Aaron Kwok stars as Third Master, the new heir to the banking empire of his father, Master Kang.  Resistant to his father’s harsh way of ruling, Third Master must adapt to his new power, which lays in contrast to his sensitive personality.

“Empire of Silver” covers an economic turning point in history that is fairly reminiscent of the current Occupy Wall Street movement.

As civilians rebel against the Third Master and his family, the intensity and brutality of this historical period is graphically evident. Violence, as well as battle scenes, illustrate how much physical brutality marked the revolt that would draw the line between two separate eras in Chinese history.

While the dialogue and action bring excitement to the film, the cinematography is one of the most, if not the most, noteworthy elements in the film. Shooting the film in 13 different cities, director Christina Yao makes the most of a tight budget with incredible scenery and camera work.

Besides the historical elements of the film, drama within the empire stays central with tragic events, father-and-son conflicts and love affairs. Third Master constantly tries to keep his identity separate from his father’s, which creates a struggle between the two throughout the whole movie.

Third Master falls in love with his beautiful stepmother, played by Hao Lei, amplifying the tension between Third Master and his father. The love affair plot line keeps the film from being overwhelmed with violence or history.  It also brings emotion to the movie, drawing viewers more into the characters’ lives.

Yao gives viewers a glimpse of China during the Qing Dynasty in a detailed manner, which makes the big theater experience even more enjoyable.

Though their journey spans all three hours, the majority of the film consists of flashbacks of their years in engineering school, a series of anecdotes in which the three friends inflict their insanity upon the uptight dean and manage to always learn something profound in the process.

This results in some jarring tonal shifts which ultimately work to make the film more enjoyable. In one instance, the boys launch into a staging of “All Is Well,” a jubilant musical number about the merits of self-deception, only to be cut off by discovering that one of their classmates has killed himself, succumbing to the overwhelming pressures placed on them by the dean and their parents.

Consequently, one has very little opportunity to even consider how much time has passed, as you are forced to react to the onslaught of melodrama present within each scene.

Ultimately the film feels like a comedy of mythic proportions, successfully grappling with heavy
themes while simultaneously delivering on the comedic front. Over the course of three hours, it is made clear that Rancho is some sort of super-friend: smart, principled and always in search of a good time.

Through a series of ridiculously heroic and selfless actions (at one point he delivers a stillborn baby and breathes life back into it), Rancho teaches his friends to embrace life and follow their dreams.

This is a feel-good movie, and it’s very well constructed. It plays to the emotions, but it’s well
balanced, never letting its audience laugh or cry for too long.

The music and dancing characteristic of Bollywood productions is sparse and well executed, and the pacing is pulled off in such a way that the excessive length is entirely tolerable. Some very solid, very warm escapism.

“We must and we can teach everyone about the aloha spirit,” he says in the film.

The moments of cultural realization in the film added richness to the story. Kapahulehua’s perspective anchors the documentary and he is the clear source of culture and inspiration for the other characters.

To reach their goal, HOCVS worked around the clock, each teammate paddling 1-hour shifts a few times a day. The film takes you on the journey with the team by providing outrigger footage, on-ship testimonials, and scenes to parallel real-time events. This proved an effective strategy that keeps the audience engaged with the characters.

Three members of the team and two people from the production crew were present at the filming on Sunday night. They modestly answered questions about the excursion after the screening.

The film was dedicated to Kendall Struxness, a paddler who died of stage four colon cancer shortly after completing the voyage. He refused to stay at home for the trip and made it to the end of the journey despite severe physical pain and exhaustion.

In the film, Struxness said he found strength because the team wanted him there. “Family of the Wa’a” presents the story of one big paddling ohana that celebrates Hawaiian culture and supports one another to the very end.

Through OZ, people can shop for digital accessories, file their taxes and even do their jobs, as profiles carry the same privileges as the user. In “Summer Wars,” OZ is fully integrated into every facet of the human lifestyle, a relationship with disastrous consequences.

The film centers around Kenji, a young math whiz who punches code for OZ. After a brief introduction to the digital world, Kenji is asked by Natsuki, the most attractive girl at school, to pose as her boyfriend at her grandmother’s weekend-long 90th birthday celebration.

Soon after his arrival, Kenji responds to a mysterious text message, inadvertently enabling an artificial intelligence (AI) designed for hacking to break into OZ’s security, granting it access to every account.

