When Clash of the Titans premiered two years ago, I like many people saw the trailers and expected the film itself to be an exciting, entertaining and awesome blockbuster. What we got however was a mindless, generic, badly structured, mildly entertaining but ultimately underwhelming film. I actually hated it the first time I saw it, especially when the 3D conversion literally made me want to stab myself in the eyes. But the film was a financial success and now two years later we have the sequel. Much like the first but to greater effect, the trailers for this one looked badass, awesome and again promised an actually good film experience. The end result is a mixed bag to say the least.
Picking a couple of years after the clash, Perseus (Sam Worthington) continues his mundane life as a fisherman and now has a young son named Helios. A visit from Zeus (Liam Neeson) warns Perseus of the descent of the gods and how this will lead to the rise of strange demonic creatures that aim to obliterate the human race. After refusing to join Zeus, Perseus is persuaded when a monster attacks his village and almost kills his son. In so he teams up with Andromeda (Rosemund Pike) and together they seek a powerful weapon that can destroy the incoming all powerful monster unleashed by Perseus own half brother Ares (Édgar Ramirez).
Let’s start off with the negatives and there are a lot in Wrath of the Titans. Many of the criticism of the first one was aimed towards the script and how the dialogue felt like it could’ve been easily written by a drunk 12 year old. Unfortunately, Wrath does not improve on this and as a matter of fact, I feel the dialogue in this one is actually worse. How is that even possible? I don’t know, but every time people spoke I couldn’t stop rolling my eyes and wishing for death to come and rape my ears. Every piece of dialogue is so uninspiring, generic, dumb and useless that I wonder how such talented people ever allowed themselves to utter such shitty lines.
The script of Wrath of the Titans is a brilliant example of what not to do. Besides the “story” itself being thin and bland, the characters are so poorly structured that you are constantly questioning them. The way they interact with each other is inconsistent and random, and worse thing is that it bares no significance to the whole film. Perseus in particular is extremely odd as the character seems to have totally forgotten the events of the previous film. Like for example, in clash he didn’t like Zeus and rejected him constantly but in wrath he now seems to love him tremendously. Did he forget that Zeus released the Kraken to kill humanity? Everything in Wrath of the Titans is basically done to drive things forward and to have the illusion of motivation. It fails horribly.
One actor who hurts things even further is the lead himself, Sam Worthington. A lot of people have said that his performances for the most part are a bit bland and like he doesn’t emote too much. In Wrath Worthington decides to challenge those claims by showing some emotions, but the problem is that he over emotes and his performance becomes a mix of odd reactions. At one point he just looks annoyed to even be there, but then he shows “care” by going full on over-the-top emotion. There is no life or charisma in his performance and when your lead inspires only annoyance there’s really not much hope for the rest of the film.
The rest of the cast is effective, even though you are alway questioning why they are doing this film. All the characters in this film are so one-dimensional and pointless that I personally felt bad for the actors. This was especially the case with Édgar Ramirez. On a visual standpoint, Ramirez is easily the most badass and charismatic actor in the whole film. In fact, he is so cool that I was constantly rooting for him. The problem again is the script and how the filmmakers failed to develop what could’ve been a really great villain. And for someone playing the god of war, you’d expect him to kill everyone with style but no, Perseus the underwhelming totally fucking useless mess of a hero must always win. Another notable actor is Bill Nighy who brings much needed humour and life to this tired film.
The only aspect that makes Wrath of the Titans a somewhat enjoyable film is the action and special effects. Director Jonathan Liebesman may not have a handle on story and characters, but just like he proved with last year’s Battle: Los Angeles he can deliver on the action front. The action sequences here are all extremely cool to look at and the way they are structured and choreographed makes them really exciting. You can tell this film received a larger budget as each action piece becomes more elaborate and ambitious as the film progresses. The labyrinth sequence in particular is absolutely amazing and shows of the brilliant special effects. The action is so good in this film that it almost redeems everything else, but then you get the closing scene which will make you want to stab yourself repeatedly.
