MOVIE TIME:~LAYAN MOVIE Battle: Los Angeles..besT peraNG je pangpUng penG.layan-layan.tgk ngn pogie at KLcc. Kc baGi 4 per 5 star.so sape 2 yg suke tgK movie peraNG-peranG bttr g teNGok. xrUgi n xnGnTOk.yg besTNye berperaNG dGN alien yg anehJ~
THIS IS a preview n siNOpsisnye..sowiee copy frM
It's a war out there when aliens attack, laying waste to California until only embattled Los Angeles stands in their way. Fortunately, this is a war we can win, which is about the extent of the preaching to be found in the otherwise streamlined, hard-hitting Battle: Los Angeles. Decent special effects and a satisfying story will help gain respect from the film's target audience of gamers and fanboys. Some astute filmmaking choices and a general lack of pretension could widen the appeal of this solid genre exercise.
The opening scenes are among the film's most effective, as a platoon of terrified Marines flies into the unknown over L.A., explosions and brief flashes of destruction hinting at what's to come. Like War of the Worlds, there is no explanation for the invasion, only vague hypotheses about natural resources and water as fuel. And like the best sci-fi films, Battle: Los Angeles doles out its alien sightings carefully, saving the close encounters for later in the story.
The Marines are led by Staff Sergeant Michael Nantz (Aaron Eckhart), a soldier with a troubled past who just handed in his retirement papers. Other members of the unit are introduced in a short flashback, and like old-school war movies, they have one identifying tag: Lockett (Cory Hardrict) has a chip on his shoulder; Lenham (Noel Fisher) is a virgin; 2nd Lt. Martinez (Ramon Rodriguez), the nominal leader, is an untried military school grad with a pregnant wife. Don't worry about trying to distinguish them, as Battle: Los Angeles has a gratifyingly high body count.
What it doesn't have is originality. Name a sci-fi hit from the last 30 years and chances are bits and pieces of it show up here. Which in a way makes Battle: Los Angeles a string of really good parts with none of the boring filler. Telling the story from a Marine's POV strips away character development, social context, philosophical asides, anything that might deter the story's progression. "Move or die," Nantz orders his men at one point, and apart from one soggy interlude over a dying father, the filmmakers take the words to heart.
And, crucially, director Jonathan Liebesman and his crew take pains to provide a persuasive vision of an alien apocalypse. It's one culled from previous films, but also from current-day news footage of civil wars and terrorist attacks, street-level scenes of massive destruction in which the effects support the plot instead of drawing attention to themselves. Cinematographer Lukas Ettlin may rely too much on jittery, hand-held camerawork, but the end result brings viewers into a close-up, even claustrophobic view of the fighting.
Eckhart gets the most screen time, and is more competent than exceptional as a modern-day John Wayne. Other cast members don't have much space to show off, but seem realistic enough as a fighting unit. Michelle Rodriguez and Bridget Moynahan provide game support as the film's female presence, but this is a film about stunts and special effects, not acting. By those standards, Battle: Los Angeles is a solidly professional film—gripping, satisfying and almost entirely irony-free. (For the record, the onscreen title reads Battle Los Angeles.)
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