Paul Markoff's Film Reviews

BEAUTY AND THE BEAST

2012-01-19T10:15:00.000-08:00

Pictures courtesy of Disney Pictures

The tale as old as time has returned to the big screen, this time in 3D with the re-release of Disney’s animated romance, BEAUTY AND THE BEAST.

The story is the same as it was 21 years ago. Belle, a beautiful villager from a small town, sacrifices her freedom for her father’s, and remains a prisoner of a beast that inhabits a mysterious and magical castle. The beast was formerly a prince, but after denying a poor beggar woman a warm place to stay based on her appearance, had a spell cast upon him by a princess who was masquerading as the beggar.

The prince will remain a beast forever unless he can fall in love, and have that person return the favor, before the last petal of a magical rose falls.

I don’t know if BEAUTY AND THE BEAST demanded a big-screen re-release, but with the recent 3D technology, Disney found an excuse to capitalize on one of its most popular princess tales, and I for one, am glad they did.

BEAUTY AND THE BEAST retains all of the magic it did over two decades ago, thanks to its timeless story, beautifully hand-drawn animation and vibrant color scheme.

Fans of the romance will remember the songs well, three of which were nominated for Oscars, including the Oscar winning song, BEAUTY AND THE BEAST, and these catchy riffs retain their memorability.

All of this would make for a fine feature, but what sets BEAUTY AND THE BEAST apart from other outstanding animated features is the craftsmanship in the telling of its story. Typically a multitude of screenwriters and multiple directors could make for a creative mess, but the 13 credited writers, and directors Gary Trousdale and Kirk Wise, mesh their imaginative ideas into a cartoon classic. The film begins perfectly, with a hauntingly memorable score set behind an old-fashioned re-telling of the prince's predicament. Flash-forward to present time where Belle belts out a wonderfully catchy tune across the village, instantly establishing her character and the film's top-notched animation. The story flows well, develops warm and engaging characters, and builds a romance worthy of its melodramatic finish.

The hook to get you in the theater is seeing BEAUTY AND THE BEAST in 3D. I don't feel the technology is best utilized, but as previously stated, feel seeing the film on the big screen is well worth the trip. This classic hasn't lost that loving feeling.

Grade: A

CONTRABAND

2012-01-19T09:50:00.000-08:00

Photos courtesy of Universal

Mark Wahlberg is thrust back into the world of smuggling in order to save a family member in the thriller CONTRABAND.

Wahlberg is Chris Farraday, a former smuggler who is now on the straight and narrow, a small business owner, a husband and a father of two. It isn’t until his wife’s younger brother Andy botches a cocaine deal that Chris is called back into service.

In order to recoup the losses for smuggling kingpin Tim Briggs, played by Giovanni Ribisi, and more importantly, spare Andy’s life, Chris feels forced to set up one last job involving counterfeit currency. The operation is fairly elaborate, a cross seas one, so Chris gathers up many of his old cohorts for the job.

If you’ve ever wondered what it would be like to throw together a major smuggling operation in a matter of minutes, CONTRABAND is the film for you. This highly energized, highly ludicrous and thoroughly passable, not plausible thriller is a fairly entertaining distraction as long as you check your suspension of disbelief at the door.

CONTRABAND moves at steady pace, introducing characters, motives, obstacles and issues in an orderly fashion, while strategically withholding some information for a few late surprises. This works well in spots, and must, considering that much of what is being presented seems ridiculous. Chris’s crew, and the opposition for that matter, are young, dumb and by watching their actions, very inexperienced. Although I enjoy watching intelligent, seasoned criminals work in the movies, there’s something refreshing about viewing more authentic, if less creative corruption operate.

This group clicks thanks to Wahlberg’s leadership. He shows an ability to carry a film with CONTRABAND, despite all of the silly plot developments he and his crew must jump through. Through Wahlberg's screen presence and his straightforward approach to the material in tackling the material, director Baltasar Komakur and a collection of screenwriters were almost able to smuggle a half-baked film under my nose.

CONTRABAND isn’t damaged goods, but could’ve used a little re-packaging.

Grade: C

SUPER 8

2011-06-10T21:59:00.001-07:00

Photos courtesy of Paramount Pictures
A group of kids stumble across a horrific train accident that leads to more madness in writer-director J.J. Abrams SUPER 8.

Joe, a middle school age boy from a small Ohio town, has just got out of school for the summer, but is having a hard time moving on from the loss of his mother following a tragic incident at the town's factory four months prior.

Joe and his buddies, Cary, Preston, Charles and Martin, like to shoot zombie movies on Charles’s Super 8 camera, and have found the perfect spot for their latest scene, the train depot. Charles, the director, enlists Alice, a girl from their school, as the film’s only actress, giving the film a love story angle, and the boys a ride to the train depot.

While filming at the depot, a man in a pick-up truck purposely collides with the train, setting off a set of massive explosions, flying objects and releasing something dangerous from one of the boxcars. Joe and his friends decide they will keep their knowledge of the accident a secret, but it's not before long the secret becomes a menace to society.

As Charles elects to add a love story to his zombie picture, demanding that his film provide something more than a typical genre piece, so does Abrams with SUPER 8.

In the midst of a summer filled with special effects and action driven blockbusters, SUPER 8 delivers more than just standard thrills. The film is a nostalgic slice of entertainment, set in 1979, it’s a Speilbergesque picture with heart, imagination, laughs and a sense of wonder rarely scene in movies today. The Spielberg comparisons are expected, and well deserved, as Spielberg is the film’s producer, and Abrams invokes many of the legendary director’s attributes into the film: teenagers, a mysterious back story, a middle-class family and issues that the main characters are wrestling with that can be embraced and valued by a mass audience.

The key to the film are the children‘s characters, and the child actors that play them. There’s not only a strong sense of community between the kids, but they also have distinct personalities, and an authentic way about them. Joe, Cary, Preston, Charles, Martin and Alice don’t look like the models of the HIGH SCHOOL MUSICAL series, or flash the intellect of a Hogwart pupil, but they look, talk, act, laugh and frustrate each other like everyday teens.

The cast of unknowns is led by Joel Courtney as Joe. Joe is a mild-mannered boy, shy at times, but not around his friends. Courtney provides a likable and sympathetic youngster, one who is earnest and often timid, but strong and courageous when the situation demands it. His counterparts are also up to their tasks. Elle Fanning as Alice proves to be equally talented as her elder sister, bringing an emotional intensity rarely found at such a young age, and Riley Griffiths as Charles adds a lot of humor with two of SUPER 8’s most memorable lines.

The kids may be the key to SUPER 8, but Abrams knack for balancing spectacle and special moments is equally impressive. Abrams, the creator of LOST, was largely criticized for the unexplained or disappointing answers to the mystical questions formulated in television’s most ambitious series. Some may say the same of SUPER 8, but those critics are missing the point. Abrams entertaining adventures are not crafted to provide conclusions or explanations to unearthly or magical events. Instead Abrams provides solutions to earthly matters, adventures and struggles that mankind constantly battles, matters of the heart and mind that are often overcome through one’s perseverance or a little help from their friends.

SUPER 8 packages an intimate story of loss and redemption around an exhibition of mayhem, creating a blockbuster of classic proportions.

Grade: A

HANNA

2011-04-16T18:16:00.000-07:00

Photos courtesy of Focus Features

A teenage girl must elude a group of assassins and a corrupt government agent in order to reunite with her father in the action-thriller, HANNA.

Hanna, played by Saorise Ronan, is not your average teen. She has been raised in a secluded forest by her father Erik, played be Eric Bana, and has been taught to survive on her wit, strength and cunningness. She is regularly trained to shoot, kill and defend herself against anything and everything that comes her way. Erik and Hanna live off their surroundings, with no modern conveniences, including electricity, running water or means of transportation. They eat what they kill, and kill at will.

