_The Man from UNCLE_ 2015 #Action #Comedy Origin story of UNCLE 8/10 tinyurl.com/hvakyx4 🎬 🃏 👍 ⏰ 🔫 🎼
In the early 1960s, CIA agent Napoleon Solo competes with KGB agent Illya Kuryakin to find Gaby Teller's nuclear scientist father. They need to get her out of East Germany first, then follow leads to the father, who seems to be building a bomb for a rich family in Italy. Will they stop the use of the nuclear device? Will Napoleon survive torture by Gaby's Nazi uncle? Be ready to laugh; this is not a dark humourless POS like the superhero films; rather, it's a light hearted romp.
*Image courtesy of The Movie Database*

> A very pleasing action-comedy with the balanced sensitive contents.
Another brilliant action-comedy from Guy Ritchie. I never saw the 60s television series of the same name, but this was very convenient for his style of portraying the tough men showing off their strength. The actors were simply wonderful, two year commitment by the two lead guys for this project definitely payed off well and Alicia Vikander filled the feminine void perfectly. I think it was one of the best trio in the movies I ever seen, very powerful and I hope it lasts for a trilogy.
The story sets in the 60s during the cold war tension between the world's two superpowers. But the film's specialty was, it does not render clash between them, instead they come together to fight the rogue forces who plan blitz against them. Very humourous, highly entertaining with a swift pace and amazing action sequences.
I don't think the narration had any unique twist and turn, instead I call it a smartly written screenplay. So the overall movie was so good, but not a top-notch. My disappointment came from the technical side in some of parts, especially the bike and car chase in the last quarter that you can clearly tell a fake (greenscreen/bluescreen shot). Other than the main plot and its clever scenes, the movie did not offer distinctive features. Just taking away a ½ point is what places it on a line between good and average, but I definitely consider it a good.
6½/10

I know Ritchie gets a lot of flak for being a Tarantino copyist, but I really enjoy the films of the Brit that I've seen so far. They're great fun and more enjoyable than the grim-a-thons that the James Bond, Mission: Impossible and Jason Bourne franchises have churned out, though I love those as well. I thought the casting was a nice in-joke, pairing DC Comics' Superman with Marvel's Captain America, and I have loved Alicia Vikander's work since seeing her years ago in 'A Royal Affair'. I thought at the time she exuded both acting chops and sensuality out of every pore and would be a real monster if she ever went international--which she definitely has, both here and in 'Ex Machina'. Though I have never seen the TV series, I felt the camaraderie between the stars was refreshing, the car chases and other stunts were excellent, and, in a year most saturated with spy films (thankfully, for enthusiasts such as I), although it tanked at the box office, I for one hope it becomes a franchise. Why put the brakes on a good thing?...