The result is chaotic, the entire population seized by panic as their accounts are stolen, exposing the degree to which the world depends on its digital counterpart. The situation escalates as even the president of the United States loses his profile to the AI, thus surrendering his privileges to the malicious software and bringing about the possibility of a nuclear holocaust.

Now, only Kenji, with the help of Natsuki and her family, can save the world from highly ironic doom.

For the most part, the film is highly entertaining. Endearing characters keep things interesting in the real world, navigating themes of family and honor, while spectacular action sequences and high-stakes thrills make the exposition of the digital world both thrilling and intriguing.

Hosoda successfully builds tension by tying the action that we witness within OZ to real-world consequences, lending a feeling of authenticity to the disaster the characters face.

The film leaves little question as to the danger of complete integration of the human experience into the digital plane. In spite of this fact, the film’s message is ultimately optimistic, as it is only through the global community established by OZ that they are able to prevent the end of the world.

The ending does drag on, as the heroes are presented with desperate situation after desperate situation in which they overcome impossible odds, but if you’re a fan of multiple climaxes, then this only makes for a more pleasurable viewing experience.

Using real footage of the two families, we are witness to the true struggle associated with international adoption.  The film does its job well.

The two are reunited on a live Korean national television show and from there the documentary gives an account of their lives afterward, as they begin to figure out their relationship.   Whether cultural, financial or political, their differences seem to enrich their connection, without even speaking the same language, all in order to create and maintain a familial relationship for themselves and for their children.

Well filmed, with its real-life characters “Resistance” is an effective and powerful documentary showing the many obstacles not just within international adoption, but within cross-cultural communication, and how it is possible to come together, despite differences.

This documentary recounts the experience of a group of mountaineers who witnessed Chinese border patrol officers shoot a group of Tibetan pilgrims as they attempted to escape to Nepal through the Mt. Cho Oyu region. This is a great film for anyone interested in human rights issues or anyone considering a trip to the region.

It was on Sept. 30, 2006, that the lives of 100 mountaineers and a group of Tibetan pilgrims were forever changed.

“I immediately knew that somebody was going to die, and I turned to the clients and said, ‘you don’t wanna watch this,’” said the mountaineers trekking guide, Luis Benitez, as the group looked on in horror towards the escalating violence.

Gould frames the story within the experiences of those whom the event affected most: the Tibetans and the mountaineers. Piecing almost every detail of the story together using interviews from the mountaineers, Tibetan pilgrims, human rights activists, journalists and Chinese officials, “Murder int he Snow” is a gripping tale of loss, survival and the cost of freedom.

“Murder in the Snow” uses original footage taken by one of the mountaineers who happened to be a photojournalist, which makes the film even more compelling because audience members are shown primary source material, allowing them to come to their own conclusions about the political and religious issues Tibetans face every day.

Video footage shot by photojournalist Sergiu Matei, one of the 100 mountaineers, shows the Tibetans collapsing one by one after each AK-47 gunshot is heard in the background. Matei’s voice is also heard on the video as he says, “Fuck, they’re shooting them like dogs.”

Although the students first resist this new approach to calligraphy, they enter the “Shodo Girls Koshien” competition where they must draw colorful calligraphy on huge banners while dancing to music. Throughout the film, we watch the students prepare for the event while facing their own issues at home and with the poverty in their small town.

The film contains a lot of ups and downs, staying tuned into the impending competition while also understanding the reality of living in an economically depressed Shikoku town.

To most Americans, handwriting is not generally a work of art. In “Shodo Girls,” the delicate beauty of Japanese calligraphy and the surrounding culture is well expressed.

The girls on the team bring joy and laughter to the film with their vibrant personalities. Talented actress Riko Narumi, who stars as Satoko, completes the film as we watch her transform from a stern, focused-on-the-prize student to a lovable team captain and player.

“Shodo Girls” is predictable at times, but its strong representation of a greatly overlooked art culture and strong character development make it a prize contender.

Illustration by Jamie Morton.

Any kind of life-threatening disease is difficult to cope with — that is a given. We have all seen dramas about people overcoming or succumbing to serious illnesses. What separates director Jonathan Levine’s new comedy “50/50” from these movies is its honest and real, yet slightly humorous portrayal of a young man fighting cancer.