During the conclusion of Hanna’s presumably decade-long training, Erik empowers Hanna to leave the confines of the forest when she believes she can survive on her own. Once she is, she’ll press a button to a device that will alert Marissa, a CIA agent, of their whereabouts, sparking a multi-country chase from the authorities.

HANNA dances to the beat of a different drummer, a pulsating techno one at that. This revenge thriller, an odd, but welcomed mix of action, violence, innocence, menace and even a touch of dry humor is a breath of fresh air compared to standard action fare. It feels unique and special in its own way, even if, as critics nationwide have pointed out, it borrows heavily from the tale of Little Red Riding Hood.

HANNA is a cross-country adventure leading our heroine across landscapes from Morocco to Finland to England to Germany. This trek is a strange, but enlightening one, revealing Hanna’s extra-sensory and fighting skills, while still underlining her inhibitions and reluctance towards human contact and everyday amenities.

The changing backdrop is not only aesthetically interesting, but it also presents new challenges for Hanna. Her escapes from lethal trackers pale in comparison to her stay at a Moroccan man’s house filled with foreign objects including a television, a coffee pot and a ceiling fan.

Although this intense thriller, a change of pace for ATONEMENT and PRIDE AND PREJUDICE director Joe Wright, delivers a solid punch, it also provides lighter and reflective moments. Wright cuts to the core of Hanna with a couple of intimate scenes, one where she nearly experiences her first kiss, and another one where she does. Wright’s delicate handling of these scenes illustrates that the director’s latest work isn’t too far of a departure thematically from his previous two.

The performances are uniformly good, but particularly from Ronan, Cate Blanchett as Marissa and Tom Hollander as Isaacs, an eccentric and ruthless assassin. Ronan, as she did in ATONEMENT and THE LOVELY BONES, again displays two-sides of a coin, one as a focused and determined young lady, and the other, an innocent and fractured child. Other actresses, be it young or old, seem to force these attributes upon us, Ronan reveals them effortlessly. She displays a maturity beyond her years.

HANNA is an exhilarating revenge thriller, an unpredictable one at that, and
one that I highly recommend.

Grade: B+

HOP

2011-04-13T16:00:00.000-07:00

The Easter Bunny’s son has different plans than following in his father’s footsteps in the children’s film, HOP.

EB, voiced by Russell Brand, grew up on Easter Island learning how eggs and candy were made and prepared for delivery on Easter morning. Despite his egg education, EB realizes during his latter years, that being a drummer is what he aspires to be.

After his father expresses his disappointment, EB transports himself to Hollywood, where he hopes to make it big as a musician. Upon his arrival, the hare runs into Fred, a 30-something slacker played by James Marsden, who’s out of work and uninspired. After nearly running over EB in the suburbs, the guilt-ridden Fred allows EB to stay with him for the night.

Outside of the animated, made-for-TV HERE COMES PETER COTTONTAIL, made 40 years ago, I can’t recall a movie centered around the Easter Bunny. HOP attempts to do for the Easter Bunny what countless have done for Jolly Ole Saint Nick, crafting a big-budget tale in honor of Easter’s celebrity.

HOP does create quite a spectacle when it comes to the Easter Bunny’s factory on Easter Island. In many ways, HOP’s vision of the factory is one-part North Pole and one-part Willie Wonka’s chocolate factory, mixing every imaginable candy and contraption together into a visual delight.

The special effects, helping to create EB, his father and a band of rogue chicks, is top-notch, allowing the characters to look real, and yet unique and cartoon-like in their own way.

This is all great for the set-up and look of the picture, but the plot and human characters get in the way of a potentially fun film. Although the film is centered around EB, there’s nearly an equal amount of time spent on Fred. Marsden is adequate in a lackluster role, providing a broad figure who is accessible to kids, but nonetheless dull. Much of Fred and EB’s time is spent in the suburbs, where EB gets into a little mischief, but nothing compared to the trouble he could have caused on the lots of Hollywood’s biggest studios.

HOP isn’t a bad film, just one that plays it too conservative, and misses out on a lot of potential laughs and fun. This bunny just isn’t that funny.

Grade: C

PAUL

2011-04-12T18:55:00.000-07:00

Photos courtesy of Universal Studios
Two British fan boys find their science-fiction tour of the States to be all to real in the extraterrestrial comedy, PAUL.

Simon Pegg and Nick Frost are Graeme and Clive, two avid comic book and science fiction fans that stumble upon Paul, an alien on the run from federal authorities. Paul, voiced by Seth Rogan, isn’t your average alien, a wise-cracking, pot smoking individual who’s only care is to avoid the feds.

The mismatched threesome are also joined on their adventure by Ruth, a Bible-thumping Westerner who finds her beliefs challenged by Paul. 　

PAUL not only stars Pegg and Frost, the talented tandem that has starred in such rollicking comedies as SHAUN OF THE DEAD and HOT FUZZ, but the two also serve as the film’s co-writers. This is what makes PAUL all the more disappointing.

These funny men have taken the easy way out to laughs, relying on standard clichés and other films to provide inspiration for their own material. Pegg and Frost continue their stooge and comic duo well, but the rest of the film seems to cater to the standard.

Paul, is not only voiced by Seth Rogan, but is Seth Rogan. Wise-cracking, pot-smoking and just generally screwing around make up Paul’s personality. Much like other Rogan characters, they’re funny for awhile, but generally run out of steam. Only so many male genital jokes can garner laughs before ceasing to be funny.

The same can be said of Kristen Wiig’s Ruth, a former Bible-thumper gone wild, who finds freedom from religion to be an exhilarating ride with profanity-laced tirades. Once is pretty funny, twice not bad, but by the seventh expletive outburst the act becomes tiresome.

PAUL owes a lot to 80’s alien movies, from ET to CLOSE ENCOUNTERS OF THE THIRD KIND, and it gives the master of these films his proper due. PAUL uses these references as a tribute, but more often than not, it feels like a lack of creativity.

PAUL's earthly creative constraints ground a concept that could have been out of this world.

Grade: C

LIMITLESS

2011-04-12T18:21:00.000-07:00

Photos courtesy of Universal Pictures
Bradley Cooper discovers he’s just a pill away from fortune and fame in the science-fiction thriller, LIMITLESS.

Cooper is Eddie Morra, an aspiring novelist with a serious case of writer’s block. His writer’s block isn’t just affecting his career, but also his financial situation and love life. His slacker lifestyle and mentality has just cost him his girlfriend Lindy, and his publisher is beginning to lose patience.

Enter Eddie’s ex-brother-in-law Vernon, who Eddie bumps into by chance. Vernon, a former drug dealer, now a self-proclaimed representative for a pharmaceutical company, tells Eddie that he has a pill that may solve his problems. Vernon explains that the pill he possesses, will allow Eddie to use 100% of his brain. After taking the pill, Eddie finds out that Vernon wasn’t kidding, and may have found the secret to success. 　

LIMITLESS is everything but that, a film which works at times, but never fully captures the promise that lies beneath its surface.

The screenplay, penned by Leslie Dixon, and based on the novel by Alan Glynn, capitalizes on the premise with a blistering dose of memory overload, allowing Eddie to recollect about past events, and using these memories as puzzle pieces to uncover his maximum potential in any given situation. This technique is thrilling, sometimes funny and often entertaining, but once these fleeting moments have passed, one longs for something more.

LIMITLESS restricts itself by becoming a one-trick pony, a good one, but one which could have provide something substantial. It scratches the surface of exploring a couple of interesting routes: our dependency on prescription or non-prescribed medication, and even better, how we define ourselves by success, or what makes us, us. Dixon’s screenplay hints at these aspects, but is more concerned on delivering a standard thriller.

