Inception says, "Sweet Dreams!".

Russovoir wants Trance to be as critically acclaimed as Christopher Nolan's Inception (2010). Where which out of respect Inception is still close ahead by a couple of millions because that's how it works in the competitive industry of firsts. "I call dibs on hacking the mind.", Russovoir hears Nolan saying to himself at one point, or to a group. Regardless, Trance, as if simply mentally picking out a few general and interesting points and presumptions of the aforementioned and innovate them, is a unique Danny Boyle experience. Like scraps from an old car that have been collected and sculpted to become a work of art (not that Boyle is scrap nor Nolan is an old car).

Russovoir feels too it's important to mention Nir Paniry's Extracted (2012). He watched this months back and servility of work plugged the creative juices to finish the review. Doesn't matter, Russovoir is determined to finish it and, look at the bright side, how timely you have something to compare it with now. Trust Extracted and Trance have two completely different plots. But equally brilliant.

Sasha Roiz in Extracted.

Unforgettable in Wanted (2008), James McAvoy was a new kind of fierce in the film. He's like a bad dream you didn't mind soundly sleeping through because the volatile persona is a beautiful nightmare. *telephone ringing* Hold that thought, that's probably Beyonce.

Now where were we? Ah, yes. Rosario Dawson. Allow Russovoir to assume. Prior to this film, and maybe during the making, there must be a lot of things in her head regarding the role she's going to play and its bare stipulations. The hunch is, Dawson believes in the story so much - the story really is remarkable - that the audience will look past, or even forget these 'revelations'. However, not immediately but rather gradually because, 1) you understood the necessity and at the same time, 2) there's a race between the heavy plot and your limited faculties in which you have to win or else, it's frustrating. All while the climax is escalating. Yes, you're going to have to think.

"You're going to forget me."

Think hard and think fast. Or else you're going to want to watch it again (as admittedly so). This is not a movie after a long day of work. Russovoir will not even walk you through the plot; you're going to have to watch it and exercise your mind for once. One thing is certain, Trance, much like its ending, on the account that there is either an overload or a breach of information, one as well ultimately has a choice to keep or discard it; so as to be tranced.

Movie Recommendation Time: Burning Man.

Matthew Goode, pardon Russovoir's French, is a fucking revelation! Russovoir thought, he may not have seen his prior acclaimed films before Burning Man yet - damn A Single Man (2009), Russovoir never knew - but this will do to be on the goode side of film recall.

Scenes shown in initially confusing flow, as if inside the head of a broken - no, burning man, patience is important; Matthew is an appeasing stimulant. It is a sad story that if it were a true story Russovoir wouldn't know how to take it; he barely had enough to respond to the blow on the last few minutes of its voracious sadness.

Locally commended in Australia with ten (10) AACTA (Australian Academy of Cinema and Television Arts Award) nominations as proof, including Best Feature Film and Best Actor Matthew Goode, Chef Tom (Goode) is one of the best English chefs in Australia; he is at the top of the food chain. He may have control in the kitchen, among the pots and pans with which his God-given talent could endanger the population of red lobsters; he surely can hold a knife with such finesse and agility. But there is a knife inside his wife that even the best hands could not control. Imagine the frustration and why it isn't just a flesh wound. Imagine the anger and why her, why this soon. Imagine the disappointment and where was God. Imagine the scorching loneliness and what it has had charred off from his once 3-Michelin star life.

"Fuck me until the pain goes away."

Alongside Bojana Novakovic (Devil, 2010), there aren't too many words, or should there be any more, both because of the film's sensitive matter and a craft masterfully manifested. Is there beauty in sadness, or sadness in beauty? Cup your breasts ladies, they will tear up too.

Movie Recommendation Time: Love Bite.

WARNING: Do not easily believe what IMDb has to say on Love Bite. Indignantly just a 3.7/10 (how aggravating!), close that tab and just listen to Russovoir - two minutes and he's going to have you watch it.

Russovoir has seen a handful of werewolf-themed films in retrospect. Yes, including the accursed Jacob Black (Taylor Lautner) in The Twilight Saga; he's another day's cup of tea. Recently, Werewolf: The Beast Among Us (2012) fascinated Russovoir for its story kept him in suspicion who among them is the beast (hence the title). And when you finally realized who, you find yourself torn between morality and reason, with which lingers soon after. Sure, it's reminiscent of The Wolfman (2010). Despite so, besides you become part of the 'search team' to end the plague, Guy Wilson (Daniel) and Rachel DiPillo's (Eva) chemistry was as pulling as a full moon in a pitch black sky.