Wrath of the Titans doesn’t improve much on the first one and is still nowhere near an entertaining film. It isn’t worth your money and do not be fooled by the trailers, at the end you will regret watching this. The story, character and dialogue are atrocious, generic, underwhelming and borderline mediocre. How anyone thought such a bland script could get a green light is beyond me, but at least it wasn’t as bad or worse than the first film. The action is cool and the special effects are a joy to watch. The rest really sucks and Sam Worthington needs to stop making himself happen. He is not the male lead moviestar people keep trying to make him. He lacks any charisma and I would’ve rather seen Édgar Ramirez as the lead in the film. God knows that would’ve been a million times more interesting. Wrath of the Titans is ultimately an extremely forgettable film that does not the deserve another sequel. Let the franchise die with this.
have you read anything about what fans are saying about the casting of Rue, Thresh, and Cinna? thoughts? lol even though it doesn’t really specify Cinna’s race or nationality in the books, i definitely pictured Lenny Kravitz and thought he was A+!
Yeah, I’ve read some stuff. People clearly did not read the books well and I imagine some people are just riding the criticism without actually having read the books. They are all really racist and stupid if you ask me.
I thought Rue and Thresh were perfectly cast. I would’ve liked them to have more screen-time, but overall they were good and effective. I always pictured Cinna to be white and sort of emoish for some reason, but I’m with you on Lenny Kravitz. His Cinna was awesome and a million times cooler than what I imagined.
The criticism towards Jennifer Lawrence makes a bit more sense, since I guess Katniss wasn’t white in the books. When I read the books Lawrence had already been cast so I always pictured her being Katniss. And Lawrence is an amazing Katniss to be honest. The fans need to stop being so fuckin’ anal and just enjoy what is a really great film.
Now that most of the successful film franchises ended or at an end, film studios are desperately looking for the next big thing. In comes The Hunger Games, a film based on a beloved, brilliant and international best-selling book that if adapted right could be extraordinary. Many of the fans displayed concerns not so much with the casting of the film, although there was some of that, but with the way director Gary Ross would be able to bring to life the many difficult elements of the books, like the Capitol and the violence. Judging from the record breaking opening weekend and the raving reviews, The Hunger Games is right on track to becoming one of the most successful film franchises and after watching it I have to admit that it has earned all the acclaim.
The Hunger Games takes place in a unspecified future where the country is divided into twelve districts and one central city called the Capitol. Following the districts uprising that occurred several years ago, the Capitol holds a draw referred to as “reaping” in which one female and one male tribute between the ages of 12-18 are selected from each district to compete in the annual Hunger Games. During the reaping in District 12, Katniss Everdeen (Jennifer Lawrence) selflessly volunteers after her sister’s name, which has only been in the pot once, is selected as tribute. The male tribute of this district is Peeta Mellark (Josh Hutcherson), who has past connections to Katniss. Once they are delivered to the Capitol, Katniss and Peeta are shown a world completely distinct from their own and gradually navigate it in order to shift the odds in their favour. But as the Hunger Games begin, everything is a stake as only one tribute can be crown victor.
Even though The Hunger Games is full of people doing an amazing job, I believe there is one person in particular who deserves the most recognition and praise and that is director Gary Ross. When he was announced as the director, I was not on board with it because nothing about his previous work (Seabiscuit and Pleasantville) demonstrated assurance that he could handle the universe of The Hunger Games. But just like David Yates proved with the last four Harry Potter films, coming from a distinctive and more grounded background can actually be an advantage. Gary Ross has proved that with The Hunger Games by not only staying faithful to the book, but also by creating a thoughtful and character driven blockbuster film.
The scene that utterly sold me on his direction was the District 12 reaping scene. Besides the fact that all of the actors performances shine, especially Jennifer Lawrence, the way in which the scene itself was framed and edited was amazing. The choice to have that scene without a score was great and the way the camera both lingers on people and then shifts to their loved one’s reaction was completely effective. In my opinion, that was the most intensely emotional and powerful scene in the whole film. That scene also demonstrates the great thing Gary Ross brought to the film and that is a sense of intimacy and realism. When the film focuses on the characters it becomes something more personal, you get to really connect with the characters and feel what they feel.
One of the aspects that I was really hesitant about with Gary Ross was the action scenes. But again much to my surprise, he has also managed to deliver some really intense and cool action sequences. What’s really great about having a director with no previous experience with action scenes is that sometimes they are able to depict them in new inventive ways. A great example of this is the moment where the Hunger Games begin. In that scene he mutes out the sound and you are left with a moment that directly reflects what the tributes themselves, specifically Katniss, is feeling. I loved that moment so much that my jaw literally dropped and in my head I screamed: “that was fucking awesome!” I must also applaud Gary Ross for successfully maintaining the action PG-13. God knows I would’ve preferred the violence to be as gory and graphic as it is in the books, but under the constraints of PG-13 I was satisfied with the action.