Cooper does a nice job in a role that demands two Eddies: the scatter-brained, aloof slacker, and the well-adjusted, confident financial genius. His performance is crucial, as Eddie’s transformation is the bedrock for selling us on this unique, yet outlandish plot.

Director Neil Burger keeps the kinetic energy jumping throughout the majority of the picture, distracting one from the emptiness of this tale. LIMITLESS is a fairly thrilling science fiction fable that doesn’t live up to its title.

Grade: C+

RANGO

2011-03-18T19:13:00.000-07:00

Photos courtesy of Paramount Pictures
A chameleon with an identity crisis discovers who he is in the middle of the desert in the animated film, RANGO.

Rango, voiced by Johnny Depp, is the chameleon, a nameless household pet who is inadvertently lost during transit on the open highway. Along the side of the road, the chameleon is given some profound advice by an animal that was nearly roadkill. The advice leads the chameleon into the desert town of Dirt, where the water is scarce, the townsfolk fearful and the threat of death always in the air.

The chameleon creates an alter ego, calling himself Rango and building a name for himself as a rough, rugged and ruthless gunslinger. This all bodes well for Rango, until someone calls his bluff.

Twisting the old west into a comedic playfield, RANGO owes as much or more credit to Chuck Jones as it does John Ford.

Rango, the character, is one-third Bugs Bunny, one-third Kermit the Frog and one-third Johnny Depp. This equation amounts to 100% hilarity, as writer-director Gore Verbinski, and writers John Logan and James Ward Byrkit have crafted one of the more memorable cinematic figures in recent memory. Rango has the physical make-up and mannerisms of Kermie, the wisecracking charm of Bugs and the quick wit and voice of Depp.

Although Rango is the central character, the Western screenplay is also smothered with several other funny and lively figures from Rango’s love interest Beans, a shy, but wise girl named Priscilla, Rattlesnake Jake, Bad Bill, Waffles and the Mayor, voiced by Ned Beatty.

The humor is matched by a terrific looking setting and action scenes which not only exhilarate, but place one in the midst of all the excitement. Various angles and looks at Rango’s near-death experience with an eagle, a draw between Rango and Bad Bill, and a vintage shoot-out are original without being pretentious.

Although the character of Rango and visual style are memorable, the underlying plot is also a nice change-of-pace. I’ve failed to mention, but RANGO is more for older children and adults. In addition to the violent action and tone, the story also skews older. The chameleon’s identity crisis and subsequent finding of himself is certain to appeal to teens and adults.

RANGO is one-of-a-kind, in humor, aesthetics and character. I hope this isn't the last we've heard from this crafty chameleon.

Grade: B+

CEDAR RAPIDS

2011-03-18T18:56:00.000-07:00

Photos courtesy of Fox Searchlight
A mild-mannered insurance agent takes a trip to an annual insurance conference in search of the top prize in the comedy, CEDAR RAPIDS.

Ed Helms, of THE HANGOVER fame, is Tim Lippe an insurance agent with Brown Valley Insurance, who after the untimely death of a fellow agent is tagged to represent Brown Valley at the convention, and more importantly vie for the coveted Two Diamonds Award, an award granted to the insurance company that best exhibits professionalism and moral and ethical standards.

Tim’s boss, Bill, has provided him with agents to avoid and one’s to attach himself to. Tim meets up with Ronald, from the nice list, and also Dean, from the naughty list at the conference.

CEDAR RAPIDS views itself as a coming-of-age comedy, but not as a young adult coming into his or her own, but rather a naïve, ignorant Midwesterner learning the ropes of life.

Tim is a likable guy. Sure he enjoys the occasional rendezvous with his former grade-school teacher, played Sigourney Weaver, at his home, but Tim sees his occupation, and people in general, as honorable. This is frowned upon by director Miquel Arteta and writer Phil Johnston, who lead Tim on an insurance convention escapade filled with extra-marital affairs, prostitutes and cocaine. The heavy-handed nature by Arteta and Johnston undermines some effective moments the two craft in between the nonsense.

As previously mentioned, Tim has been warned about Dean, played by John C. Reilly, yet as we get to know the obnoxious, blow-hard Dean, the more we like him. O’Reilly is outrageously funny as Dean, giving CEDAR RAPIDS some much needed life and laughs, while also serving as an eye-opening figure for Tim.

Ann Heche also turns in a good performance as Joan, another middle class insurance agent, and mom, that views the annual get-together as a getaway from reality, and Isiah Whitlock is solid in the thankless role of straight man, Ronald.

Tim is the least interesting of the bunch, but this is no fault of Helms. Tim more or less serves as the middle-class, middle America punching bag for Arteta and Johnston to have their way with.

CEDAR RAPIDS pulls no punches, but also doesn’t land as many as it should.

Grade: C

I AM NUMBER FOUR

2011-03-10T18:20:00.000-08:00

Photos courtesy of Walt Disney Pictures
A rare breed of alien is on the run from his predators in the film I AM NUMBER FOUR.

Number Four is an alien on the run from the Mongadorians, another group of aliens who seek to destroy his kind. In an attempt to avoid extinction, Number Four has come to planet earth, along with his guardian, and has assumed the identity of John Smith, a teenager. The duo skips from town to town, hoping to avoid being detected, and their most recent stop is in a small Ohio town called Paradise.

Henri, John’s guardian played by Timothy Olyphant, wants John to lay low and stay within the confines of a rural house. John feels it would be better to blend in by attending the local high school. John wins this argument, enrolls at the local high school, and experiences many of the same events that a typical teenager would.

Films like I AM NUMBER FOUR bring out the 13-year old boy in me. Although the film is centered around an alien, the alien is always in the skin of John, and Number Four operates as such. He falls for a girl at school, is picked on by the jocks and defends the self-proclaimed science nerd from these same bullies. There’s also a Mongadorian beast that can be heard, but not seen.

I AM NUMBER FOUR has many elements of popular 80’s films that I grew up on. Although the film is centered around an alien, it’s real focus is on various teenagers and how they are trying to find their way in the world.

The theme is well incorporated, but never hits home, due in large part to the stoic performance by Alex Pettyfer as Number Four. Pettyfer is stuck between a rock and hard place, forced to play an alien unaccustomed to earthly pleasures, while still showing a sense of humanity in the skin of a young man. His dry performance doesn’t elicit any sympathy, despite director D-J Caruso’s manipulative tactic of not showing Number Four as anything else but human.

Pettyfer’s female counterparts are the ones which get to have the most fun. Teresa Palmer as Number Six arrives late in the game, but still leaves a lasting impression, while Dianna Argon, of Glee fame, gives a well-rounded performance that may lead to even stronger roles.

I AM NUMBER FOUR was a bit of a nostalgic trip back to alien and teen films from the 80’s for me, but I couldn’t completely check my 37-year old critical thinking mind at the door.

Grade: C+

DRIVE ANGRY 3D

2011-03-01T16:37:00.000-08:00

Photos courtesy of Summit Entertainment

Nicholas Cage returns from the fiery depths to avenge his daughter’s murder and save his granddaughter from the same fate in the action pulp flick, DRIVE ANGRY 3D.

Cage is Milton, a man who has broken out of hell, returned to earth and is on a one-man mission to save his granddaughter from a satanic cult that believes she is the ultimate sacrifice.

The one thing Milton is missing is a car. Enter Piper, played by Amber Heard, who has just quit her job as a waitress and her wedding engagement, after finding her fiance sleeping with another woman. As part of the break-up with her cheating man, Piper takes her exes hot rod, since she's been making the payments on it anyways.

