jatzel09

For a series that has been going on for 53 years, any resemblance of continuity is quite a chore so it is no wonder that from "Diamonds are Forever" in 1971 (Arguably since "For your Eyes Only") until "Casino Royale" in 2006, every Bond film was pretty much a stand alone story. The reboot changed all that and not only have we gotten a more developed character for Daniel Craig's Bond but there has been a connection between all four films, all of that reaching it's highest point in "Spectre" which marks the return to film (or reboot) of the organization that was dismantled precisely back in '71. That alone is a big selling point for longtime fans and Sam Mendes gives us many winks in the form of references to vintage Bond.

Unlike films such as "Superman Returns" however, this one is more than fan service. We have the great as always Lea Seydoux who continues the tradition of French belles being the best Bond girls, the flashiest and nicest of action scenes since the reboot, Craig's screen presence that we've come to love and Christoph Waltz again showing why he is one of the best actors on both sides of the Atlantic.

But the third most expensive film ever made seems rather misguided at times and that ultimately hurts the movie going experience. This one takes quite a long time, almost half the run time in my opinion to really get going and at 148 minutes, that is just too much. Once it does, you are in for a thrill ride but having to wait through what can only be called filler leaves you close to disinterested by the time the better part begins. Worry not though since the good definitely outshines the bad here.

All in all, this is a movie that I recommend. Just don't go in expecting another "Goldfinger", "Goldeneye", "Casino Royale" my personal favorite "On Her Majesty's Secret Service" or even the very good and recent "Skyfall". If you must compare, this is more like a well crafted "Tomorrow Never Dies".

A lot can happen in 30 years. The world of 2015 is a vastly different one from what was the reality of 1985 when the last Mad Max was released, let alone 1979 when the first one first hit theaters down under. During that time, came a noticeable change in what film audiences expect in front of their screen. While the 1980s was arguably the peak of action packed films (The early 90s being a top contender), the movie going public today is much more comfortable with zany comedies or drama. The constant bombing (no pun intended) of action film after action film at the box office gives only further evidence. Of course there are exceptions to this and one could point at super hero films but that is quickly becoming a genre in itself. But pure action, is nowhere near it's peak.

So in this new world, three decades later, how does Mad Max speak to the public? That's where Tom Hardy, Charlize Theron and Nicholas Hoult lead by George Miller come in.

Just as our heroes are in constant movement away from Immortan Joe, the movie never stops going. There is not a second wasted during the two hour run time. No filler or throwaway scenes, everything is part of the story. Even when there is no dialog, there is narration be it in the form of a gaze, deep breath or fight. Miller, who returns to the franchise that made him famous, proves to be just as much a visionary at 70 that he was at 35 giving us remarkable direction that uses the talents of the cast to it's fullest potential.

For all the non-stop action that this film carries, the characters are never over looked. Hardy is proving himself a highly versatile player who can believable adapt himself to what the story requires of him just as Hoult fully embraces his role as Nux while Theron as Furiosa keeps the whole story together.

Music of course plays a fundamental part in every film and this is no exception. I have always considered Hans Zimmer the best in the game and no doubt that JXL's work with him in many other films, including The Dark Knight Rises has been a big influence. Every piece of the score accentuates the adrenaline rush that is Mad Max: Fury Road.

An adrenaline rush that will leave you questioning yourself if you really just spent two hours sitting in the theater as it was so entertaining and engaging that you will hardly notice time going by.

The Dominican film industry has for the longest time been guilty of short sighted mentality. While film making is a business and this is true for Hollywood, Bollywood, Europe and everywhere, Dominican films have been disproportionately focused on making instant profits in the Dominican market and not given any attention to making exportable films that could in the end make even bigger profits. Low brow comedies directed at the masses, Dominican masses specifically, has been the norm.

With that in mind, the announcement of a historical film, treating the subject of one of the conspirators that killed Dictator Rafael Leonidas Trujillo, who for 31 years held absolute power over this Caribbean half island, was of course a ray of positive light. Serious, exportable and with a compelling premise.

"El Teniente Amado" is the the story of Lieutenant Amado Garcia. A young officer in the Dominican Army who is assigned to Trujillo's convoy and made his personal military assistant. Something that he proudly shares with his cousin, Salvador Estrella Sadhala (Liche Ariza) and his girlfriend/bride to be Carmen Soto (Mercedes Renard). Unbeknownst to Amado, his future brother in law Felix Soto is a Trujillo opposer and his cousin Salvador is part of a conspiracy to kill the Dictator. A conspiration that history shows, Amado would also join.

What follows is a very poorly edited film. The story takes place over two years since 1959 to June 2nd, 1961 and it all seems rushed. There are no transitions, just scene after scene thrown together. The acting was dis-par among the cast with some doing a good job like Liche Ariza and even with a caricature of Trujillo, Efrain Figueroa plays a convincing maniac. Prison Break's Amaury Nolasco plays a Dominican for the second time since 2007's Benchwarmers and this time it is not insulting. He talks like any Dominican in the Capital. The fault however is in the poor script.

Terribly simplistic dialog, a story that soon loses focus on the eponymous character and then turns completely into a murder Trujillo plot and an extreme lack of character exploring.

There are many instances in which the character of Amado could have been explored deeply. His relationship with Carmen, the position with Trujillo and more importantly his change of mind when deciding to kill the Dictator. Instead, what we get is a sudden change, characteristic of a very short feature. The whole movie seems like an ubber long short feature.

So with bad directing, average script writing from a first timer and disjointed editing, what keeps this movie interesting for non Dominicans who might not have an emotional connection to the Trujillo story, is the fine acting by some of the actors who make up the cast.

This is still quite possible the best Dominican film of the past two decades, but that is not saying much. It is a step forward, but a long road lies ahead.