Ricardo's Message Wall


I've been slacking in my Halloween viewing--too damn busy with school, unfortunately.

Please tell me that Full Sequence is delightful. Pleeeease tell me it's wonderful.


Nope, whenever I checked in they weren't accepting new users.


I thought you were another creepy Egyptian trying to marry me at first. Good job. Hahaha

About Ricardo

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  • Haywire

    Haywire (2012)

    June 01, 2013

  • Martyrs

    Martyrs (2008)

    May 29, 2013

    Exceedingly disturbing and with an existential plot to boot.

  • The Ring

    The Ring (2002)

    November 21, 2012

    Aside from the first climax, which I think is this movie's sole weakness and the point most susceptible to aging stupidly, it knocks every feature from Ringu (the original Japanese film) out of the water, from the creepy atmosphere and photography, to the tighter writing and austere directing. Displaying meticulous artistic and horror-thriller consideration, it's still become somewhat of an ignored, underground picture with its blockbuster affiliation, being exclusively remembered as the American J-horror catalyst. And while the Asian-remake kick start was annoying, there's more positive contributions to be found here, in particular Naomi Watts' well-grounded performance, who already stands between strong actors, and a consistently classic, eerie, unsettling vibe rarely manifested elsewhere. Currently underrated and under appreciated, I think it might rightly be recognized as one of the defining 2000s chiller movies in a couple of years.

  • American Pie

    American Pie (1999)

    June 24, 2012

    I've never quite understood the American male preoccupation with announcing the size of their sexual ego at every corner and so it's a bit sad seeing how much films like these perpetuate the epidemic by influencing the same hedonistic teenagers that fall in the same camp as the central characters, setting obnoxious sex phrase trends, normalizing lewd behavior, and publicizing fetishes. It's the heterosexual equivalent of gay parades that despicably and shamelessly exhibit what should be the sexual privacy of someone, which warps the minds of the unfortunate child onlookers. But maybe I'm just prudish and society needs these mentally scarred children and sex obsessed, exhibitionistic teenagers (and adults). Although American Pie may not be knowingly contributing to an airheaded idealism, as it only cares to cater towards, or simply document, this lascivious social circle, it still falls victim to the pitfalls associated with a film solely intent on providing titillating imagery and class clown naivety. Meaning, it's the film in the crowd of films that attempts to mention a sexual pun at its every breath, gloats about alleged and planned sexual accomplishments, never offering a glimmer of changing the subject or recapitulating their contributions maturely, and exiting the scene having damaged their reputation, defeating the purpose of ever trying to share their sense of humor. Yes. The humor in this film is non-existent and self-inflicting. I suppose, however, in identifying its positive features, it does inform extant members in society how better (or worse....really?) they are since high school, especially if from a different decade, because all in all that's all its insulated, oblivious self good for.

  • Shrek 2

    Shrek 2 (2004)

    June 22, 2012

    A good example of building on an original screenplay and keeping a consistent, escalating innovation by adding characters and wisely balancing out time for each of them according to their focal importance. Too often a cartoon-related (Or general) sequel fumbles under a studio's desire to hastily toss in empty additional details so as to quickly cash in on the coattails of the first film's success, which is what this film's sequel did. Shrek 2 instead benefits from the expansion with the sardonic Disney-mockery - hinting at the amount of Monty Pythonian influence amid the diverse type of humor - that functions just as well if not better than in the first film as we're also treated to a hypothetical twist on the main ingredients that made Shrek 1 stand out. It confuses somewhat how easily it's dismissed; I suppose I can attribute the kiddy-appealing byproduct to it, and, or, slash, the toilet humor Mike Myers persists on instilling into his principal role, and, or, slash, Eddie Murphy's appropriately selected blatant voice. Still, with a mediocre CGI picture releasing every other weekend, you'd think it would be a bit more recognized as the petite landmark that it is.

  • Rocky

    Rocky (1976)

    June 22, 2012

    Embarrassingly naive and proud of its imperialistic step into cinema. Stereotyping sports movies as dim vanity projects, it probably unleashed a constricted wave of reducing the genre to simplistic storylines, cheesy acting, deflatable machismo for years, in addition to limiting the sports-movie quality expectancy at present, explaining the few number of more (what we have to call) sophisticated pictures like Rudy and Remember the Titans. Where films on the other side of the globe were already working on incorporating believable drama into their thrilling action (Asian martial arts movies, for one), here we're stuck with two hours of a camera aimlessly following around a lonely, unproductive chum who could probably have neanderthal impersonations as his stunt double. Oh, but the action is so real, man. It makes clashing action figures placed behind a cut-out soap box television screen a thing of the past, man. Plus, that guy up there feels my underdog pain and conveniently offers some hope with its priceless inspirational undercurrent. Indeed to the latter, but nah, man, the low budget is plainly visible, and worse it's used as a justification for careless and inconsiderate filming mechanisms, perhaps the reason why sports films as we know them are horribly subjective and unappealing most of the time. You're better off with the upped energy in actual boxing footage, something I never before pictured myself recommending.