For the people who have not read the books, it will be a bit of a turned off to see the change between the gritty grundy District 12 scenes to the rainbow clusterfuck Capitol scenes. Yes, the people in the Capitol look like they are on perpetual acid or in the mind of Tim Burton, but that’s how they are described in the book and there’s no way to not make them look ridiculous. However, it’s a great testament to Gary Ross that he was able to ground somewhat those scenes and not go too crazy with them. In respect to the Capitol scenes, the thing that I found annoying were the special effects. I don’t know what the budget for this film was, but those special effects heavy scenes looked really gimmicky and took me out of the film. That in a way made the Capitol scenes look even more ridiculous and I hope that for Catching Fire they increase the special effects budget or at least use them in a more seemingness way.
After Gary Ross’s excellent direction, the second greatest and most effective aspect of The Hunger Games is the acting. The pièce of résistance is without a doubt Jennifer Lawrence. I don’t know if fans actually doubted her casting, but after watching the film Lawrence rapidly sets any and all doubts to rest. She is Katniss Everdeen. The way she embodies the character and is able convey all the nuances and emotions Katniss experiences is both impressive and captivating. She carries the film effortlessly and makes you identify with her from the very beginning. On the books Katniss is one of the most compelling female characters I’ve read, and Jennifer Lawrence in the film becomes one of the most compelling and entertaining actress you’ll have the joy to see. This whole joinery she goes is quite a fantastical, difficult and personal one for her and Lawrence is able to tap on all things beautifully. Plus, she handles herself in the action department rather well.
As for the supporting cast they are all very effective and compelling. Elizabeth Banks and Woody Harrelson have an awesome chemistry and watching them interact is a joy. Harrelson also brought a bit more to Haymitch than I expected, which was a welcome surprise. Josh Hutcherson is good as Peeta, but I think it speaks more to Liam Hemsworth’s talents that his Gale was able to outshine Peeta with almost no screen time. But the biggest surprise for me, in terms of acting, was Donald Sutherland as President Snow. Now you have to understand that President Snow is one of my favourite characters in the books (who doesn’t love a sadistic villain?) and in the trailers Sutherland’s Snow never felt right. In the film however, his performance gets to really shine and I absolutely loved that the film features scenes between Snow and Seneca Crane, which I’m fairly certain where never in the books. Sutherland’s performance is subtle, but with that subtlety he conveys the sinister underworking of a truly despicable man. And that closing shot of him was brilliantly executed.
The Hunger Games is without a doubt one of the best films I have seen so far in 2012. It is beyond your simple blockbuster film adapted from a successful book. Having director Gary Ross was the best decision the produces and the studio made. They all clearly knew more about his capabilities than I could’ve ever imagined. Ross is, for me, the outstanding entity of the film and the manner in which he handles this elaborate and at times distancing universe with such poise, vision and subtlety is impressive and brilliant. This is a personal character driven film and as a result the focus is placed on the thematic and sentimental elements of the film as well as on showcasing the great acting involved. The action is great and the universe is interesting, but it is these characters, the performances and Jennifer Lawrence in particular that make you genuinely care. The Hunger Games is even better than I expected and I for one am anxiously and eager to see Catching Fire next year.
Even though I wasn’t a big fan of the film, I am a bit sad that it turned out to be an even bigger box office flop than initially estimated. Nevertheless, at least a brilliant and grandiose score came out of all the disgrace.
One of the things I am constantly discovering about films is the fact that no matter how much I try or force myself, sometimes I just can’t enjoy certain films that people consider to be masterpieces. The films by Wong Kar-Wai are a great example of this. Don’t get me wrong, I don’t believe they are bad films but there is something about them that I simply do not connect with. On a aesthetic and technical level they are marvellous and the cinephile in me can see their greatness, but it’s all superficial and the only aspect of them that not only connect with, but also genuinely love is their soundtracks. Before watching Chungking Express I decided to got into with clean a perceptive and perhaps finally I would enjoy one of his films.
Chungking Express is divided into two stories about two love-struck cops. The first cop is Cop 223 played by Takeshi Kaneshiro. As we wonders around the city contemplating and in grief from a recent break-up, He Zhiwu crosses paths with the Woman with the blonde wig (Brigitte Lin) who is one the run from some drug dealers. The second cop is Cop 663 played by Wong Kar-Wai’s regular contributor Tony Leung Chiu Wai. He gradually starts a relationship with Faye (Faye Wong) who is the new employee of the Midnight Express, which is the place both cops go find some semblance of wisdom from the manager.