Like the phases of the moon, Love Bite is one phase from the cycle of werewolf related stories. Uniquely, it is a romantic comedy horror. Trust the British that genre is possible; trust, from experience, their story lines are impressively and curiously always a novelty.

Virgins. It only eats virgins this werewolf whose strongly presumed identity makes one emotionally affected to the lovelorn Jamie (Ed Speleers), comforted by the thought it's for the common good. Still a virgin? Don't worry, Love Bite fucks you with its phallic wit and hormonal antics (in their sexy British accent). And of course, what pressure to these four (4) friends who, until the werewolf scare, had lied about their virginity. Just fuck anyone, how hard could it be?

"It's complicated."

Movie Recommendation Time: A Mother's Nightmare.

It was quaint how the actress who played Vanessa Redman is a spitting image of Megan Fox (Jennifer's Body, 2009). Ladies and Gentlemen, Russovoir proudly introduces to you Jessica Lowndes (below), 24-year old Canadian actress, singer, and songwriter (one of God's favorites surely) whose rise to public recognition draws a line between 90210 fans and her YouTube subscribers. It wasn't until A Mother's Nightmare that Russovoir develops a selfish anticipation, as if she's the fulfilling chorus too impatient to finish the entire favorite song.

What clever reference, although while it's based on true events, the film has elements reminiscent of Jennifer's Body that had Megan Fox played Vanessa, its reception could've significantly echoed. Define actress value. In compromise, while still determined to preserve the subtly similar nature of both films, a Megan Fox look alike would suffice. Kudos! It did make a recall of a particular Fox story.

Let's briefly remind ourselves of the story of Jennifer's Body. We follow with this early bloomer high school lass whose extra small tee is apathetic to ogling men. She has a best friend, Anita (Seyfried), the uncomfortably insecure, less hot one. Let's get with the program - they went to a concert, there was a fire, a group of struggling artists kidnapped and sacrificed her to Satan, mistaking she's a virgin, resulting to a demon incarnate. Here's the film's element: as a succubus, she's weak until only have brutally eaten men (Director's Cut, get it). Frankly, the film was brilliant in manifesting from seduction to a recoiling monstrosity - unmistakeably a Fox feature.

Jennifer in Jennifer's Body.

A bothering true story, A Mother's Nightmare is a demon incarnate minus the gaping set of razor-sharp teeth. High school transfer Vanessa Redman didn't need them anyway to torment men. Likely the third victim on her list, lovelorn Chris Stewart (Grant Gustin, Glee) is your soft-spoken, heartbroken, good-lookin' boyfriend material on which her plan weaves from. Suspiciously rushing in their love bubble, a mother is concerned for her son not only because he's failing in school and missing out practices unreasonably smitten; she suspects the girlfriend will make him miss them out altogether for good.

"Prove your love to me."

Jay Moriarity: Live Fast, Die Young.

James Dean, Kurt Cobain, and Marilyn Monroe - few of the iconic personalities that shortly yet hugely influenced and molded the pop culture. In their idiosyncratic ways, their public private lives, even more probing after they have died, have had recurring linger, as if a touchstone to the constantly resuscitated morals of this generation.

Allow Russovoir, perhaps for the first time in mainstream pop culture, to introduce and add Jay Moriarity: a dreamer who died at such a young and precocious age of 22 doing what he loves, surfing. Live Like Jay.

Jonny Weston, who played the surfing luminary, could have had the relatively easiest role. Charming really, than say, impressive. But we're not particularly focused on their performances; we just need them to deliver, to embody, to simply be, tolerable. A powerfully moving life story is what gets the audience; in this case, the beauty of the sport. It's likely the audience is drawn to the relationship of the ocean on the big screen than anywhere dry. So much so that we are attracted to the picturesque waves and how surfing, through Weston, is frustratedly enviable; a pouring jealousy to take one's breath away.

"If you look hard enough, there's always a way through."

To Gerard Butler, it's arguably a different tide. How shallow it is to judge his performance only on screen. Rumor has it Butler almost died learning how to surf for the role, for the film; he isn't a surfer by birth. That alone deserves a minute (or two - it was near-fatal) privilege with Poseidon's trident. What you see in the film consequently was months of practice with surfing mentor Grant Washburn. Russovoir thought everything else didn't matter and matter at the same time, as if were hot and cold valves that display a rather impressive stage presence - a trial and error to a heart-warming.

Chasing Mavericks is most inspiring since Soul Surfer (2011). One would wonder had Moriarity and Bethany Hamilton (click it), played by AnnaSophia Robb, ever met at a surfing event at one point. Each uniquely a marvel from sink or swim situations of their own, the film recounted the daring life of Jay from which despite untimely short, it was well-lived; as if enough trips to the ocean to see life half-full.