The physical changes, doctor appointments and chemotherapy play an important part in the film, but the most crucial aspect is the way Levine captures the impact of cancer on Adam, played by Joseph Gordon-Levitt, and his relationships. Day by day, viewers catch a glimpse of how destructive a disease can be on someone’s personal life.

Though the concept of a comedy about cancer seems difficult to grasp, Levine pulls together a funny, touching story about a 27-year-old battling the disease. What is especially interesting about the film is it is based on Levine’s real-life struggle with cancer. Levine achieves an astounding level of authenticity and touches on a difficult subject with just the right amount of laughs and tears.

Adam is a young journalist who lives with his girlfriend, played by Bryce Dallas Howard. After going to the doctor for what seems to be a minor backache, he learns that he has a rare form of spinal cancer with only a 50 percent chance of survival.

“That doesn’t make any sense, though,” Adam says, baffled. “I mean, I don’t smoke, I don’t drink … I recycle.”

As a young, seemingly healthy man until his diagnosis, Adam portrays the frustration and feeling of unfairness that comes with having cancer at such a young age. As the film continues, we watch Adam fight for his life and cope with the ripple effects his illness has on those he loves.

Writer Will Reiser brings dark humor to the film, especially through Adam’s sex-crazed best friend Kyle, played by funnyman Seth Rogen. His optimism and humor provide lots of laughs for the audience, even in some of the most serious scenes. After Adam tells Kyle about his chance of survival, Kyle replies, “50/50 — if you were a casino game, you would have the best odds.”

This balances out the heavier aspects of the film, bringing just the right amount of unexpected comedy and wit to the movie.

Another reason “50/50” deserves applause is it presents such a painful issue to the audience gently and compassionately, without any overly heavy or melodramatic moments. Reiser keeps the cancer storyline straightforward, and although you may shed a few tears, you certainly won’t be bawling through the whole movie.

In other words, “50/50” is not another difficult, overbearing film that leaves you feeling depressed. Instead, it simply focuses on a tough subject in a humorous manner, with endearing characters.

Heartwarming and sincere, there is more than a 50/50 chance that you will enjoy the film.

Illustration by Louise Leong.

If you possess the slightest amount of germaphobia, Steven Soderbergh’s “Contagion” will, undoubtedly, reinforce that fear.

This thriller disaster film boasts an all-star cast, including Matt Damon, Kate Winslet, Jude Law and Gwyneth Paltrow. Though the film is at times dry and data-heavy, it makes a strong statement about the extreme, barbaric transformations humans can undergo in reaction to disastrous events.

This tale of four people affected by the sudden outburst of a deadly and highly contagious virus is set, unsettlingly enough, in contemporary times. Nobody knows where this terrifying virus originated from, or any cure for it; all we know is it spreads faster than any other disease or virus known to mankind and if nobody finds a cure soon, humanity may cease to exist.

Soderbergh breaks up the film into four subplots that interweave increasingly as the film progresses. This narrative style is reminiscent of Paul Haggis’ 2004 drama “Crash,” especially in its lack of a prominent protagonist. The virus takes the role of antagonist as it rips apart the lives of the main characters, especially Mitch Emhoff (Damon), who loses his wife to this paralyzing virus days after she returns from Hong Kong. Throughout the movie, an Epidemic Intelligence Service officer, outstandingly played by Kate Winslet, struggles to find a cure for the disease as it spreads globally.

Although “Contagion” is a thriller, the film gives off more of an empirical, scientific vibe. The majority of the movie focuses on characters’ theories as to the origin of the virus, setting a good deal of the film in laboratories. This can make the storyline difficult to follow if you are not familiar with the feel of scientific movies. Less data and more character development could have balanced the film better, incorporating technological aspects of the movie with more character-driven material. Because the film is so preoccupied with scientific drama, the intricacies of human emotion fall by the wayside. After the tragic death of his wife, Mitch is appropriately crushed, but these emotions abruptly evaporate.

Along with the other characters in the film, Mitch focuses less on his personal life and more on the struggle of finding a cure for this virus. The more people continue to die, the more the survivors begin to act like animals. Riots, violence and complete mayhem break out among the infected cities. These scenes add to the overall theme of the movie, which is the fight for human survival.

If you enjoy disaster thrillers and sci-fi flicks, you will most likely be entertained by “Contagion.” But if you tend to grow bored of scientific talk, you may be unimpressed and restless.