Although Milton has the drive and the ride, he must not only confront the ultra-violent cult that has his granddaughter, but he also faces a major hurdle in the form of The Accountant, played by William Fichtner, a man who’s keeping earthly tabs for Lucifer.

DRIVE ANGRY 3D had all the looks of a graphic, violent, insane and utterly fun and funny pulp film. Unfortunately the latter wasn’t true. There’s not much fun too be had, as writer-director Patrick Lussier and star Nicholas Cage seem content on merely achieving the status quo for this type of B-movie.

It has all the graphic elements you’d expect with an R-rated film titled DRIVE ANGRY 3D, sex, violence, language and nudity, but in spite of these sometimes controversial aspects, they fall drastically flat.

The film’s main problem is Cage. In a role that demands the abrasive and angry energy he’s brought to characters in films from HONEYMOON IN VEGAS to THE ROCK and MATCHSTICK MEN, in DRIVE ANGRY 3D he seems to be going through the motions. His deadpan nature might have played right in the stone-cold THE MECHANIC, but with all of the insanity going on around him in this manic and high-speed schlock fest, Milton should be tossing around a few zingers and eye rolls.

Heard, who looks the role of the standard sexpot and delivers the attitude, seems to be holding back a bit. She kicks butt and takes names, but doesn’t go full throttle in a role that demands it.

Fichtner, on the other hand, is right on the mark. The Accountant seems to relish every odd encounter, twisted character and devilish move he makes. Where Milton and Piper seem stuck in neutral, The Accountant is in overdrive, hamming up every minute he’s around.

DRIVE ANGRY 3D does properly use 3D for this type of film, utilizing more conventional pop-out tactics with the action and violence, in contrast to the depth-of-field technique that many modern films employ.

Although the 3D technology and Fichtner pop, everything else fizzles. I’d leave DRIVE ANGRY 3D in the garage.

Grade: C-

My Not-so-bold 2011 Oscar Predictions

2011-02-27T15:12:00.000-08:00

Here are my not-so-bold predictions for tonight's Academy Awards. My predictions are based on precursors, industry insider selections and a few on personal taste. The only race that seems to be like a real horse race is the one for supporting actress between Melissa Leo (THE FIGHTER) and Haillee Steinfeld (TRUE GRIT). I was a believer in Leo, but after her self-promotion for the award, and further thinking about Steinfeld's impact on TRUE GRIT, I'll be pulling for the youngster during tonight's ceremonies.

If you're curious to see who I picked, particularly if you're in the pool I'm in (I'm looking in your direction Big D), you'll need to double-click on the picture of my picks below.

Good luck to Anne Hathaway and James Franco tonight. The early buzz has been bad for the show, so expectations are low. I think Franco may have a trick or two up his sleeve. Let's hope so.

GNOMEO AND JULIET

2011-02-17T12:27:00.000-08:00

Photos courtesy of Miramax Films
A William Shakespeare classic romance gets the animated treatment with GNOMEO AND JULIET.

This Capulet/Montague struggle is set in modern times, with feuding next-door neighbors serving as the leaders of their factions. The factions are garden gnomes, the red ones as Capulets and the blue ones as the Montagues. In the midst of the gnomes backyard brawl, a blue gnome named Gnomeo and a red one named Juliet meet on neutral ground and fall in love.

With several different versions of Romeo and Juliet being displayed on the big screen, it was bound to be animated.

As many liberties as Baz Luhrmann took with his 1996 Leonardo DiCaprio/Claire Danes, MTV-stylized version of Romeo and Juliet, the wild director has nothing on GNOMEO AND JULIET. To call GNOMEO AND JULIET an adaptation of Romeo and Juliet is not really a just statement. To call it an excuse to capitalize on the classic’s timeless popularity is more accurate. GNOMEO AND JULIET is a thinly-veiled version of Romeo and Juliet, one which realizes as much on pop culture as it does the literary masterpiece.

References and source material aside, this kiddie romancer does have a few things going for it. A sub-plot involving a pink flamingo provides more substance then the central conceit, and an on-line add for lawn mowers, voiced by Hulk Hogan, delivers some much needed laughs. I also liked the inherent danger in being a garden gnome, and the clank or clink at which most of their encounters begin and end.

GNOMEO AND JULIET is loosely based on Romeo and Juliet, so much so, that it dodges the tragedy completely, and yet fails to capture much comedy in a genre that almost always demands it.

Grade: C

ANOTHER YEAR

2011-02-17T08:39:00.000-08:00

Photos courtesy of Sony Pictures Classics

Writer-director Mike Leigh once again examines middle-class British angst, this time with the drama ANOTHER YEAR.

Leigh drops us into the world of Tom and Gerri, an upper-middle class couple that are happily married and dutifully employed. Tom is a geologist, while Gerri works as a guidance counselor in the public sector. Gerri works with Mary, an administrative assistant, who outwardly seems to be bright and bubbly, but upon further review isn’t so happy with her lot in life.

From time to time, Gerri invites Mary over to her home for dinner or drinks. This is where Mary finds herself the most comfortable, and also open to revealing her fears and inhibitions.

Mike Leigh films have never been heavy on plot, but ANOTHER YEAR really is nothing more and nothing less than a carefully observed character examination.

Tom and Jerri, played by Jim Broadbent and Ruth Sheen, serve as this drama’s foundation. Both provide wonderful, understated performances as well-adjusted professionals, parents and friends. They serve as our eyes and ears for understanding the issues that surround Mary, Tom’s friend Ken and his brother Ronnie.

In contrast, Mary is the film’s lightening rod. When Mary rolls into the dinner party, the summer cookout or just to pop in, she changes the atmosphere upon arrival. Mary is a difficult character, but is handled terrifically by actress Lesley Manville. Mary’s loose lips, nervous ticks and flirtation with Tom and Gerri’s son Joe pushes the limits when it comes to bearing an often annoying character. Yet through Manville’s eyes, and her weekend disposition, we can sense that these nuances are just the cusp of a deeper problem.

Leigh tells ANOTHER YEAR in exactly a year’s time, breaking down the film into four segments: spring, summer, fall and winter. By utilizing the seasons, Leigh alters the tone with each segment, and the emotional make-up of Mary. This choice also allows a smooth transition from segment to segment and some foreshadowing into our characters plights.

ANOTHER YEAR might not have as many grand things to say as past Leigh works, but it’s yet another brilliant dissection of everyday Brits.

Grade: B

TOP 10 OF 2010 (#10 - #6)

2011-02-09T12:09:00.000-08:00

10) GREENBERG
Ben Stiller shows he’s more than just a funny guy in the comedy-drama GREENBERG. Stiller sacrifices his lovable nature and slips into the skin of Roger Greenberg, a complete jerk. Although Stiller’s humor still shines through, the talented actor delivers several layers to a flawed and tormented individual. Greta Gerwig is also terrific as Greenberg’s love interest, creating an apprehensive, masochistic and yet likable presence as Florence.

9) MARWENCOL

A traumatic experience provides the basis for the melancholy, oddly funny and moving documentary MARWENCOL. Mark Hogancamp was beat into a coma when five men jumped him outside of a bar one night. After therapy doesn’t work, Mark finds solace by creating a post-World War Two town where dolls inhabit his imaginative world. Through the interaction with the characters and situations he creates, Mark provides his own therapeutic experience, revealing a lot about his feelings, inhibitions and desires. MARWENCOL is an emotional wallop.

8) HEREAFTER

HEREAFTER is a moving and contemplative exploration of what lies ahead when our souls move on. Director Clint Eastwood taps into the synchronicity of Peter Morgan’s script and provides a haunting and emotional trek into the psyche of three fractured individuals. A terrific cast headlined by Matt Damon conveys various levels of grief in reflective and humanistic ways.