The high-powered and hyper-kinetic ‘The Man From U.N.C.L.E.’ is a pulsating production that one would expect from the off-kilter imagination of writer-director Guy Ritchie whose flashy and furious actioners such as ‘Snatch’ and ‘Lock, Stock And Two Smoking Barrels’ are indicative of the filmmaker’s excess frivolity. So it is not much of a shock that Ritchie’s big screen adaptation of the iconic 60s television series that featured the retro-suave Robert Vaughn and golden-haired heart-breaker David McCallum takes on a sleek, stylish and impishly erratic mix of intrigue and frolic.
The consensus is that ‘The Man From U.N.C.L.E.’ continues the wave of nifty and naughty-minded colourful espionage spectacles that seem to have invaded the summer of 2015. Perhaps when one cries ‘U.N.C.L.E.’ it will not be as challenging or convincingly crafty as the more cerebral and stimulating ‘Mission: Impossible-Rogue Nation’. Still, Ritchie’s off-beat serving of ‘The Man From U.N.C.L.E.’ is mindless fun and roguishly cheeky.
Sure, at times the boisterous bounce in ‘U.N.C.L.E/’ feels rather strained as Ritchie’s foray into the James Bond-esque territory featuring the off-balance smoothness of twitchy twosome Brit Henry Cavill (the ‘Man of Steel’ star portraying American CIA Agent Napoleon Solo) and Armie Hammer (incidentally sporting a catchy and clever moniker) as Russian KGB Agent Illya Kuryakin spirals into a cliched cavalcade of mischievousness drowned out by surging surf music, crazy-minded and bright-coloured landscapes, perfect-looking protagonists and wildly penetrating predicaments in its manufactured action sequences. Nevertheless, ‘The Man From U.N.C.L.E.’ still generates a sense of rousing charm and insane impishness to carry out its agenda for off-the-cuff espionage escapist frolicking.
Some may not mind the make-up of ‘U.N.C.L.E.’ as a saucy buddy action flick in disguise as Cavill and Hammer drolly inhabit the kooky coolness of TV’s dynamic duo spies from yesteryear. Nobody will ever claim that Cavill and Hammer are trying to ape the small screen spying antics of original U.N.C.L.E. bad boys in the aforementioned Vaughn and McCallum any time soon. The exaggerated juiced-up chase scenes, the inclusion of high-volume spunk and wit, devious femme fatales that parade around as hormonal trophies…all add to the high-wire hedonism of Ritchie’s off-centered international gun-toting caper.
Ritchie’s co-written screenplay, along with Lionel Wigham of ‘Sherlock Holmes’ fame with ‘Harry Potter’ producer credits, does not provide much of a deep-seeded story other than its need to indulge the audience in its shifty shenanigans as an over-the-top ode to a classic couple of televised operatives that baby-boomers will fondly recall from their childhood reminiscences. The premise is somewhat painfully familiar as two clashing spy guys with different approaches to the espionage game join at the hip to stop a madman planning to engineer nuclear destruction for a vulnerable world. Of course, in attempting to stop such unthinkable madness we are overcome with the philosophical tactics and mannerisms of the targeted tandem looking to spread some spice along the way in saving the world from certain cartoonish devastation.
Solo is the capable cad whose free-spirit and ease on handling a sticky situation is met with instinctive, cavalier American ingenuity. Kuryakin, on the other hand, seems to be disciplined in his uptight ‘play-it-by-the-book’ demeanor as the cold Russian enforcer without a sense of straying from his boundaries. Together, this debonair ‘ying-and-yang’ pair of free-wheeling agents form as one in their mission to foil the demented deed of others. Isn’t that special?
In essence, ‘The Man From U.N.C.L.E.’ believes in its wheeling-and-dealing hype and that is not necessarily a bad thing. It does not pretend to be anything other than what it is at large, a spry, jet-setting caper where playful doom and gloom is played out against a backdrop of elegant locales not to mention a spruced-up soundtrack to accompany the animated proceedings. As usual Ritchie punctuates his theatrical releases with loose-minded lunacy happening at a fast pace. The outlandishness of ‘U.N.C.L.E.’ is truly true to form in the tradition of the funky and frenetic fables that Ritchie loves to spin at will.
Both Cavill and Hammer seem to get inspiration out of their dressy roles as the inventive spies with a knack for carousing and chaos. The wily women that are at the center of attention for Solo’s/Kuryakin’s romancing interests in Elizabeth Debicki’s vivacious Victoria and Alicia Vikander’s toxic Gaby is refreshingly stimulating and reinforces the suspenseful jolt. As the commanding Waverly that oversees Solo and Kuryakin, Hugh Grant does not hold a candle to the late great character actor Leo G. Carroll, that was so memorable as the head honcho that pushed the buttons in the background for both Solo’s ‘The Man From U.N.C.L.E.’ and later April Dancer’s (Stephanie Powers) ‘The Girl From U.N.C.L.E.’
So here is to the jousting ‘U.N.C.L.E.’ enjoying its considerable A.U.N.T (‘A Unique Nifty Time’) at the busy summertime box office.
The Man From U.N.C.L.E. (2015)
Warner Bros. Pictures
1 hr 43 mins.
Starring: Henry Cavill, Armie Hammer, Alicia Vikander, Elizabeth Debicki, Sylvester Groth, Christian Berkel, Luca Calvani, Misha Kuznetsov and Hugh Grant
Directed and Co-Written by: Guy Ritchie
MPAA Rating: PG-13
Genre: Spy/Espionage/Action & Adventure/Spy Thriller
Critic’s rating: ** 1/2 stars (out of 4 stars)

Action-packed!

Really funny, and action packed. One of my favorite movies of all time.

