S-PITT-tacluar thriller-infectious.

"It's been so long since I've seen a good zombie film." posts a friend of Russovoir's on Facebook. He immediately liked it because what recklessness that decision was was the hollowness in the mind which World War Z filled to the brim as quickly as it was abandoned. The thrill was real, partly because Brad Pitt is too reputable not to be taken seriously. Much like his convalescing wife Angelina Jolie in her films. Most of the nail-biting thrill was from the palpable special effects. It's as if what was happening on the screen and the stillness in the audience, in the movie house are concurrently happening that what's probably waiting outside is only limited to one's imagination. A biological outbreak is not impossible, and that by itself made the film mortally terrifying. We held to the ominous idea that 'what if' it does happen to thirstily want to know how it ends, crossing fingers of a cure (and Brad must not die because Mother Nature is a female for a reason), as if like a manual for what should come.

"But it's not really a cure, it's a camouflage."

After when the body count just doubles, no, quadruples every minute; after when there's just a thin string of hope and the screen time of the undead are so frequent one begins to examine its authenticity, the twist jerks you back like a potent medicine with a parasitic kick. World War Z, indeed, is the much awaited zombie thriller when we really weren't consciously waiting for; the definition of an outbreak.

  

Feeling Lucky with The Internship.

Ever since Russovoir arrived in America, he thought his dream job of being a screenwriter for Hollywood is one step closer; that slowly, and while thickened by experience and inspiration by then, he will be handed a career opportunity among the stars; the luminosity of the deserving stars on which his pieces are the bright sources. But lately, life has managed to scorch that match head dream. Most flammable is that hope that which burns of passion and determination or hopelessness and complaisance, he's unsure now.

What The Internship did was burning a little longer the hope of passion and determination. Russovoir doesn't know how and when to get there, but one thing is inevitable, and the film unsolicitedly confirmed it almost obviously, and while divine intervention still plays a major role, Russovoir needs human intervention.

"You taught us how to be a team."

The film's humor is, Russovoir quotes Neha (Tiya Sircar), the smart and fun intern, "...all talk but nothing make sense." And the appearance of Will Ferrel was unnecessary and overwhelmingly off. The first twenty minutes, or until the first Google challenge, was a shut down. The chemistry between Vince Vaughn and Owen Wilson was mirthless; Russovoir found himself in a lag and if it doesn't get any better, he swore to leave. But it did. Thank Google it did.

Sure enough, expected from its trailer, The Internship is an exclusive sneak peek of Google's headquarters, its employees and their enviable privileges, and how it's both grueling and fulfilling to be part of the team. And just like what the film tries to convey, which was inspiring, the film ultimately was good, safely decent, due to the performance efforts of Max Minghella, Dylan O'Brien, and Josh Brener. Although while Vaughn and Wilson's moments pull one down, these young stars pull one up with their antics and awkward personae (now that's funny); a tug of war of mood; the birth of the 'meh' hand gesture.

Superman: Cape of Good Plot.

"Man of Steel has an unprecedented storyline, as well-knitted and nonabrasive as Superman's skintight suit." - RUSSOVOIR.

Let us break down each phrase of this one-liner to better understand how Superman engrossed Russovoir; that the thirst of the fanciful existence of superheroes resurfaced within him like a common craving.

"...an unprecedented storyline;"

To silence Russovoir's conscience, yes, he felt the conflict was familiar from a couple of mainstream superhero films. Transformers: Dark of the Moon (2011), Battleship (2012), and the most uninspiring, and not because the first two were in the umbrella of vapid storyline - they're decent and gripping otherwise, The Avengers (2012). Taking that to his brewing frustration, however, Man of Steel has an unprecedented plot because the writers (Christopher Nolan as one) knew planet Earth's kryptonite. Emotions. Frustration turns salvation.

Robots, aliens, and five almost indestructible, predictably infallible A-team, whereas, Man of Steel has an antagonist, let's say a fleet of antagonist, despite advanced in weaponry and combat, is uniquely restrained upon entry to a world not habitable. Hence 'world engine' and 'terraformation'. They appear human, are human, only 'evolutionized' as survival mechanism from their unique environment.

"Evolution always wins."

"well-knitted..."

Like the Kryptons' world engine, the film's plot went even deeper, getting traditional and honest. A proud die hard fan of no superhero, Russovoir learned a lot about Kal-El's origin, its planet's demo, topo, and pyschography, and how Krypton and Earth coexisted where which everything fell into place, makes sense; morality adapted over time against those who intruded with none, and which must be superior; the cosmical manifestation of hope; the strength, the weakness, adams-el in distress; parental love, both biological and adoptive; patience, purpose, and principle; the situational metaphors weaved into the plot as inviting as the red and blue of the iconic superhero.

"...and nonabrasive..."

The film's unassuming and recollective style of storytelling exude ease and relatability, not of the desire of a superhero, but the personification of the once troubled kid turned resolute man in any and every way applicable to our lives, to society, to mankind. Russovoir dare says, we have already been, are, and have the potential to be, a superhero. Forget super strength. Power: super compassion.

"Did God make me like this?"

As for Henry Cavill, he has what Brandon Routh (Superman Returns, 2006) lacks and the predecessors lost over time. Charisma. It's about time they chose a fitting choice. Russovoir saw both vulnerability and indestructibility in his eyes, and that alone was a paramount advantage. To the casting agent who saw this first hand, easily, you're Russovoir's superhero. See, any and every way applicable.

HOUDINI'nt See It Coming.

"It's the oldest trick in the book.", Russovoir hears either Henley (Fisher) or Dany (Eisenberg), he couldn't tell, he was more concerned where the rabbit went - oh my god! He would've already known better after so many lazy late afternoon stumble upons of Breaking the Magicians' Code: Magic's Biggest Secrets Finally Revealed on AXN way back, but he always seems unsuspecting; he forgets, then doesn't know any better. The art of magic seems something always refreshing and alluring and inventive that, personally, it's a new, inviting experience on an old trick (done sparingly). Most especially, most unquestionably, if your magicians are beautiful people Jesse Eisenberg, Isla Fisher, Woody Harrelson, and Dave Franco (below).

The Four Horsemen.

Let us talk about Eisenberg in a while - so excited! But first, the plot - who are we kidding, let's talk about Eisenberg, and work our way to the plot. Like like like. Like ten thousand times had Eisenberg been a Facebook post. Jesse is a pleasure to watch, let alone hear on screen. Not only because he's a good-looking chap but also very in character to all films Russovoir has watched. Probably all, he dare says. Adventureland (2009), The Social Network (2010), 30: Minutes or Less (2011), Why Stop Now (2012), and just recently Free Samples (2012). So maybe not all; he's not the only good-looking, talented chap in Hollywood, is he? And Russovoir is not saying, not at all, no sir, he's not going to watch them all. Admittedly, you could say Russovoir is that 'lovely assistant' who does what the 'magician', Eisenberg, tells him to do; to watch every film he's in. So far, don't snap yet, just don't. Not even for the fraudulent Camp Hell (2010).

Bad reviews - poof! - disappear - Now You See Me has a brave plot. Accepted, the film felt hurried and at times dragging, and progressively farcical, it is, if you look close enough, however, smart; how it finally came together in the end and you're sitting there, hexed in emotions you didn't think your mind can draw at the same time: confusion, incredulity, and stupefaction; off one's guard to rashly remove oneself from its best interests, like a magic show you walked out from because you felt tricked. Because it is a one big trick, this film. The magic of the plot is divided into those who see the strings and those who don't; the latter obviously enjoys it most.

"Do you have a card in mind?"