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Underworld: Awakening: Flashy Vampires and Werewolves
The fourth film in the Underworld series, Awakening starts off with the vampire and lycan communities being exposed and the humans declaring an all-out war against them. During the purge, vampire Selene (Beckinsale) and hybrid Michael are taken captive and cryogenically frozen. Selene awakens twelve years later in a lab to discover that the humans have won and the remaining vampires and lycans have been driven deep into hiding. While searching for any evidence of Michael’s fate, she runs into the young girl who freed her from the lab, her hybrid daughter, who is being tracked by people desperate to get her back.
Beckinsale doesn’t seem very interested in being in the film. She’s ok when she’s fighting, mainly because the camera’s moving too quickly for you to keep tabs on her, but when the action settles down into an emotional moment, she seems bored at best. Her character barely seems fazed by her lost twelve years or by the fact that she now has a daughter. She has a going-through-the-motions vibe going on, which is completely at odds with the heightened stakes she’s up against. That being said, the sheer amount of bodies she leaves strewn in her wake is highly gratifying, as is the image of her brandishing her twin guns while defying gravity.
The film is flashy but confusing, and this confusion doesn’t stem from a lack of prior knowledge of the series, but by shoddy storytelling and lazy acting. The direction doesn’t get a free pass either. The rapid, choppy fight scenes look impressive but are nonetheless infuriating, especially when they make the logistics of the more important killings vaguer than they already are.
On the plus side, though, the stunts have a sort of balletic quality to them. When Selene jumps off of buildings or over fences, she could almost be mistaken for a dancer if not for her bright blue irises and icy expression. Also, the lycans look like a feral version of Xmen’s Beast and while they aren’t particularly scary, the scenes where they transform from humans to werewolves are pretty cool.
The most irritating thing is how the human versus vampire/lycan war was almost completely ignored. It was used almost solely as a set up for Selene to be captured, completely sidestepping a perfect opportunity to forge a connection between the film universe and the real world. This ethnic cleansing war should have, at the very least, struck a political and emotional chord with the audience. And while a twist in the middle of the film does bring the story back around to how the vampires and lycans dealt with the war, it’s overshadowed by the onscreen bloodbath.
If you’re a fan of the previous Underworld film, this one is more of the same and may be worth a watch.
First, it’s important to establish that we cannot place the blame in its entirety on Ramez Galal for his sadistic show. A big part of the blame should fall on us, the viewers, who eagerly wait for pranks and spike the show’s ratings, even reaching the point where café owners will blast these shows on large TVs to attract customers. It’s time to admit that there’s a sadist in all of us.
The premise of the show is a guest will come in to film an episode about the World Cup on a zodiac boat out at sea. The boat malfunctions, one of the presenters dives in to see what’s wrong, and the events quickly escalate to the boat sinking with the guest and a fake shark attack.
In the episode with Rania Mahmoud Yassin and Mohamed Riad, it’s interesting to point out that the boat didn’t sink entirely, and Rania kept a firm clutch on her sunglasses in a situation where any normal person would’ve let go of his/her belongings in exchange for safety. We ignored these points at first, but after several mentions on TV and by other viewers, we couldn’t help but wonder.
The show comes with a lot of legal issues this year, of which, a case that Athar El Hakim filed against Galal, banning her episode from airing, under the pretence that the prank extremely frightened her. The truth behind that is in question, after a video of her discussing her pay for the episode was leaked. Other legal issues concerning the show include damage to marine life from planting metal poles to support the hidden cameras.
Because nothing is black and white, it’s important to admit Galal’s sense of humour and experience, especially when it’s imitated by an artist like Mohamed Fouad in his show “Fo’sh Fil Mo’askar”, a stale and completely void of humour prank show.
We have to admit, we were impressed by the shark boat Galal uses to rescue the guests. He is a smart actor who was able to establish himself within Ramadan TV and create shows that people wait for year to year.
One of the main reasons why 21 Jump Street – the 2012 reboot of the celebrated 80's TV-cop show - was such a huge box-office success was that it never took itself seriously. The sequel - perhaps one of the most anticipated comedies of the year - is smart enough to expand its comedic walking grounds and retain the same self-mocking attitude in the hilarious and entertaining, 22 Jump Street.
Directed by Phil Lord and Christopher Miller, 22 Jump Street starts off with a 'previously on' recap of the first film – a little homage to its TV roots - which finds partners, Jenko (Tatum) and Schmidt (Hill), successfully bringing down a high-school drug dealing ring.
After failing to arrest one of the most wanted criminals in the country, the duo is once again pulled back into Jump Street; the separately-financed program, run by the no-nonsense Captain Dickson (Cube). This time, however, their playground has been swapped from high school to college, where the unlikely duo must track down and put a stop to the spread of ‘WhyPhy’; a dangerous hallucinogenic that has already claimed the life of one student.
In order to fit in, the partners decide to enrol themselves in various classes and activities with Jenko going off to join the football team – and immediately bonding with the campus jock, Zook (Russell) - while Schmidt goes on to fall for art-major, Maya (Stevens). However, their relationship – and what they thought was an unbreakable bromance – is soon put to the test and if they are ever to locate the dealer and close the case, they must first find a way back to one another.
Calling 22 Jump Street a sequel is a little far-fetched as the only thing that has changed is the address. Everything else is pretty much the same. This rather clever angle, to an already established premise, is refreshing, as are the jokes and the ongoing gags that tend to mock its very own “bigger budget, bigger spectacle” premise.
One of the best things about 22 Jump Street is the onscreen pairing of Tatum and Hill, whose incredible charisma and easy chemistry. Hill, who was the shining star of the first film, seems to have taken a back seat this time around and even though his passive-aggressive attitude – and the downright hilarious ‘walk of shame’ scene – is an endless source of laughs, it’s Tatum who takes centre stage.
Funny and light, 22 Jump Street is far from perfect, but it is fresh, and most important of all, it makes you laugh.