And They Survived Happily Ever After.

There are germany factors that qualifies an actor to be in the running for Best Actor in the Academy Awards. One of which that Russovoir strongly suggests is the biggest factor is the lingering impact of the performance; the delivery, the passion, the energy that seem unstable, but are contained within the corners of the camera because who would want precious talent wasted and misplaced. That being said, what trouble and expense incurred in the making of an Oscar statuette were for a righteous cause; Christoph Waltz is the righteous effect.

Defiant and devious, Waltz's role was insatiable. Tarantino couldn't have picked a better actor for a character whose ulterior, manipulative approach was masked by the veneer of diplomacy. He had this idiosyncrasy (or possibly an acting instruction) from which we get ourselves lost from the many or few, regardless, words he must say, as a revelatory bounty hunter, in Django Unchained. Adorably measured and imposing in delivery of them fancy words, both in aforementioned film and Inglourious Basterds (2009), Waltz has always been in good hands by top dog director, Quentin Tarantino.

Two (2) Oscar awards for two (2) Tarantino films - coincidence? Nein.

"You silver tongue devil, you."

In another universe, at another bizarre academy award show, Django Unchained wins, unquestionably, Best Pictorture. It was almost hard to take in all the bloodshed, brutality, and suffering. Not that Russovoir doesn't appeal to the sort. In fact, it's one of Russovoir's favorite sorts (provided the storyline is bloody interesting). It's just that films that elaborate and/or innovate the idea of slavery - black slavery - has its repercussions. Although while the film favors the blacks with a happy ending, and the maltreatment that which evokes sympathy, the notoriously prevalent racism of the past (from such medium) irks the suppressed racism of the present; however slightly, it's felt. Russovoir won't go telling you how so; he leaves it up to you. Had none was even seen (so subtle) from the film, discretion saves the humiliation of paranoia (not that it already hasn't begun).

Overall, Tarantino is a fearless man - hold up! - you didn't just pass over Leonardo DiCaprio, did you? What is this, the Oscars? Shame.

DiCaprio was like any other character he played that always seems dismissed by the Academy: immersed. It was even more compelling with the knowledge (thank you 9gag) that at such climactic scene, what appeared to be an 'accident' was already an improvised production value. It was remarkably almost deceiving to witness such spontaneity. Such spontaneity too was agonizingly palpable from Kerry Washington's obsequiousness. All of which mentioned left little to Jamie Foxx. Poor guy, overshadowed - not by the role - but by performance recall.

"You had my curiosity. But now you have my attention."

Overall, Tarantino is a fearless man. Django Unchained stirred up controversies left and right from the conservative black few, and still managed to be the highest-grossing film of his career (so far). Frankly what we love about Tarantino is how he has a signature and one would "have to stand on a chair to kiss [my] ass." to dissuade him.

21 and Over-WHELMED.

Last weekend, Russovoir partied fairly hard; it was one of those nights you just want to let loose of your inhibitions and in the wee hours of the night to the crack of dawn, you withdraw all forms of responsibilities apart from your phone and wallet in constant safe keeping. At that rebellious time and space, it's not entirely about the revelry and sin; it's about a one and only life realized, renewed, and celebrated, conveniently in the security of stocky bouncers.

Like a divine intervention, Russovoir finally knew how to write about 21 & Over. Since the film was daft at first, Russovoir needed the drive to write, what and why to write - a persuasive angle by which it's to be viewed how it should be despite having to finish the film. Appealing actors - Justin Chon, Miles Teller, and fresh from the sleeper success of Pitch Perfect (2012), Skylar Astin led Russovoir to it devoid of impatience because, simply put, the rapport was fresh.

"I'm 21, you black jack motherfuckerrr!"

Admittedly, they were all it took to make Russovoir watch; they all came so familiar from their previous films, none of which personally was a disappointment. It's like they brought curious cast quality on a film one reads in passing was "too predictable and inconsistently funny..." (Rotten Tomatoes). Russovoir wonders, they must have seen too many films of similar genre. 21 & Over, despite the depravity and explicit obscenity, invested profoundly and appropriately on its actors that which ultimately salvaged the storyline to a tolerable.

"That's my friend you're talking to!"

Overwhelmed by his character and more significantly the turnaround persona of Miles Teller (above) he was the kick, immediately or eventually, depending on the dosage of him before. A promising sight in earlier and tamed roles in Rabbit Hole (2010) and Footloose (2011), the kick was unexpectedly hard as it is impressive; and you wonder, was this outburst of unexplored talent provoked by alcohol? However he got it, Russovoir raises the red cup for an intoxicating performance.