IDK, I really was never a big Bay fan, but I always sort of liked Will Smith, and Lawrence I only really knew from Def Comedy Jam so I was sort of 50/50 going in...
... but it was 90s Will Smith, when he was nothing but fun, so I went to go see it anyway.
And the brilliant thing is that it stands alone as a decent action/comedy, so all said and done it was already a pretty good film that hearkened back to the 80s buddy cop movies everyone loves. But then it manages to peck, and mock, and spoof Miami Vice in pretty subtle ways through the film and it manages to do it without being a blatant Scary Movie style stupid spoof. It does it in a way that it can get it's digs in and still stand on it's own as a film, so as far as I'm concerned that makes it pretty north of brilliant.

Fans of a pre-_Terminator_ Bay are gonna love it, and I can see where it succeeds, but personally _Bad Boys_ makes me kinda uncomfortable.
_Final rating:★★½ - Not quite for me, but I definitely get the appeal._

Mediocre middle hinders.
'This Is the End' adds some uniqueness alongside the standard apocalyptic fare, the mass cameos are amusing and the fact that the characters are playing exaggerated versions of themselves is a good touch. The apocalypse elements are done well enough, though the bits at the start are where it peaks.
The middle of this movie dragged a fair bit for me, I didn't really find it all that comical; the beginning, again, has the most amusement, as well as a fun end piece featuring that Floridian boyband. This is based upon a short film, so I guess it was always likely to feature lull moments - after all, Seth Rogen type flicks do tend to play off quite thin premises anyway.
Speaking of Rogen, he doesn't actually stand out that much here, surprisingly. To be honest, none of the cast really do all that much, come to think of it. I wouldn't even say there is a star performer onscreen, which is disappointing given the big names involved.
All in all, not necessarily a terrible picture but it is just not one I can say I liked, all things considered.

**The following is a long form review that I originally wrote in 2013.**
Sorry for the double 'self' here, I really couldn't think of another word)
Self-portrayal in film is the biggest form of self-gratification since the invention of masturbation. And no movie has ever wanked harder than _This Is The End_. Let me give you the list:
* James Franco
* Jonah Hill
* Seth Rogen
* Jay Baruchel
* Danny McBride
* Craig Robinson
* Michael Cera
* Emma Watson
* Mindy Kaling
* David Krumholtz
* Christopher Mintz-Plasse
* Rihanna
* Martin Starr
* Paul Rudd
* Kevin Hart
* Evan Goldberg
* Jason Segel
* Six More but I feel listing them here would entail spoilers
ALL play themselves.
That and the non-stop dick imagery/conversation in the film, make for one goddamn aggrandised bukkake-fest.
And you know what?
I like it like that. All over me.
Ahem. On track.
I was super-popular and went to see this film by myself. But even so I enjoyed it. I really am not in the least bit fond of American Comedies. There are exceptions to be sure, but overall I feel it's best to just give them a wide berth. I was drawn to this piece though because it was reeled as a "Horror/Comedy" (and I mean, what Horrors aren't?) and also because it had James Franco playing James Franco (_Rise of the Planet of the Apes_). And I'm so very glad I let this be one of those exceptions.
I quite honestly put it up as my top movie of 2013 so far. Which is more surprising to me than anyone else.
To be fair, it makes reference to my all time favourite film. Ever. Watch _This is the End_ and if you can pick the moment, I'll give you a prize.
I did, however (on top of aaallll my other biases) feel as though this film really was targeting hardcore movie-goers/aficionados/critics/filmmakers/writers/etc. and I fit in to... Well at least most of those categories.
I'm reading over this review and seeing what a bastardised clusterfuck it is. But that's because I just reallyreallyreally want you all to go out and watch it! And I feel anything else I can say would be all spoiler-y. Look, it's the sort of thing I usually would hate, and I am absolutely in love with it. Pleeeaaase go watch this movie with a friend and tell me what you think. I might get back to a more levelheaded review after a DVD release.
80%
-_Gimly_