Watching Chungking Express made me realize one thing: in order to enjoy a Wong Kar-Wai you have to be in the mood for it, otherwise it’s a bit difficult. Similarly to Sofia Coppola’s films, Wong Kar-Wai’s films are very atmospheric and involve a lot of people wondering around aimlessly. Chungking Express is no different, but what really grabbed my attention was those impressionistic moments where things will be moving really fast while one person in the frame is in slow motion. That technique captures beautifully that feeling of being lost, of pondering about your particular situation and it emphasizes how everything around you keeps going while you wallow into yourself. When someone’s broken hearted that feeling is always present and the way the film expresses it visually is amazing.
When a film is divided into two stories you always run the risk of people favouring one over the other. In my case, I found the first story to be a million times more interesting and compelling than the second one. As a result, for the second half of the film I was just counting the seconds until it would end. Overall the second story wasn’t completely boring, but the prior story was so good, dynamic and intriguing that I found myself struggling to care about the second cop. I guess it didn’t help that The Beatles’s song was Faye’s theme song, and I genuinely dislike The Beatles like you have no idea. Moreover, Faye as a character was so uninteresting and dull to me.
In my opinion, Chungking Express is one of Wong Kar-Wai’s least accessible films. If you like his films I’m sure you already enjoy, like or love this one. The film is aesthetically pleasing like all of his films and the way he experiments with the frames is both interesting and enthralling. The stories themselves are minimalistic and for the most part effective. Even though I prefer the first half of the film, my enjoinment of it was not that great and there war many instances where I just bored. As unpopular as this opinion might be, the truth of matter is that Chungking Express has solidify my feelings towards Wong Kar-Wai. He is a great and unique filmmakers, but besides My Blueberry Nights I haven’t been able to enjoy or connect with his films. And Chungking Express didn’t even have an great soundtrack, which made my experience even worst.
In 1937 Nanking, China, amidst the surrounding battle between the rapidly decreasing Chinese soldiers and the Japanese with far superior power, an American mortician named John (Christian Bale) makes his way towards the town’s Cathedral. His purpose there is to fix up the recently deceased priest and bury him, but once there it is revealed that the priest was blown up by a bomb. Reluctant to leave the Cathedral and enter the war zone outside, John carefully makes his way through the ins of the Cathedral and “befriends” the two groups taking shelter within: the all girl students and the prostitutes. After an incident with Japanese soldier breaching the Cathedral and attacking the students, John decides to help them escape Nanking but things get more and more complicated as things progress.
If there is one thing I love about war films is the usually great performances the cast provides. The Flowers of War is no different and while every supporting and side character gives a genuinely captivating and emotional performance, the two standouts are Christian Bale and Ni Ni. What’s impressive about Bale’s character/performance is how it shifts from start to finish. There is a noticeable character arc occurring here and it is a rather beautiful and inspiring one. After being indifferent and selfish in the beginning, John gradually becomes an honourable man who even though is unable to save everyone does manage to do some good. Bale’s performance is one of the best I’ve seen of his and it is truly devastating. War brings out the worst and best of people, and Bale’s captures those conflicting emotions perfectly. There is a speech he gives to the students near the end that was so sincere and amazing that it just killed me emotionally.
Then we have Ni Ni who gives her feature film debut here playing Yu Mo. As the head of the prostitute of the group, she possess an instantly commanding and endearing presence. It’s easy to understand why John falls for her from the beginning. Ni Ni’s ravishing beauty is utilized with such a grace and poise that it hypnotizes you completely. She has a unique tone of voice that become really compelling when she speaks in english. But the really important aspect of her performance is the sincerity with which she is so adamant in ensuring the students live through this war. As the film progresses her seductress mannerism reveals a vulnerability and tragedy that is really heart-breaking. And much like the character of John, Yu Mo become an even more honourable woman near the end by committing a heroic and selfless act.
Director Yimou Zhang, known for his aesthetically pleasant and action driven films like Hero, House of Flying Dagger and Curse of the Golden Flower, creates one of the most impressive war battles I’ve ever seen on film. While the film’s focus is on the Cathedral and on the performances, there are a few battle sequences in the beginning that take your breath away. Not only are they aesthetically beautiful to see in a somber way, but also feel unique as he showcases the techniques that soldiers utilize in China. Some of those techniques, like the way to take down an approaching tank are horrifying to watch. Zhang depiction of violence is not sensational, but in fact very poetic and profound that is able to affect and connect with you in a more personal way.