　
7) THE SOCIAL NETWORK

THE SOCIAL NETWORK examines our current state of societal affairs and an intriguing rise-to-the-top story of Facebook creator Mark Zuckerburg. Director David Fincher works a clever script by screenwriter Aaron Sorkin into an excellent morality tale, and benefits from a familiar, but no less effective performance from Jesse Eisenberg. The bookends to this drama are as wonderful and biting as any film last year.

　　
6) THE GHOST WRITER

As suspenseful as it is thrilling, THE GHOST WRITER is an original, edge-of-your-seat, overseas thriller. Following the death of the original writer, Ewan McGregor is called in as a ghost writer to pen the memoirs of former British Prime Minister Adam Lang, played by Pierce Brosnan. The mystery that ensues is a throwback to yesteryear, building thrills and intensity from a myriad of characters and a plot that weaves its way in and out of hot-button political terrain.　

Photos courtesy of Focus Features, Open Face, Warner Bros. Pictures, Columbia Pictures and Summit Entertainment

TOP 10 OF 2010 (#1 - #5)

2011-02-09T11:54:00.000-08:00

5) BLACK SWAN
Darren Aronofsky’s BLACK SWAN is a rare find, a horror film with substance. This psychological horror film benefits from a shockingly good performance from Natalie Portman. Portman stars as Nina, a ballet dancer cast as the leads in BLACK SWAN, as both the white and black swan. Nina’s gradual unravelling from prim and proper princess into a darker more disturbing individual is haunting thanks to Portman’s performance, and Aronofsky’s handling of the material.

4) 127 HOURS

Director Danny Boyle and star James Franco deliver a gut-wrenching, self-discovery drama with 127 HOURS. This true tale of outdoorsman Aarron Smith’s tragic fall and trappings in the cavernous rock formations in Utah is a harrowing, but inspirational awakening of one man’s soul. Boyle’s manic directorial eye is more subdued in 127 HOURS, but the talented director still leaves his mark. Franco delivers a performance that is straightforward and yet nonetheless effective, conveying anguish, despair and redemption with minimal dialogue.

3) MOTHER

The most thrilling movie of 2010 came from overseas with the Hitchcockian Korean film MOTHER. A desperate mother pulls out all the stops to prevent her son from spending a lifetime in prison in director Joon-ho Bong’s latest. THE HOST director has improved upon his already impressive early work, delivering a truly suspenseful mystery wrapped around one woman’s personal conundrum. Hye-ja Kim is mother, the anchor of this odd, funny, slightly disturbing and thrilling tale. Kim’s performance runs the gamut of emotions: anger, sadness, vengeance and elation, all conveyed with deep sincerity. The only thing rarer than Kim’s fine performance, is a genuinely shocking finish. MOTHER delivers both, and is as enriching as it is entertaining.

2) BLUE VALENTINE

Ryan Gosling and Michelle Williams deliver a lifetime’s worth of emotions in the modern love story, BLUE VALENTINE, my runner-up as the best film of 2010. Gosling and Williams, as Dean and Cindy, along with co-writer and director Derek Cianfrance purely capture the thrill of falling in love and the heartbreak in seeing it end. Cianfrance wisely juxtapositions Derek and Cindy’s initial encounters and romance with their later marital struggles, lending a bittersweet touch to the flashbacks, and tear-jerking moments to the couples’ strained ending. BLUE VALENTINE wonderfully and painfully examines the honeymoon and when it is over.

1) INCEPTION

Writer-director Christopher Nolan’s science-fiction masterpiece is said to have been in the works for ten years, and it was worth every minute of it. This imaginative and explorative trip into the psyche of dreams and one man’s burdensome past is a feast for both the eyes and mind. Nolan enlists Leonardo Dicaprio to navigate us through the structure of one’s subconscious in spite of being oblivious of his own. Dicaprio is surrounded by a talented cast including Ellen Page, Michael Caine, Joseph Gordon-Levitt and Ken Wantanabee, but Nolan is the real star. The director’s visionary work is a complex experience built on philosophical, emotional and thematic pillars. INCEPTION is complicated, but Nolan’s skill in delivering this mind-blowing dramatic thriller is the ease at which his story is told through its narrative and visuals. INCEPTION is the cinematic event of the year, and my top film of 2010.

Photos courtesy of Fox Searchlight, Magnolia Pictures, The Weinstein Company and Warner Bros. Pictures

2010 Honorable Mentions (continued)

2011-02-08T10:14:00.000-08:00

THE TOWN THE TOWN sounds a lot like an old-western and this modern day thriller feels just like one. Ben Affleck, just like Clint Eastwood, may find his best cinematic years behind, not in front of, the camera. Just like his directorial debut, GONE BABY GONE, Affleck captures the essence of his Beantown roots, creating authentic characters and intense confrontations from a plot that could have gone in the wrong direction. THE TOWN isn’t your average action film, one with brains and heart.

SHUTTER ISLAND Although SHUTTER ISLAND doesn’t break any new ground, it does feel frighteningly authentic thanks to director Martin Scorsese and actor Leonardo DiCaprio. This psychological horror film centers around a police investigation at a remote insane asylum and is terrifically creepy thanks to the aura Scorsese creates and the determined character that Dicaprio encompasses.　

FROZEN FROZEN is a well-orchestrated thriller that shrewdly adapts its surroundings into its participants perils. Three friends are marooned at the top of a ski-lift during sub-freezing temperatures for the weekend, and writer-director Adam Green finds plenty of obstacles outside of the weather to give FROZEN all of the chills it needs.

EDGE OF DARKNESS EDGE OF DARKNESS is another thriller that benefits from the forceful presence of Mel Gibson as a father seeking revenge for his daughter’s death, and a screenplay that doesn’t let anyone off-the-hook. This personal and political pot-boiler has more brawn than brains, but there’s enough intellect in the subtext to keep it from masquerading as standard action fare.

SALT
SALT, on the other hand, is extremely well orchestrated standard action fare. Angelina Jolie is a spy, or an agent, or a double-agent in this crazy, exhilarating and utterly entertaining romp from director Phillip Noyce. Noyce, who’s most recent works have been more serious, cuts loose with this fun and completely ridiculous mystery.

Photos courtesy of Paramount Pictures, Columbia Pictures, Anchor Bay Films and Warner Bros. Pictures

2010 Honorable Mentions

2011-02-08T10:13:00.000-08:00

THE FIGHTER

Director David O’ Russell crafts the real-life tale of an underdog boxer into a best picture nominee with THE FIGHTER. Mark Wahlberg boxes his way towards a championship as prize fighter Micky Ward. Although his route to the title is tough, Micky’s bigger bout is with his antagonistic, but well-meaning family. O’Russell’s dissected family dynamics before, but not nearly as well in this realistic and emotional family drama. Melissa Leo and Christian Bale lose themselves in self-destructive, but hopeful characters.

TOY STORY 3, TANGLED and HOW TO TRAIN YOUR DRAGON

Although no animated features cracks my top ten in 2010, it was still a fine year for the genre. TOY STORY 3, TANGLED and HOW TO TRAIN YOUR DRAGON each brings something unique for kids and their parents.

TOY STORY III picks up where one and two left off, dazzling us with thrilling action sequences, laugh-out loud jokes and heartfelt moments between Woody, Buzz and the rest of Andy’s favorite toys.

TANGLED is a throwback princess movie in the standard Disney mold. Although the lead characters are rather bland, the humor stemming from the film’s sidekicks was on-the-mark, and the magical moments are highlighted with a romantic scene on the sea and a terrific twirling montage with Rapunzel’s golden locks.

HOW TO TRAIN YOUR DRAGON is Dreamworks finest from 2010. A friendship between former foes in a Viking and a dragon is reminiscent of another foreign friendship between an extraterrestrial and a boy named Elliott. Although not as exquisite as E.T., DRAGON still soars with terrific aerial shots and coliseum encounters, and even benefits from the 3D technology that many pictures still struggle to get right.