Also, don’t be surprised if you find yourself wanting to invest a pair of gloves and maybe even a face mask for everyday use … just warning you.

Illustration by Matt Boblet

Jack is back. The fourth installment of the swashbuckling “Pirates of the Caribbean” series, “On Stranger Tides” is, as predicted, a definite sinker. In search for the fountain of youth, unexpected teams join forces to obtain the coveted treasure. Jack and his crew must race to the fountain before the Spaniards and the British. Through a thrilling chase, friendships are formed and bitter rivals challenged. However, the obvious yet unexplained disappearance of key actors and the introduction of a new director made “Stranger Tides” a definite stranger compared to the rest of the series, as the romance of Will and Elizabeth was surely missed. The result was a completely different movie that did not deserve to be considered a “Pirates” film.

Director Rob Marshall, who directed successful musicals such as “Nine” and “Chicago,” did what he does best — entertained — but lacked the effect of the pirate movies that inspired the world to once again see the haunting mystery of the seven seas. The direction just didn’t fit the genre — for a split second, I was sure that Marshall would have Jack Sparrow tap-dancing to keep viewers in their seats.

Desperation was the word as the movie clung on for dear life, hoping that Captain Jack Sparrow, regurgitating old jokes and phrases, would save the film. Throughout the film, it could almost be seen in Johnny Depp’s heavily-lined eyes that he really was tired of swaggering and parroting “matey” every other second. Jack’s usual bored, nonchalant tone of voice was unmistakenly genuine. Unlike the previous movies, Jack did not have any tricks up his sleeves or any ulterior motive, making him almost trustworthy and definitely boring.

In keeping a few key characters and the same closet of pirate costumes and adding a few exciting “fish tales” such as mermaids and Blackbeard, it was clear that Marshall had hoped he could reel in loyal pirate fans. While there was plenty of thrilling sword-fighting, with the absence of the previous cast, the scenes often lacked character. Without the key characters, there were just too many unrecognizable pirates to have to care about. Although the beautiful and terrifying mermaids were a cinematic treat, without the romance of Will and Elizabeth, there was too much new and not enough old. These new elements of the film were cliché and uncreative, as if Marshall extracted his inspiration from cheap decorations found at any seafood restaurant. There was plenty of kitsch, but no mystery.

To replace Keira Knightley, the all-male cast was joined by feisty Spaniard Penelope Cruz, who tries to resuscitate the dying film with her irresistible Spanish accent and almond-brown eyes. The cliché “tough on the outside, sensitive in the inside” was used as Cruz threw feminism a bone every now and then, occasionally ranting about respect for women.

While a viewer can leave the theater content to be able to say he had watched the entire “Pirates” series, it was deeply disappointing just how far the mighty franchise had fallen. Despite some thrilling scenes of haunting mermaids and sword-fighting, in the end, the film failed to capture the audience and appeared for what it really was: a bunch of boys playing make-believe, wearing unexplained eye patches and tattered pirate costumes.

Illustration by Rachel Edelstein.

“Helplessness Blues”
Fleet Foxes Album Review

The Fleet Foxes are enjoyable on such a basic level. Their music is like a picnic on a lush field during a sunny day. It’s like taking Prozac and going to the aquarium. Lighthearted but ambitious, full-bodied melodies rise out of their instruments and gently caress your ears and mind. Their most recent release, “Helplessness Blues,” mirrors the beauty and wonder of their 2008 self-titled album and their “Sun Giant” EP from the same year, delivering everything their fans have come to know and love while still managing to include a few new surprises.

The monotonous optimism of the Fleet Foxes’ early efforts has disappeared, now replaced with an ever-so-slightly darker

worldview. The band has become more honest and inquisitive on this album, openly exploring concepts like age and death. But this change just serves to highlight the Fleet Foxes’ considerable talent, as they tackle the complexity of the subject material with wisdom and thoughtful contemplation. On the record’s second track, “Bedouin Dress,” the band muses, “If to borrow is to take and not return, I have borrowed all my lonesome life… The borrower’s debt is the only regret of my youth.”