The Flowers of War turned out to be even greater than I expected. Yimou Zhang has crafted a beautiful, emotional and memorable war film unlike any I’ve seen since Saving Private Ryan. This film is original and handled in such a sincere and honourable way by everyone involved that it’s impossible for you not to be taken by it. Some people may find this film to be a bit too sentimental, but if you imagine yourself in the horrific and traumatic situations these people experienced it would be inhumane not to become emotional and unhinged. The sentimentality works and feels authentic largely thanks to Christian Bale and Ni Ni’s beautiful performance. They the heart and driving soul of this film, and they make you feel every tragedy, heart-break, laugh and emotion. The Flowers of War is a magnificent film that deserves to be experienced by everyone.
The score for Mass Effect 3, which by the way I believe is a million times better than the one for ME2, will probably become one of my favourite scores not only of 2012 but of all time. Clint Mansell never disappoints, but I think this score is a greater achievement in that it elevates every single thing in ME3. The story, gameplay and visuals are already brilliant but this score makes it all so much better.
Watch all of them. SERIOUSLY. Howl’s Moving Castle is my favorite as well, but they’re all worth seeing. The Secret World of Arrietty just came out and is pretty good.
I’ve been debating whether to go watch The Secret World of Arrietty, but the trailers make it look so corny and… not interesting. Maybe I’ll give it a try this weekend. Hopefully it’s more Howl’s Moving Castle than My Neighbour Totoro in terms of tone.
WHAT?! I thought you watched Miyazaki movies already. Otherwise I would’ve suggested princess mononoke instead of martyrs! Lol watch spirited away!!!
It’s a bit embarrassing, but I didn’t know about Miyazaki until a few years ago. Howl’s Moving Castle was the first one I saw (will always be my favourite) and then I saw Spirited Away (pretty amazing too). Now I’m trying to catch up on the other ones.
I didn’t really like My Neighbour Totoro though. A bit too kid friendly for my taste. Or maybe it feels that way because before that one I saw The Flowers of War.
During high school, Schmidt (Jonah Hill) was a massive nerd who couldn’t get a date even if he bought it and was actively teased by popular jock Jenko (Channing Tatum). Fast forward a few years and they meet once again in Police Academy. Looking at each other strengths, Schmidt being smart and Jenko being athletic, they rapidly become friends and form a strong brotherly bond. After graduation they struggle to make any headway and are re-assign to a formerly retired program in 21 Jump Street. Their new mission is to go undercover as high school students and track down who are the dealers and suppliers of this new, addictive and lethal synthetic drug.
If you had told me that a remake of a famous TV show now starring Jonah Hill and, of all people, Channing Tatum would turn out to be one of the funniest comedies in recent memory I would’ve punched you in the face. But much to my surprise and welcomed delight, 21 Jump Street pretty much scores with every joke and delivers a thoroughly hilarious and distinctive hell of a good time. The problem with many comedies nowadays is that they are very predictable and while there are a few predictable aspects here, 21 Jump Street plays a lot with conventions by either acknowledging them in a hilarious breaking-the-fourth-wall sort of way or by actively changing them. One of the most successful gags is the misdirection of the explosions.
The script by Michael Bacall is stellar. Just like he partially did with the script for Scott Pilgrim vs. The World, he captures beautifully that young adult and teenage humour. It’s really great how the main jokes will make you laugh, but also how hilarious the side almost shrugged-off lines are. The humour is maintained throughout and what’s even more remarkable is that at the core the story of these two guys is never forgotten. They are integral and we never stop relating to them. Equally great is the directing duo of Phil Lord and Chris Miller. Their direction is quick, precise and non-stop adrenaline pumping. From the very beginning we are provided with a fast and fun sequence that leads to things getting progressively better.
But the real standouts of 21 Jump Street is the actors. Jonah Hill and Channing Tatum have a palpable and great chemistry. The way they work off each other is excellent and they truly sell this friendship. Individually however, it is Channing Tatum who steals the show. Tatum give his most memorable performance to date and manages to be unnaturally hilarious throughout. Everything he does or says is just so funny and weird that you instantly fall in love with him. Moreover, he has a real character arc that makes identify with him even more. More and more Tatum has been proving himself to be a capable and effective actor to look for and with 21 Jump Street, he has firmly cemented himself as one of the most promising young actors right now.