**Plot: 10/20**
The film starts out with Seth Rogen waiting at the airport to pick up his pal Jay Baruchel. It's basically a good ol' buddy get together as they go back to Seth's house where he has a couple of welcoming gifts awaiting and then they proceed to get high. Seth convinces Jay to go to Franco's party with him so he'll have a chance to get to know everyone better. After being introduced to everyone, they both leave to make a quick stop at a local convenience store when the city starts going abrupt and light beams begin appearing from the sky. From there, both of the actors rejoin the party house in which almost all of the party goers fall into a giant fiery hole that has formed outside of the house. The cast practically spend the rest of the movie wasting time inside the house together, fighting demons, and then trying to get to heaven. It's not the most exciting plot in the world, but it makes for some good comedy. What I found the most interesting was that they never try to fix the problem on Earth. Even towards the end their prime goal is just to get to 'heaven' and escape the apocalypse down below.
**Rewatchability: 05/15**
Although I've actually watched this one twice (once regular and once with commentary), I still give it a 05/15 in this category. The problem is I just don't see myself coming back to this one unless it's playing on the TV and I'm really bored. I do, however, recommend that this movie gets watched at least once. While it's over the top and not meant to be taken seriously in the first place, I guarantee you'll get at least a laugh or two out of it.
**Acting: 15/20**
Since the actors are actually just portraying magnified versions of themselves it works out really nicely. The scenes with Michael Cera are especially hilarious. At one point in the movie he sneezes out cocaine all over Christopher Mintz (guy who played McLovin in Superbad). Nobody felt out of place and even the add-in actors such as Rihanna and Mindy Kaling did a pretty good job.
**Audio Production: 10/20**
The soundtrack comes in heavy with music by the Backstreet Boys, Black Sabbath, Cypress Hill, Def Tones, Psy, and Whitney Houston. This list includes a lot of big names, but it seems like most of the soundtrack was just thrown in. The Backstreet Boys make a cameo at the end of the movie when the cast is in heaven throwing a party. Special effects are done well, but nothing really stands out.
**Visual Production: 15/20**
The majority of the film takes place in a ficticious Los Angeles at James Franco's house. All of the visual post process effects and scenes are really well made. Listening to the commentary you can find out that most of the filming actually took place in New Orleans at an old coffee warehouse. Even though most of the film was filmed inside of the same building, it actually works out nicely with the storyline.

This movie was unexpectedly great and put Pineapple Express to shame. I have a new found respect for Danny McBride. He took it to a whole other level and stole the show. Nuff said!

"Charlie" (Tom Cruise) works his luxury car import business quite literally wheeling and dealing when he is told that his estranged father has died. Driving to meet the solicitor he's informed that he is to receive some perfectly grown roses, but that the $3m estate is to be left elsewhere? Where? Well he discovers that he has a brother "Raymond" (Dustin Hoffman) when he visits him at in institution that cares for autistic people. Resentful and completely unaware and uncaring of his actions, "Charlie" decides to take his new-found sibling on a trip back to LA. Not afraid of throwing the odd tantrum, "Raymond" refuses to fly with anyone but Qantas so they have to drive and it's on the road that the story develops into one that, to be honest, we could probably predict quite easily. Now there's no getting away from the fact that "Raymond" is an exasperatingly annoying character at times, but that's what gets under your skin. Whether or not Hoffman is acting or mimicking, he presents us with an highly intelligent personality with a few pieces of his cognitive jigsaw missing. "Raymond" can display the traits of a small child, but equally those of a sophisticated and complex character who absorbs more from around him than perhaps we'd expect. Cruise is also at the top of his game here. He manages his character's evolution from smart-assed and selfish "Charlie" to a rounder, more mature and responsible individual with an aplomb that certainly belies some of his previous roles. It also doesn't do any harm that his brother's genius comes in quite handy in Vegas either! It's pretty poignantly and sometimes amusingly written offering some on-the-ball observations and plausible scenarios well supported by some equally potent photography, and though not always an easy drama to watch, as it progressed I felt a little invested in whether or not this relationship had legs or was, ultimately, just about a man's desire to get hold of an inheritance.

I am not going to pretend I have much substantive to say about this movie that will make readers gasp or slap their forwards and realize, yes, that is why I should love this film! But as this is one of my wife and my favorite movies ever, I thought I would share why.
When this movie came out, we saw immediately the similarities between Raymond (Rain Man) and our daughter. No, she is not just like him. In addition to her autistic, obsessive behavior, she is deaf and developmentally delayed so that even though she knows sign language, she only answers questions with it and never uses complete sentences.
But like Raymond, she has always exhibited weird special gifts. She solves math problems on her fingers that even sign language interpreters don't understand, she remembers exact dates of things that have happened years before, she can create beautiful rugs on a large floor loom.
On the other hand, and she can't cross a street by herself, she throws a fit at times over the smallest change in her routine. For example, when she lived t home with us as a child, if we grabbed the TV guide from next to the tv to check out the schedule, she would stand over us and get more and more agitated and shake with frustration and anger. We finally had to start buying two TV guides, one that was "hers" and one that was "ours." But we couldn't buy two of everything.
So anyway, what this all meant is that when we watched Rain Man back then when we were living in our daughter's wake, we found ourselves laughing at stuff that had previously driven us crazy with frustration. Needless to say, Dustin Hoffman gave a virtuoso performance, but I think Tom Cruise's efforts were underrated, perhaps because it seems like a natural role for him.
I don't claim this is the best movie ever, just our very favorite, for personal reasons.