WINTER'S BONE

It’s not often that films cut to the core of basic human necessities, but WINTER’S BONE serves up a drama that is equally thrilling and moving. Jennifer Lawrence, at only 19, conveys a deep determination, tough attitude and wisdom beyond her years as the heroine of this gutsy tale of a teenager who must find her estranged dad to save her family and home. WINTER’S BONE is a riveting look into a slice of life that screenwriters typically avoid.

Photos courtesy of Paramount Pictures, Walt Disney Pictures, Dreamworks Pictures and Roadside Attractions

The Worst Ten Films of 2010 (#6 - #10)

2011-02-07T19:49:00.000-08:00

Thanks to the birth of my second daughter Claire, and a reduced production schedule, I avoided a lot of bad films in 2010, so much so, that I won’t call my list the worst films of 2010, but rather the worst films I saw in 2010. With that said, these ten should still be avoided.

10) MONSTERS
MONSTERS is an awkward love story with a monster movie as its backdrop, failing to ignite much passion or sparks between its leads. The impromptu screenplay hangs the romantic leads out to dry, while the monster moments are effective, but cut short by writer-director Gareth Edwards. The monsters are frightening, but they had nothing on the interaction between Whitney Able and Scoot McNairy.

9) THE RUNAWAYS

THE RUNAWAYS is a bio-picture about controversial girl rockers, featuring Kristen Stewart and Dakota Fanning. The film may have seemed edgier, had it not been so boring. The on-stage performances by these young stars are convincing, but the backstage theatrics and melodrama make this Joan Jett coming-of-age production a real yawner.

8) LITTLE FOCKERS

Robert Deniro and Ben Stiller reunite for more odd encounters in LITTLE FOCKERS. Although Deniro and Stiller walk away unscathed, Jack and Greg did not, with a collection of screenwriters and director Paul Weitz forcing the characters into ludicrous and humorless situations. LITTLE FOCKERS plot involving Greg’s kids is just another excuse to drag out another series through Hollywood’s comedy remanufacturing plant.

7) COUNTRY STRONG

COUNTRY STRONG is neither strong, or very country. A weak narrative scattered amongst three country pop stars and their manager is completely hollow. The performances deliver second-rate tunes well enough, but it’s the other moments when their mouths are open that make this made-for-TV melodrama grating. Gwyneth Paltrow’s diva Kelly Canter is a new low for the actress. Despite the less than stellar screenplay, Paltrow draws no empathy for this miserable alcoholic.

6) WALL STREET: MONEY NEVER SLEEPS
Gordon Gecko returned from the dead, or at least from behind bars in the not-so-thrilling sequel, WALL STREET: MONEY NEVER SLEEPS. Michael Douglas reprises his role as Gecko, and Oliver Stone returns, but the controversial and talented director leaves his significant scripting and directing skills in the 80’s. Although money never sleeps, I nearly did gazing at the dollar signs wasted on this tedious retread.

Photos courtesy of Vertigo Films, River Road and Linson Entertainment, Universal Pictures, Sony Pictures and 20th Century Fox

The Worst Ten Films of 2010 (#1 - #5)

2011-02-07T19:12:00.000-08:00

5) LIFE AS WE KNOW IT

Tragedy and comedy collide in the romantic comedy mess LIFE AS WE KNOW IT. Katherine Heigel and Josh Duhamel are de facto surrogate parents after mutual friends die in an auto accident, leaving their young son in the hands of these singles. Even if you buy into the far-fetched set-up, there’s little to accept from these sometimes selfish and often foolish characters.

4) VALENTINE'S DAYThere’s nothing sweet that comes from VALENTINE’S DAY. This bloated, syrupy and ridiculous romantic comedy, mixes several story line and stars, each of which is less compelling then the next. Some things could only happen in the movies, and others could only happen in a Garry Marshall movie. This one is the latter.

3) COP OUT

COP OUT busts in minus any thrills or laughs. Writer-director Kevin Smith hits rock bottom with this so-called, buddy-cop comedy starring Bruce Willis, Tracy Morgan and Sean William Scott. Each star is type cast in a role that is equally unfunny and annoying. The only thing less effective than Smith’s by-the-book script, is the half-hearted action sequences pasted in between the ineffective humor. COP OUT lives up to its title.

2) THE WOLFMAN

An Oscar pedigree encompasses the at-times, laugh-out loud, bad thriller and horror film THE WOLFMAN. Past Oscar nominees Anthony Hopkins and Benico Del Toro should have foreseen the unintended laughs in the film’s mono-y-mono finale as fighting wolves. What isn’t unintentionally funny, is extremely crude, following the standard werewolf set-up and payoff. Emily Blunt attempts to bring some levity to this nonsense, but is trumped by horrific and grotesque killings. Seriously, beware of THE WOLFMAN.

1) THE LAST AIRBENDER

The worst film I witnessed in 2010 was the nearly incomprehensible fantasy adventure, THE LAST AIRBENDER. Just when you thought it couldn’t get any worse for writer-director M. NIGHT SHYMALAN, it does, with this tame, lifeless and illogical tale of a magical child with unearthly powers. The Nickelodeon based film offers nothing for adults, and little for anyone else familiar with the animated series. Half-baked special effects, porous 3-D and some of the worst child performances of the year encompass this grand waste of imagination and dollars. Please, bend over backwards to avoid Shylaman’s last gasp of air.

Photos courtesy of Warner Brothers, Universal Pictures and Paramount Pictures

RABBIT HOLE

2011-02-04T10:41:00.000-08:00

Photos courtesy of Lionsgate Films
Nicole Kidman and Aaron Eckhart grieve over the loss of their four-year old son in the drama RABBIT HOLE.

Eight months have passed since Becca (Kidman) and Howie’s (Eckhart) son Danny died, and the grieving process continues. They enroll in a support group for parents who have lost a child, but the group provides little support for what ails them. Making matters more difficult is the fact that Becca’s single sister, Izzy has recently become pregnant.

Becca and Howie work through mourning in different ways. Becca wants to put the memory of Danny behind her, while Howie finds comfort in watching old videos of his son.

Tackling the subject of grief, particularly the loss of a child, is a daunting task. RABBIT HOLE takes a mannered approach to the subject, and in spite of its best intentions, feels contrived and shallow.

Just like many other dramas, when the going gets tough for middle to upper class suburbanites, the middle to upper class suburbanites turn to pot smoking and possibly adultery.

In addition to these clichéd actions, the film at times feels stagy. The film is based on a stage play by David Lindsay-Abaire and some of the more dramatic moments play as such.

This is no fault of Kidman and Eckhart. Both actors convey genuine emotions in their portrayals, with Eckhart the more sympathetic of the two. Eckhart’s Howie wears his love for his son on his sleeve, remembering the fondest of times with his boy. Kidman’s Becca finds no solace in the memories, and seems to resent the fact that life goes on as usual around her. It’s through their performances that RABBIT HOLE does illicit signs of humanity.

RABBIT HOLE doesn’t wallow in shame, but the examination of grief, particularly that of losing a child, deserves better.

Grade: C

THE MECHANIC

2011-02-04T10:40:00.000-08:00

Photos courtesy of CBS Films
An assassin trains his mentor’s son at his own sadistic trade in the action remake THE MECHANIC.

Jason Statham is Arthur Bishop, an assassin who’s mentor Harry, played by Donald Sutherland, is double-crossed and murdered. Following his death, Harry’s son Steve, played by Ben Foster, wants revenge and wants Arthur to teach him the tricks of the trade. Arthur reluctantly agrees, and eventually learns that Steve will be a difficult pupil.