  • Spider-Man

    Spider-Man (2002)

    June 21, 2012

    It's hard not to be taken in with the amount of acrobatic action it introduces the viewer with and invites to voyeuristically partake in. Unless you're of the type that hoped to see a faithful comic-book rendition, which is next to inconceivable a demand, so might as well get over it and adopt an alternate Peter Parker into your scope. Anywho, the visual effects and action sequences, like the easily replaceable actors and their popcorn performances, are imperfect but they service a solid enough blueprint to create what is essentially a zero-to-hero story updated to the 21st-century superhero craze. The part of me hypocritically sympathizing with Spider Man purists wishes for a more complex script with an extra, uncomplicated antagonist thrown in, but that void kind of became filled with the sequel (And clotted with the third film). Although the introductory air cuts down on character depth and instead concerns itself with impressionistic style, fight scenes, and spurring romance, there's a noticeable evolution of plot which is what sold audiences, together with the original and intriguing story basis. It's a far cry from anything groundbreaking but it is a well rounded venture into the secret-identity formation of an iconic figure.

  • Gladiator

    Gladiator (2000)

    June 21, 2012

    Tons of audience appeal here, but I don't remember exactly how consumably Hollywood it is. These swords and sandals box-office epics often tend to make a commotion when they're first received, along with the coincidental detail of being filmed well. Or not. The sentimentality was crap, for example, and it detracted from the realism but it provided fuel for the engrossing and violently accurate revenge and action. The historical sets also help in providing a vivid Roman image of glamour and circumstantial loss. Despite the difficulty, It's possible to suspend a lot of Russell Crowe's personal life out of the picture as the focus on his character depicts a damaged rising hero who's easy to root for. The recurring villain, in contrast, provides a masochistically entertaining malevolent force to assist with the protagonist affinity. Overall, very overplayed and talked about to death but it retains its cinematic value with its raw upfront history-channel feel and actor assortment.

  • Star Wars: Episode III - Revenge of the Sith 3D

    Star Wars: Episode III - Revenge of the Sith ... (2005)

    June 20, 2012

    Needs a reluctant rewatch, but for now I'll base my rating on predominant failure to provide interest for general audience members, in addition to the half-hour or so of the climax, when the amplified sound awoke me. Not that its much of this particular outing from the franchise's fault, as I've generally not been keen on Star Wars lore period, much less of the prequels, but Episode III includes several portions that epitomize the unnecessary, lifeless, drab launch of the triplex addition to the saga. It's slightly better than the wordy, plainly intermediary Episode II owing to the dramatic structure of the finale, crafted rather sweetly due to an expected yet rapid and arresting switch in arrangements in character and events, but still stands behind Episode I's jolted first-taste installation. That neat moment exclusive to prequels seeing how writers creatively weave story arcs from two different films, somewhat justifying their existence, pretty much explains the sacrificing of so much badly written and executed cinema spread throughout the three Episodes in exchange for propping up the scenes that gave birth to the franchise (The connecting conclusion of Episode III was probably the first thing in mind, forcing the script writing to work backwards). So if any time has been wasted in any film, one might as well be compensated in the form of this film's conclusion, basically. Otherwise, the most overhyped galactic borefest of our time, with a (dare I mention it?) null lead actor mirroring the bane of the film industry, and dialogue fit for a suffering insomniac. I only wish I could've seen all of it so I could berate it properly.

  • King Kong

    King Kong (2005)

    June 18, 2012

    The Peter Jackson that the public should recognize him as, returning to his New Zealand filming roots for isle inspiration, peculiar fantasy admiration, and audience concern. Gone are the temporarily feigned folklore formalities owing to the accolades in the bag, replaced by an innocent homage phase in the form of a remake that hugely improves on the original, even when taking relative decade capabilities into account. The comparatively monstrous budget gives way to an impressive script that seamlessly evokes the 30s time period - as if either period piece or unsuspecting adventure epic direction could've proceeded the start - as well as an entertaining jurassic setting choc full of the visible inspiration responsible for any of Jackson's geek projects. It swiftly engages despite the duration and you can't fault the cast, shockingly blending usual-side thorn Jack Black in with the professional, likable mix, matching the quality in the special effects and directing departments. Essentially outdoes the combined LOTR trilogy for my money's worth.

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