My main man Charlie Babbitt.
It is something of a great cinematic achievement that Rain Man became the great film it clearly is because the story surrounding it is interestingly Hollywood in itself.
Four directors, six screenwriters, two cinematographers, eight producers, writers strikes, crew change, and a studio fighting for its life.
All of the above are common knowledge but it doesn't hurt to remember these facts when viewing the award wining triumph of a movie that stands the test of time today. The film is so simple in structure it really needed something special to pull it out of the prospective banality of being "just another road movie about finding oneself", Rain Man achieves something special by tackling its subjects with very sensitive hands and splicing a believable human concept into the story via the incredible shows from its two leading men.
Dustin Hoffman gives a magical moving performance as the Autistic Savant Raymond, the ultimate complement I can pay the performance is that it really is believable, both moving and clever rolled into one artistic result. Tom Cruise is equally as great in a role that called for drastic layer changes, a role that demanded much conviction from the actor taking it on, and Cruise gives the role much depth as he goes from shallow bastard to a very emotive and feeling human being, it's a great show that stands up to reevaluation these days. A performance that seems to have sadly been forgotten in light of Hoffman's film stealing show. With a film such as this you pray that the ending can do it justice, and I'm glad to say that there is no pandering here, it's an ending that says so much because it doesn't cop out, I thank god for those rewrites because the endings to the original scripts would have had me booting the TV set out of the window. Essential cinema. 10/10

Another legacy from The Hangover and Superbad that goes bigger, even crazier. It is an epic party ever indeed!.

The exceptional cinematography contributes to its distinctive atmosphere and is unquestionably the finest element of the “It Follows”. Exploiting the idea of impending doom to terrify the viewer rather than depending on a monster or jump scare is a refreshing change.
Nevertheless, the premise was rather uninteresting, and the acting, although adequate, failed to leave an impression. Moreover, a ludicrous climax causes “It Follows” to lose focus, resulting in an underwhelming conclusion. Although enjoyable, the film falls well short of the high expectations set by its critical acclaim.
___
Rating: 6.9/10 (Good, Slightly Flawed)

**It Follows shines as a unique and fresh horror film that pours on the anxiety and dread with a clever slow burn that will keep its viewers glued to the screen, desperate to see what happens next.**
Ok, ok, ok. I know the synopsis of this movie sounds like a lame excuse to focus on the sexual escapades of young college students, as many horror movies do. Instead, It Follows is surprisingly creative, well-done, and fresh that doesn't linger on the sensual but instead almost warns of potential consequences. The premise of a slow but relentless entity endlessly pursuing its cursed target is eerie, tense, and filled with suspense. Typical horror films repeat the same face-paced terror and disturbing gore and images. However, It Follows sets itself apart with a slow-building tension that keeps its audience unsettled but engaged, wondering what will happen next. This movie deserves all its hype with its innovative concept, clever script, and genius directing. While it does have unnecessary random nudity near the end, It Follows is worth fast-forwarding a few seconds to enjoy a creepy masterstroke of slow-burn horror.

I wanted more by the end, but that's not to say 'It Follows' isn't a very, very good film - it is.
I adore the look of the film, the cinematography is superb; the score is nice too. Maika Monroe leads a solid cast excellently. The premise is certainly interesting and it does create suitable tension, while the effects used are neat. The plot is quite sexual, potentially overly so in a couple of moments but in truth it needs to be for the most part. I would've, elsewhere, appreciated a deeper dive into the antagonists, also.
I could see a sequel coming from this, it's the sorta concept that could easily produce many sequels. I'd be fine with just the one, but would watch another - it must keep the same vibe though.