Then we have the supporting characters who are all aces. Even the ones that have very little screen time, like Jake M. Johnson, Nick Offerman and Ellie Kemper are hilarious. But the two notable standouts are without a doubt Ice Cube and Dave Franco. Cube is just amazing as the chief cop of 21 Jump Street and the way he is constantly screaming and bad mouthing people works great. Every time he is one screen the humour levels rise considerably. More surprisingly though is Dave Franco whose presence of humour I will never question (have you seen his Funny or Die videos?), but this is the first film where we really get to see it. As the new brand of popular kid and drug dealer, Franco plays his role really well and it isn’t until the second half of the film where he starts delivering really hilarious lines. As the stakes get higher, his character is scared shitless and Franco freaks the hell out in the funniest of ways.
21 Jump Street is definitely one of the biggest surprises of 2012 for me. Before I saw the trailer, which sold me on the film from the get-go, I thought remaking this film would be redundant. However, everyone involved has showcased the perfect way to remake a film in such a way that feels current, exciting, distinctive and funny. 21 Jump Street is a really smart and fun comedy unlike any I’ve seen recently, Goon not withstanding. The film delvers on all fronts but it is the acting that most people will remember it for. All the actors give great, effective and funny performances. Channing Tatum is the best, in my opinion, and his chemistry with Jonah Hill is so great that I would love to see a sequel to this.
One of the many surprises of Andrea Arnold’s Wuthering Heights is that after a lengthy two hour scoreless experience the film culminates with this song. This was such an unexpected but oddly fitting end that I was simply in awe of it. And leave to a film I really like to finally make me like Mumford & Sons.
After the death of his wife, Benjamin Mee (Matt Damon) is struggling to make his rebellious son Dylan (Colin Ford) and young daughter Rosie (Maggie Elizabeth Jones) happy. Everything surrounding him reminds him of his deceased wife and with all the trouble Dylan has been having in school, Benjamin decides that they need a change. While house hunting, Benjamin finds the house of his dreams in the outskirts of the city and moments before he purchases it he is informed that the house comes with a zoo. Looking at how the zoo makes Rosie happy, Benjamin decides to buy the zoo but such a massive undertaking brings forth even more financial and personal problems.
A lot of people, myself included, looked at the trailers for We Bought a Zoo and thought to themselves: this is a ridiculous premise. Added to that is the fact that everything about the film looked really corny and family friendly. These two things were the reason why I in particular had no desire to ever watch this film, but much to my surprise I ended up really enjoying We Bought a Zoo. This isn’t to say that the film doesn’t have any problems, but as a family driven film it is perfect.
We Bought a Zoo is corny as hell and everything about it is for the most sugar-coated to the extreme. While this may be perceived as a flaw, in reality it actually works in its favour and that’s all thanks to Matt Damon and the other actors. When Matt Damon is in daddy-charming-mode, he could literally say or do anything and you will love it. Damon exudes such happiness, sweetness and warmth in everything he does in the film that you can’t help yourself but be taking by him. There is such a palpable joy and sense of wonder in his undertaking of this zoo and it truly is a fascinating and sweet adventure. But what also elevates his performance is that he remains grounded and authentic.
The rest of the cast also carry this sense of wonder and joy throughout the film. Scarlett Johansson really surprised me in this film. I’m one of those people who doesn’t like her acting very much, but she is wonderful here and manages to charm you from the beginning. Thomas Haden Church is also great as Matt Damon’s brother, and he is responsible for bringing the most laughs. Then we have Colin Ford who is the naysayer of this whole zoo experience. His interactions with Matt Damon are the core of the film and the scene where all their constantly building animosity finally explodes is a brilliant piece of acting. Although the way it was resolved in later scenes felt too forceful.
Even though We Bought a Zoo has a really odd premise and the corniness will definitely factor in people not giving the film a chance, the truth about it is that the film is actually really good. It is by no means groundbreaking and in Cameron Crowe’s filmography it isn’t particularly memorable, but I guess I’m not a good judge of that since I absolutely loved Elizabethtown while everyone else in the universe hated it. In any case, Matt Damon is the main reason why anyone should watch this film. He is unnaturally charming, sweet and rapidly convinces you that going into this crazy adventure with him is the right thing to do. We Bought a Zoo will leave you with a warm and fuzzy feeling, and sometimes that is exactly what we need from a film.