In standard action movies, there are good guys and bad guys. In THE MECHANIC, there are bad guys and worse ones. This proves to be the Achilles Heel of the film, a film which demands a rooting interest.

The setup is simple enough to establish a hero and a villain, but this remake, based on the 1972 Charles Bronson revenge flick, seems to relish the fact that all of its participants have an evil streak.

THE MECHANIC may have been able to get away with nary a hero had the action delivered the goods. The early scenes are the most interesting, with Arthur relying on his cunning skills to escape would be assailants. Steve isn’t the sly type though, so the latter scenes are less reliant on execution, and more on brute force. These scenes do not play as well, sacrificing suspense for shock value.

The performances are decent, yet unimpressive. Foster is solid, delivering a quirky and weird sense to Steve, while Statham is workmanlike, continuing to be Hollywood’s deadpan Bruce Willis.

The film concludes with a bit of a twist, but I was hoping for some form of personal redemption. THE MECHANIC could have used a bit of a tune-up.

Grade: C

I LOVE YOU PHILLIP MORRIS

2011-01-19T10:45:00.000-08:00

Photos courtesy of Europa Corp.

Jim Carrey falls for a fellow inmate in the romantic comedy I LOVE YOU PHILLIP MORRIS.

Carrey is former police officer, now inmate, Steven Russell. After a near-death experience in an automobile accident, Steven decides to come out of the proverbial closet. After divorcing his wife, played by Leslie Mann, and being booted from the police force, Steven desperately needs an income. Unable or unwilling to find employment, Steven generates money through faulty lawsuits involving injuries.

Eventually his life of fraud lands him in prison where he meets his soul mate in Phillip Morris, played by Ewan McGregor.

Romantic comedies typically don’t lend themselves to twists and turns, but thanks to Carrey and a script that wouldn’t seem plausible if it weren’t actually true, I LOVE YOU PHILLIP MORRIS delivers a refreshing blend of surprises, humor and romance.

Carrey, channeling his inner Ace Ventura, delivers a truly unique character, one which would typically be classified as a crook, but through his performance earns several big laughs. Steven’s fraudulent escapades seem more ornery than mean-spirited, and thanks to Carrey’s wild, funny and heartfelt antics we root for Steven to find his path in life.

Carrey’s counterpart McGregor doesn’t fare quite as well. McGregor’s Phillip is supposed to be as naïve and innocent as Steven is eccentric and outlandish, but the talented Brit has a hard time pulling it off. McGregor, just months shy of his 40th birthday, has been cast in a role that seems appropriate for someone half his age.

Nevertheless, screenwriters and directors Glenn Ficarra and John Requa structure the screenplay to make the romance between Steven and Phillip not only plausible, but sincere.

I LOVE YOU PHILLIP MORRIS isn’t a romantic comedy for everyone, but for those a bit more adventurous, this gay prison laugher is no fraud.

Grade: B

THE GREEN HORNET

2011-01-19T10:39:00.000-08:00

Photos courtesy of Sony Pictures
A medial mogul’s son takes over the family business and also becomes a crime fighter in the latest superhero film, THE GREEN HORNET.

Seth Rogan is Britt Reid, a reckless twenty-something thrust into the role of newspaper owner after the untimely death of his father. Although Britt takes over a powerful role in the media world, he becomes more fascinated with his father’s cars and Kato, the mechanic behind the machines.

Britt decides with Kato’s souped-up rides and fighting skills, the two should masquerade as superheroes during the night, beating up bad guys and more or less having fun.

Just as Britt and Kato are thinly disguised as superheroes, so THE GREEN HORNET is thinly disguiseed as a superhero movie.

THE GREEN HORNET is first and foremost a buddy comedy, attempting to capitalize on Rogan’s recent popularity and boyish charm. This works in flashes, but the film begs for something more.

A flimsy script is held together by adequate action sequences that fail to ignite, and performances that deserve to be in a better film. Rogan and Jay Chou, as Kato, make for an unlikely, but effective duo, with Chou’s pitch-perfect deadpan reactions to Rogan’s wisecracking and childish tricks. Adding some extra fun to the mix is Christoph Walz as the Green Hornet’s nemesis Chudnofsky, the crime kingpin of LA. As he did in INGLOURIOUS BASTERDS, Walz chews up every scene he’s in. Chudnofsky is as over-the-top as one should and could expect.

In spite of the right performers in the right roles, THE GREEN HORNET’s screenplay seems to be on auto-pilot, and the direction by the talented Michel Gondry is lackluster.

THE GREEN HORNET may be a buddy comedy, but it’s one that could have used a little more sting.

Grade: C

HOW DO YOU KNOW

2011-01-19T10:30:00.000-08:00

Photos courtesy of Sony Pictures
A former team USA softball star finds herself in limbo in love and softball in the latest James Brooks romantic comedy, HOW DO YOU KNOW.

Resse Witherspoon is Lisa, a softball veteran recently cut by team USA, who isn’t sure what to do now that she isn’t playing the game. Lisa is dating Matty, a womanizing, but likable Washington Nationals relief pitcher played by Owen Wilson. She’s also been set up by one of her friends on a blind date with George, a businessman who is about to be indicted by the feds.

George, played by Paul Rudd, is in legal hot water, and is left to sink or swim by the company’s CEO and owner, Charles, his father, played by Jack Nicholson.

HOW DO YOU KNOW would be an interesting companion piece to Ricky Gervais’s THE INVENTION OF LYING. Gervais’s comedy was a somewhat scathing look at what life would be like if everyone told the truth. THE INVENTION OF LYING was occasionally funny, but drenched in cynicism.

HOW DO YOU KNOW features four characters who also always tell the truth, ones which wear their emotions on their sleeves, and a script that is hopeful about human nature. Although the dialogue in HOW DO YOU KNOW doesn’t always sound realistic, it does evoke emotions from the characters that are honest and revealing.

By allowing his characters to speak their minds and their hearts, director James Brooks has concocted a messy, but thoroughly enjoyable romantic comedy, one which adeptly balances both humor and heart.

A film like this wouldn’t work without strong and likable leads. Witherspoon and Rudd are naturally charming, but do not have an instant spark. This actually plays to the strength of HOW DO YOU KNOW by allowing both Lisa and George time to learn about one another and fall in love.

Owen Wilson also creates a winner in Matty, a confused womanizer who believes he’s finally met the woman for him. By creating such a strong supporting character, Matty creates suspense for Lisa’s romantic decision.

The only disappointment is Nicholson, who is saddled as the controlling father figure, and is alloted only a last minute moment of redemption.

HOW DO YOU KNOW is not a conventional romantic comedy, allowing the viewer to not only see within the characters, but also hear it.

Grade: B-

LITTLE FOCKERS

2011-01-19T10:25:00.000-08:00

Photos courtesy of Universal Pictures
Ben Stiller is still vying for Robert Deniro’s approval after all these years in the comedy LITTLE FOCKERS.

Stiller again reprises his role as Greg Focker, the lovable, but flawed son-in-law of Jack Byrnes, played by Deniro. While reviewing the Byrnes family tree, Jack has a mild heart attack and begins to assess his family’s structure. As the family patriarch, Jack believes Greg is the man to take over that role once he has moved on. Greg still has a few things to prove though.

The title LITTLE FOCKERS would lead you to believe that this third installment of the MEET THE PARENTS series would focus on Greg’s kids and his life as a father. Wrong, this is more of a side note, and an excuse to drag out another series through Hollywood’s comedy remanufacturing plant.