In a way, the album divides itself in half, with all its questions and concerns answered through the sixth song and title track, “Helplessness Blues.” After closely examining their role and place in the world through songs like “Lorelai” and “Battery Kinzie,” the band declares on the title track, “I don’t know who to believe. I’ll get back to you someday soon, you will see,” before finally settling on a direction to follow and a dream to pursue. However, despite this triumphant conclusion, the album is at its best during its darkest songs.

Instant classics like the album opener “Montezuma” and the sprawling epic “The Shrine/An Argument” are hardly heartwarming, but by wrapping vivid descriptions in ambitious harmonies, the Fleet Foxes have successfully presented their topical range. On “Montezuma,” as the rest of the band hums in the background, lead singer Robin Pecknold displays his considerable vocal talent, belting, “Gold teeth and gold jewelry, every piece of your dowry. Throw them into the tomb with me.” Lines like these add a sense of mystery — and thus a welcome complexity ­— to “Helplessness Blues.”

At times, it is easy to compare the Fleet Foxes to Simon and Garfunkel or the Local Natives, but these comparisons can just as easily be dismissed. The Fleet Foxes, while occasionally employing a derivative sound, have again produced a unique and inspiring record. If you liked their previous releases, you’ll like “Helplessness Blues.”

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“Thor”
Film Review

Barring the gritty “Dark Knight” approach, comic book adaptations should be all balls and bluster, jumping from sex to explosions to comic relief. The good ones accomplish this, as a viewing of “Iron Man” proves, but “Thor” fails to deliver the goods — pun intended. The film makes obvious attempts to seem sexy, but never really succeeds, and considering “Thor” stars Chris Hemsworth as the title character and Natalie Portman as Thor’s love interest, Jane Foster, this is quite the damning fault.

Despite Hemsworth’s decent performance, Thor fails to become a likable character. The movie attempts to portray a tale of redemption, but after a moment of critical analysis it’s obvious that the main character is actually pretty douche-y. A race of individuals referred to as “Frost Giants” supposedly provides us the antagonists of the story, but how do we know the Frost Giants are evil? Well they’re ugly and kind of growl when they speak, but past those physical characteristics, “Thor” doesn’t really delve into the specifics. During one portion of the movie, after the Frost Giants attempt to reclaim a stolen artifact, Thor breaks a tenuous peace treaty by callously murdering a handful of Frost Giants and one ugly but lovable Frost Dog. Some hero.

Granted, Thor is banished from his homeland of Asgard for his actions, but that doesn’t seem to be much of a punishment, considering he promptly falls into the arms of Natalie Portman. The two have excellent chemistry, and the film doesn’t waste Portman’s acting talents, but it’s a bit unbelievable that viewers are supposed to accept Thor and Jane’s connection when the two characters share only a few minutes of screen time. Early on, the film indicates that it will progress the romance, but the time never came. Thor never seals the deal. Why under-utilize such attractive leads? This isn’t a Disney movie. It’s a Marvel Comics blockbuster.

Sadly, the action fails to distract from these pressing concerns. This isn’t necessarily the film’s fault, but the 3D was so poorly incorporated that it’s different happening onscreen every time the fighting began. Candy-colored blurs streaked by without leaving any real evidence of what was happening.

The good news about “Thor” is that it makes a great date movie. As the inevitable 3D-induced headache distracts you from the film, and after the poor picture quality causes you to give up on following the plot, all you’ll have left to do is piss off your fellow moviegoers and have a nice conversation with your romantic companion.

Illustration by Muriel Gordon.

“Bossypants” Review
By Blair Stenvick

In an interview with The Believer in 2003, Tina Fey called herself “more of a writer than an actor,” and if there was any doubt about her comedy writing skills on “30 Rock,” “Saturday Night Live” or “Mean Girls,” she cleared them up with her new memoir, “Bossypants.”

Fey has been in the public eye since she first started appearing in the Weekend Update segment of “SNL” in 2000, and “Bossypants” gives a good amount of insight into what her life was like both before and after becoming a celebrity.

From befriending a bunch of closeted gays at theater camp in high school to trying to commiserate with her frightening coworkers at the YMCA while taking improv classes on the side, to dealing with “Teat Nazis” who insisted she breastfeed her daughter, Fey shows that her life is both remarkable and ordinary and uses her signature self-deprecating and witty humor to make it all entertaining.

