty flimsy genre of film. The cinematography seems nothing more than an economical exercise, and although the dance sequences are shown clearly, they could and should have been much better filmed.
Hollywood has reached a stage where filmmakers will willingly churn out shallow and trivial films to make money. What the plan with Honey 2 was will remain a mystery. It neither features actors of any kind of calibre as a draw, nor does it hang on any gimmicks to distinguish it in a very specific and saturated genre.
Star Trek Into Darkness marks the twelfth instalment in the Star Trek franchise – which dates all the way back to 1966 – and plays as the direct follow-up to the 2009's successful reboot, Star Trek.
The film launches into action with a thrilling opening sequence which finds Capt. James T. Kirk (Pine) in deep trouble. In an attempt to save Spock (Quinto) and the natives of Planet Nibiru from a catastrophic volcano eruption, Kirk puts the entire Starfleet in danger by revealing the U.S.S Enterprise's hideout and by interfering with Nibiru’s primitive civilisation – prime directives which should never be broken.
Even though his intentions were moral, Kirk knows that he's crossed the line. Facing demotion as an executive officer and with Spock reassigned to another ship, Kirk’s lofty ambitions look more and more unlikely. Soon, all is forgotten, however, when an act of terrorism shakes London. The man behind the attack – as the Starfleet soon learns – is John Harrison (Cumberbatch); an ex Starfleet agent gone rogue, who has now escaped to the Planet of Klingons.
With Kirk and Spock reassigned to the U.S.S Enterprise once again, the crew – which includes ship Helmsman Hikaru Sulu (Cho), Chief Medical Officer Leonard 'Bones' McCoy (Urban), Chief Engineer Montgomery 'Scotty' Scott (Pegg) and Communication Officer Nyota Uhura (Saldana) – are sent on a dangerous mission to capture and eliminate the terrorist.
However, their mission – as Captain Kirk and his team soon learn – is not at all what it seems and disturbing secrets soon bubble their way to the surface.
Director J.J. Abrams - along with the team of returning writers, Roberto Orci, Alex Krutzman and Damon Lindelof – continues to breathe life into the beloved science-fiction series and his newest addition makes the four year wait for a sequel worth it. It’s nothing short of an edge-of-the-seat extravaganza with plenty of excitement to keep everyone – including the non-Trekkies – amused. Aside from the expected action-packed scenes, the writers also manage to find time for more character-oriented threads, which allow the audience to connect just a little bit more to these iconic characters.
As far as the die-hard Trekkies are concerned, don't despair; there are plenty of nods to the past and trips down the memory line with references to former characters, locations and weird alien species.
Pine seems to be settling into the role of the infamous Captain Kirk pretty well; emotional and driven, Pine possesses the charisma to anchor such an epic. Meanwhile, the terribly talented Quinto is magnetic; his restrained and cold exterior provides plenty of laughs and, at the same time, plenty of stirring moments as we witness significant character growth. Pegg and Urban offer much of the comic-relief, while Saldana unfortunately fades into the background. Most significantly, however, Cumberbatch shows plenty of depth as what is slowly revealed to be a complex antagonist.
All in all, Star Trek Into Darkness offers guaranteesd entertainment. As an exhilarating and often moving addition to the franchise, JJ Abrams has proved that remakes, reboots and sequels can still be done well. Good job.
Every now and then, a film comes along and leaves one completely spellbound and utterly speechless long after the end-credits roll. The Place Beyond the Pines is one such example.
Told in chapters, the story opens with the introduction of Luke Glanton (Gosling); a young motorcycle stunt driver working for a travelling carnival. During one of their stops in New York, he bumps into Ramona (Mendes); a girl with whom he’d had a one-night stand with during a previous rendezvous. He soon learns that he is the father of Ramona’s son, and despite the fact that she is now sharing a life with a boyfriend, Luke is determined to do his part and find a way to provide and care for them. He quits the carnival and befriends low-end mechanic, Robin (Mendelsohn), who convinces Luke that his stunt-riding skills might come in handy in pulling bank robberies.
The decision to venture into the world of crime ultimately puts Luke on the radar of Avery Cross (Cooper); a young police officer, and new father, whose story is focused on in the second chapter.
As the two men cross paths, their split-second decisions result in a life-altering moment that will not only have an impact on them, but on generations to come.
Director Derek Cianfrance – who had previously worked with Gosling in heavy 2010 indie drama, Blue Valentine – steps up to a much bigger canvas this time and still manages to deliver another incredibly stirring work of art. His carefully drawn world is compelling and unpredictable, and the unnerving and deeply moving score from composer, Mike Patton, only adds to the sense of dread that runs underneath the story's surface the whole way through. The consequences of one's decisions is the primary theme in this grand narrative and Cianfrance – with the penning support of Ben Coccio and Darius Marder – tells it in a way that feels natural and organic.
The Place Beyond the Pines has already been tipped for Oscar success, partly due to the fact that Cianfrance has managed to draw out some of the best performances of the year. Gosling – whose previous collaboration with the director proved to be some of his best work to date – is once again effortless, charismatic and utterly captivating. As a man who desperately wants to do the right thing, Gosling evokes an incredible amount of sympathy to his character, while Cooper – who is slowly making his way to Hollywood elite status – delivers another magnetic performance. Even Mendes, in the role of a torn and distraught single mother, is confident, poised and manages to hold her own throughout.
Transfixing and poetic, The Place Beyond the Pines is truly one of a kind. Viewers shouldn't be detered by its two-hour-plus running time; great stories like these take time to develop into epics and this is worth every minute.