> An innovative horror-drama with a simplicity.
It was not too long ago I saw the director's other film, his first one and liked it instantly. I did not expect him to go all the way from a beautiful teen drama to a creepy horror flick. But I liked this movie as well, thus that prove he's not a fluke. After seeing his both the films, I can detect the style of presentation that marks his trademark. That is very realistic, dull, but a natural societal atmosphere with a mere background score.
I have said many times that these days horror flicks are heavily leaning on the scary noise/sounds. But this film brings the tone that's really happening around us. The story was like a straight flowing river, no twists or turns like the Amazon river. Even it did not try to hide the existence of the evil spirit. Not only from us, but among the characters in the story. That means it is a very simple tale with the compelling scenes.
It does not look like a cheap horror, this 2 million movie can stand up to any fancy horror flicks. The writer/director's interpretation was very interesting too. Like he said IT could board a plane to follow who he's after. The theme was also very innovative. Quite similar types have made out, but this one was way better. Yep, many movie goers overwhelmed by the unexpected, even the filmmakers for the response.
Now I pray for if there is going to be a sequel, it must be made by the same writer/director. My worry is the B category filmmakers going to spoil the original in the name of follow-up. I highly recommend this movie, especially for adults due to the plot that develops on the sexual intercourse. Though there's no strong nudity. I also suggest you to watch at night, if possible alone. I won't guarantee that it would scare out of you, but that's the best way to watch any horror flick.
8/10

Funny movie. I'm a boss at my work too. All we do is party. Nothing like this movie though.

Good watch, would watch again, and can recommend.
This is really a great example of multi-threaded stories, obviously inspired by (hell, they even mention it) "Strangers on a Train", this is actually a fine idiot's version of that. Imagine a braid, but one of the strands careens off and crashes into another strand and then it completes anyways, it should look like an Escher sketch: that's this movie.
It's fun. You get 3 quality actors to be some of the worst people you could write (Kevin Spacey, Jennifer Aniston, and Colin Ferrell), and, not that first 3 were funny, have 3 quality comedic actors (Jason Bateman, Jason Sudeikas, and Charlie Day) play 3 of the most flawed, average people you could write in respective situations of explosive seriousness in which they will ultimately be humiliated.
I think that's a pretty good formula, and they got a sequel out of it, so I feel pretty secure in that opinion.
In all respects, if this was just written with a more serious atmosphere, it could be powerful. I'm not saying taking the "dick and fart" jokes out of it would make it more enjoyable, but it would certainly make it more powerful.
If you're a working adult, or you just like watching horrible things happen to people, I'm pretty sure you'll enjoy this one.

Quite funny and fresh stupid comedy.

Now that the young "Hiccup" has attained his dream of creating a peaceful and idyllic homeland for his people and the dragons, he is faced with the reality that there just isn't enough space for all of them! He can't just chuck them out, so determines to set off and find out if the legendary "Hidden World" does actually exist. His plans are upset, though, when a mischievous "Fury" dragon appears to "Toothless" and portends an even greater threat that's going to need all of them to stand together and defeat the menacing hunter "Grimmel". By now the characters are all well enough established to just head straight into the substance of the story, and it's a well-paced and vibrant one with plenty going on peppered with some light slapstick, the odd pithy one-liner and some colourful action scenes. Sure, the animation is a bit sterile and two-dimensional but this tale of friendship and loyalty keeps well clear of sentiment and leaves us to enjoy an adventure film with shades of "Eragon" (2006) to it. One of the more entertaining franchises this, with more emphasis on the writing and the characterisations and who wouldn't want an albino dragon?

That was a tough decision for the main character to do! But no matter how hard it was to let go, it was the right choice indeed. Freedom is also love.

It was wonderful to see Hiccup as the one who was helping Toothless. A friendship that was not selfish, but rather, giving.

FIERY! Toothless’ newfound ability was awesome. It gave justice to the "Night Fury" classification.

Until the very end of the movie, everything was beautifully created. It was truly amazing to see all the characters grow.

This franchise is one of DreamWorks' best aces to boot. Although the third movie did not excite as much as the first two, it still makes for a good franchise-closure. Kudos to the entire team behind HTTYD!

Toothless being jack-clueless on impressing a girl is too relatable. However, on a more serious note, the animation upped a notch. The fire and blast effects were gorgeous and eye-catching.