One of the best chapters in the book is one called “Sarah, Oprah, and Captain Hook, or How to Succeed by Sort of Looking Like Someone.” Yes, it tells the widely-known story of how she blew up after impersonating Sarah Palin on “SNL,” but it also reveals that during that same week, she had to film Oprah’s guest spot on “30 Rock” and plan her daughter’s birthday party. With this, readers get a much more complete picture of what Fey’s life is like — and it makes her more likeable.

Fey also gives spot-on commentary on what it’s like to be a woman today, in or out of the entertainment industry. Feminism can sometimes be a drag, but Fey uses humor to her advantage, commenting on things like beauty standards by giving advice on “aging naturally without looking like time-lapse photography of a rotting sparrow.” And about the criticism she received for her portrayal of Palin, she smartly observes, “I am not mean and Mrs. Palin is not fragile. To imply otherwise is a disservice to us both.”

And that type of humor and insight is what makes “Bossypants” a knockout. I’d have accepted anything written by Tina Fey, but she exceeded my expectations by making her memoir less about herself and more about the world. Yes, she talks mostly about her own life, but it’s in a way that everyone can relate to and laugh along with.

In the introduction, Fey writes, “I hope you enjoy [this book] so much that you also buy a copy for your sister-in-law.” I don’t have a sister-in-law, but if I did I would strongly recommend it to her and everyone else.

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“African Cats” Review
By Hanna Toda

Disneynature presents: a touching tale of the supreme cats of the lush plains of Africa and a mother’s love for her cubs in a cruel world of predators. This movie touched my heart. In fact, it touched my heart so much that it actually went past just touching it — it grabbed it with Freddy Krueger nails, ripped it out, punctured my aorta and did a jaunty Tahitian dance on it. I walked out of the theater craving Prozac and Xanax and any other substance that could possibly erase the horrifying story that had been burned into my brain.

While the film claims to be based on a true story, the “inspiring” tale that Disney hoped to tell was entirely depressing due to a severe lack of balance between the depicted optimism of a mother’s determination and the unforgiving cruelty of the wild. The film attempted to do a Hollywood animal version of a Lifetime Original Movie — a single mother trying to provide for her children.

But most of the time, the lioness and cheetah mother did not succeed. They did not overcome all odds and rejoice. Disney waved it away, justifying it by saying, “Hey, at least she tried. And that’s the circle of the life. It’s beautiful.” I doubt many would find inspiration in a cub surviving an attack by a hyena and the lion of an opposing pride only to go back to her family to find that she has a new stepdad who killed her brothers and sisters.

Samuel L. Jackson is present throughout the film with his blunt, in-your-face voice-over. But it was clear that Jackson’s narrative did not complement the plot and only disrupted the scenes the audience tried to pay attention to.

While the plot and narration were disappointing, the cinematography was impressive, as expected. Filmed at the Maasai Mara National Reserve of Kenya, the breathtaking scenes of the wildebeest migration remind viewers of the beauty of a world halfway across the globe. The thrilling image of the defined muscles of the lioness as she hunts makes for more of a striking visual than any Hollywood actor could provide. The most epic scene is filmed in a much more Animal Planet-like tone and portrayed a beastly showdown between the lion Fang and a crocodile.

In theory, this film had a lot of potential — a real-life version of “The Lion King.” However, the execution of the plot and the poor narration only pushed me closer to going through my old VHS tapes and watching the much happier, though slightly less accurate version of the kings of the animal kingdom.

Illustration by Matt Boblet.

“Hanna”
Review by Hanna Toda

“I just missed your heart,” whispers a young, pale-blond, piercingly blue-eyed girl, leaning over and gazes into the eyes of the person she just killed.

Meet Hanna. She is a child-assassin trained by her father, an ex-CIA agent, to be the perfect killer for one mission. With a chillingly beautiful performance by Saoirse Ronan, director Joe Wright presents not just your average action movie, but a moving drama of humanity as Hanna leaves her isolated home in the forest to experience humanity for the first time in her life.

Hanna is by far the most frightening killer I have ever seen. With a doe-like innocence in her face and a lean, graceful body, she resembles a ballerina, ready to dance to Tchaikovsky. However, the minute she kills four men in a few swift moves, blood speckling her porcelain complexion, even the fiercest of black swans have nothing on her. The juxtaposition of her dangerous nature with her innocent façade is the movie’s ultimate weapon — it will leave you clinging to the edge of your seat, anxious to see what this little girl is capable of.

When Hanna first begins her mission, her cold, blank stare provides the intrigue. Breaking necks without a blink, Hanna resembles a robot, clearly defining the movie as an action film. However when Hanna, leaving her isolated training grounds, hears music for the first time and discovers what a kiss is, the movie turns from an action film to a drama. Hanna’s stoicism disappears, and the deeply embedded “adapt or die” motto slowly fades away.

The film impressively depicts not just the superficial shock factor of a child-killer, but also the psychological complexities of a young girl torn from a normal society. Similarly to Mary Shelley in “Frankenstein,” director Wright explores a fascinating concept of humanity, as Hanna discovers what it means to be human.

With an original score by The Chemical Brothers, the film’s whimsical music phenomenally complements both sides of Hanna’s personality — a young girl and a killer.

Although the film is a major production, the unique cinematography and camera angles echo the mood of an independent film.

This movie was surprisingly different from what I would have imagined. Supported by a star cast including the unsurprisingly suave Eric Bana as Erik and a beautifully manipulative Cate Blanchett as Marissa, this film is truly one-of-a-kind and a definite must-see before the string of terribly cheesy summer movies hits theaters.

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“Win Win”
Review by Mitchell Bates

Wrestling is relatively funny to watch, but that’s not the only thing that dramatic comedy “Win Win” — the newest offering from “Meet the Parents” director Thomas McCarthy — has to offer.

Paul Giamatti, known for his performance in the Academy Award-winning film “Sideways,” stars as struggling attorney and wrestling coach Mike Flaherty, while Amy Ryan, co-star of 2007’s “Gone Baby Gone,” plays his passionate and oblivious wife, Jackie. The two are surprisingly believable as a couple, but as I was sitting in the Del Mar Theatre scrutinizing “Win Win,” I found it incredibly difficult to shake the feeling that I was watching Holly Flax cheat on Michael Scott with Paul Giamatti. Despite this “Office” -induced confusion, the relationship between Mike and Jackie creates an excellent foundation for the film.

Mike accepts the responsibility of caring for an older client struggling with dementia, so that he can net a small monthly stipend. But he encounters problems when the man’s grandson suddenly comes to visit. The 16-year-old, played by Alex Shaffer in an incredible breakout performance, is fleeing from his drugged-out mother and her abusive ex-boyfriend. When the kid turns out to be a champion wrestler, Mike takes him in and puts him to work wrestling for his losing team. As assistant coaches, Bobby Cannavale and Jeffrey Tambor provide excellent comic relief and are allowed enough character development during the film to successfully avoid falling into the typical roles of goofy and unsubstantiated sidekicks.

Life is improving for Mike, until his new star’s mother shows up to claim the stipend he received earlier in the movie. The conflicts that follow are relatively predictable and could have felt tedious, but instead they seemed genuinely emotional because of the excellent chemistry among Giamatti, Ryan and Shaffer.

While a very endearing film, the abrupt and unresolved ending of “Win Win” may leave some viewers unsatisfied. When the credits rolled, I couldn’t help but think, “This is it? They couldn’t have added one more scene?”

However, even considering its less than stellar finish, “Win Win” was a superb movie, equally funny and uplifting.

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“Nine Types of Light”
TV on the Radio album
Review by Mitchell Bates

TV on the Radio lead singer Tunde Adebimpe intones, “You threw your hands up and walked away, so it’s strange I should feel this way,” in “You,” one of the band’s new songs.

Though he is likely singing about an ex-lover, the lyrics are applicable to the band itself. After the group chose to go on hiatus in 2009, it might have been easy to forget about them, but I at least could not. For those of us who have truly missed TV on the Radio for the last year-and-a-half or so, the release of “Nine Types of Light” has been a long-anticipated event.

Considering the high expectations for this album, it’s perhaps a miracle that it doesn’t disappoint. “Nine Types of Light” demands attention from the first seconds of album opener “Second Song” and doesn’t let go until the record’s only uninspired track, “Killer Crane.” When compared to TV on the Radio’s previous albums, “Nine Types of Light” is perhaps more laid-back, but the change is enjoyable and helps to bring the gloss and refinement of Adebimpe’s vocals to the spotlight. However, they haven’t completely abandoned their edge, and tracks like “Caffeinated Consciousness” and “Repetition” serve as a helpful reminder that the band still knows how to write vivid and original rock songs.

When viewed through the concerns of the average UC Santa Cruz student — rising tuition, decreasing standards of education, an abysmal job market — the song “No Future Shock” registers as especially relevant. Backed by a catchy beat, Adebimpe commands, “Oh dance, don’t stop, do the no future, do the no future,” and it’s hard to ignore the correlations with last year’s graduate student commons occupation.

TV on the Radio’s most recent effort may not outshine 2006’s “Return to Cookie Mountain” or 2008’s “Dear Science,” but “Nine Types of Light” accompanies relaxation sessions perfectly. It’s smooth, sexy, smart and easy to like.

Lay down in the dark.

Press play.

Let the music become the world you inhabit.

This is the ideal way to listen to the newest trance-inducing album by Panda Bear (aka Noah Lennox). “Tomboy” is a musical odyssey into expanses of inorganic sound, droning beats and washed-out vocals.

“Tomboy,” Panda Bear’s third album and April 11 release, is not as much a step away from his most recent solo album, “Person Pitch,” as a development. “Tomboy” carries over the chorused echo vocals and watercolor-washed sound, but adds to it an awareness of dubstep and a darker, nebulous sound.

This growth is evident in the song “Slow Motion.” The beat and bouncing, dub-y bass synth anchor the swooping and fluttering of unnamable noises — chimes? Kites? Mysterious beasts in the bushes? Though a bit over the top, the vocals stay synched simplistically with the beat, giving the ears a path to follow. The simplistic melodies and beats that serve as the focal point of “Tomboy” are the album’s greatest triumph. Without them, listeners would be lost in the woods.

Like its name implies, “Tomboy” is an album of dichotomies. It is unquestionably new music, taking advantage of the best in music technology, yet it has a nostalgic sound that ages it back to the Beach Boys in songs like “Surfer’s Hymn.” The song washes in as a grainy memory, as if you’re watching the seashore on Super 8, and culminates in a joyous frenzy of shakers, darting electric xylophone and a hymnal-sounding chorus.

While the surreal carnival of “Last Night at the Jetty” and the blood-pumping beat of the titular song “Tomboy” will most likely make it onto most listeners’ playlists, the quiet gem of the album is the eerie and contemplative “Scheherazade.” The piano and vocals on this track are the most organic elements on the album, and even they warp into rippled vibrato while ghostly chimes sound in the breath-like wind.

This is not a simple album. It can’t be quickly devoured. Savor its complex palette more with every listen. Preferably on nice speakers, and in chronological order.

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Illustration by Matt Boblet.

“Battle: Los Angeles”
Review by Mitchell Bates

Aaron Eckhart is easy to like. Perhaps it’s his boyish good looks, or maybe it’s his effortless charm. But, for an endearing actor who so memorably co-starred in the blockbuster “The Dark Knight,” this movie seems like a poor career move.

In “Battle: Los Angeles,” Eckhart stars as a grizzled marine staff sergeant forced to complete one more mission before his retirement. Eckhart lost men — good men — in past battles and struggles to earn the respect of his new platoon. Sound familiar? It probably should. Honestly, I could write a book on all the plot points “Battle: Los Angeles” has stolen from other movies.

After a strange meteor shower is revealed to be an alien invasion, Eckhart and his team of vaguely familiar B-list movie and television stars are assigned a mission to rescue civilians from a police station. Along the way, they meet Michelle Rodriguez of “Avatar” fame, who has again reprised her cross-movie role as, well, essentially just Michelle Rodriguez.

Unsurprisingly, this particular platoon of marines experiences unparalleled success during combat with the alien invaders, and eventually succeeds in destroying the aliens’ command center. What happens in between isn’t really important, but it involves a fair share of rigid, annoying dialogue and small-scale combat with various aliens.

The movie’s inexperienced director, Jonathan Liebesman, does have an eye for action sequences. But his decision to employ the ground-level, shaky, handheld camera approach to cinematography is too reminiscent of “Black Hawk Down” to make this film memorable.

I tend to like corny, over-the-top action movies, but “Battle: Los Angeles” is just another one of the rehashed, uninspired films that have recently plagued theaters. Four of my friends fell asleep during the movie, and I only toughed it out to write this review. If you’re going to see it at all, get really drunk first — it might make the experience a bit more bearable.