The jokes are as flat as this three-film drawn-out plot of Greg trying to win over Jack’s approval. For every minor joke that hits, there are several wrong-headed jokes and scenes that don’t. Whether it’s Jessica Alba assisting Greg with inserting a tube up a man’s rectum, Greg providing Jack a shot after taking a pill for erectile dysfunction or Greg and Jack engaged in a slugfest at Greg’s son and daughter’s fifth birthday party, there’s little that director Paul Weitz and a collection of screen writers get right.

A proverbial who’s who of actors encompass the cast including Dustin Hoffmann, Barbara Streisand, Harvey Keitel, Laura Dern, Blythe Danner, Owen Wilson and the aforementioned Alba, but their appearances serve more as cameos than characters. Although Stiller and Deniro go unscathed with their performances, the scenarios they find their characters involved in are either ludicrous or tired.

Here’s to LITTLE FOCKERS being the last Greg and Jack reunion, for their sake and ours.

Grade: D+

THE TOURIST

2011-01-19T10:20:00.000-08:00

Photos courtesy of Sony Pictures

Angelina Jolie seduces Johnny Depp aboard a European locomotive in the thriller THE TOURIST.

Depp is Frank, an American tourist headed towards Venice in hopes of soaking up the sights and forgetting his ex. Jolie is Elise, a woman caught up in her husband’s escapades and also in harm’s way. In order to throw off her pursuers, Elise chooses Frank, an apparently innocent, but willing participant in her twisted game.

THE TOURIST feels like a softened and less thought out version of the unheralded, but clever little thriller A PERFECT GETAWAY.

Both films are thrillers set across exotic landscapes, with attractive leads and a mystery biting at its core. Not only does THE TOURIST not thrill like A PERFECT GETAWAY, but the revelation in this romantic thriller feels false and forced.

All may have been forgiven had Depp and Jolie been able to create any sparks in the chemistry department. Both former Sexiest People of the Year, the steam between the two is surprisingly absent, and the rest of the screenplay, penned by four writers, including director Florian Henckel von Donnersmarck doesn’t provide any assistance.

Henckel von Donnersmarck, who directed the brilliant thriller THE LIVES OF OTHERS, fails to find the right tone for THE TOURIST. The proceedings are too laid back, capturing the beauty of the European countryside and Venice canals, but failing to nail down any intensity in the mystery, the love affair or the police investigation. Depp, Jolie and Henckel von Donnersmarck are wasted, as are a name supporting cast consisting of Paul Bettany, Timothy Dalton and Rufus Sewell.

THE TOURIST is nothing more than pretty faces and landscapes.

Grade: C-

TRON

2011-01-19T10:15:00.000-08:00

Photos courtesy of Walt Disney Pictures

The creator of video games and a major corporation finds himself trapped in one of his own creations in the science fiction adventure TRON: LEGACY.

Jeff Daniels is Kevin Flynn, the owner of a successful technology company who still enjoys working on the ground level of the industry, continuing to experiment with the possibility of virtual explorations for mankind. Kevin is a father to his 12-year old son Sam, and a widower. One night after putting his son to bed, Kevin heads to his arcade for more research and experimentation. He never returns.

Twenty-years later Sam is now the majority owner of his father’s corporation, when his surrogate father and a board member of the corporation receives a page from the arcade that Sam’s father once owned. Sam travels to the arcade, and discovers the porthole to the virtual reality his father created.

TRON: LEGACY is a visual and auditory feast, the quintessential moving picture of 2010. TRON: LEGACY is such an entertaining film in those regards that you almost forget that it doesn’t amount to much.

This science-fiction flick is much more fiction than science, leaping into a virtual world and never looking back. Where a more cerebral film would have explored technology’s impact on society, or at the very least explored something more than surface material, TRON: LEGACY is what it is, a video and audio celebration of technology.

The world of Tron is a unique experience, creating a land that is imaginative and futuristic, but also simplistic enough to follow its concepts and limitations. Means of transportation appear from thin air, the characters often move in sync to the film’s soundtrack and the palette of colors is limited, but effective.

First-time film director Joseph Kosinski’s experience with art direction in video games and commercials pays off in TRON: LEGACY, even if a collection of screenwriters don’t provide much assistance in regards to plot or characterization.

Letting the soundtrack play and the images unwind, TRON: LEGACY is easily enjoyed as a mind-numbing, but sensory-invigorating trip inside a video game.

Grade: B-

MONSTERS

2011-01-18T10:09:00.000-08:00

Photos courtesy of Magnolia Pictures

Another alien invasion wreaks havoc on planet earth, this time south of the United States border in the horror film MONSTERS.

The aliens have infected a large portion of Mexico, after a NASA probe collecting alien samples crashed in Central America. Many US residents are fleeing the area, including Samantha, the daughter of a wealthy United States media mogul. She’s escorted home by Andrew, a freelance photographer who is currently working for her father’s business. Andrew isn’t pleased that he’s been awarded the assignment.

Our third love story on this edition of “Now Playing” (in addition to TANGLED and LOVE AND OTHER DRUGS), doesn’t play as well as the first two.

Surprised? Yes, MONSTERS is more or less a generic love story played against the backdrop of a monster movie. When I say backdrop, I mean backdrop, as the monsters are more or less an afterthought. It’s really a shame, because writer-director Gareth Edwards understands how real horror works, establishing an atmosphere of terror, and allowing it’s menace to lurk slowly around the trees, in the seas or up in the clouds.

Unfortunately MONSTERS isn’t much of a monster mash as it is an awkward love story, and this is where Edwards seems out of his element. The interaction between the two leads, Whitney Able and Scoot McNairy, is at its best acceptable, and at its worst, grating. There’s little chemistry between the two. This isn’t as much a fault of the two actors, but rather the impromptu screenplay that left much of the interaction in the hands of Able and McNairy’s improvisational skills.

MONSTERS moments of horror are actually fairly well done, building suspense through exotic locales and glimpses of the creature, rather than going full bore with outlandish special effects and gore.

I only wish the film was as frightening as the romance.

Grade: C-

TANGLED

2011-01-18T09:59:00.000-08:00

Photos courtesy of Walt Disney Pictures

A very hairy situation traps a beautiful princess in Disney’s latest animated feature, TANGLED.

TANGLED is Disney’s version of the classic tale of Rapunzel, the long-haired princess who was kidnapped and left marooned in a tower. In Disney’s adaptation, Rapunzel, voiced by Mandy Moore, is captured by a gypsy after the gypsy discovers that Rapunzel’s hair possesses great powers. Rapunzel is forbidden to leave the tower, allowing the gypsy to hoard Rapunzel’s powers.

Flynt Rider, a thief and rebel, stumbles upon the tower. Flynt, as you may have guessed, is Rapunzel’s ticket to freedom. In exchange for her freedom, Rapunzel will return something to Flynt that he seized from the king and queen.

Mixing an old-fashioned fairy tale with modern-day technology and sharp wordplay, TANGLED is an entertaining princess flick worthy of both girls and boys attention.

This Grimm fairy tale seems aimed at young girls, with a princess heroine as the protagonist, and two cutesy sidekicks. Although the film works as standard princess fare, it also offers a few hair-raising action sequences, and some occasionally effective 3D work, that plays well to anyone, but even more so to boys.

TANGLED’s sense of humor and romanticism overshadow the bland nature of Rapunzel and Flynt, enough that the storybook fable works. The humor, built into Flynt’s dialogue and the animal sidekicks, a non-speaking horse and chameleon, are abundant, but subtle in comparison to today’s standards.

There’s even a touch of the old Disney magic. The opening sequence where Rapunzel’s birth parents send out a distress signal for their daughter, and later when both Rapunzel and Flynt view the signal while at sea is not only an affecting emotional moment, but also an aesthetically pleasing one.

Much like last year’s THE PRINCESS AND THE FROG, Disney appears to be back on their game in the animated genre.

Grade: B

MORNING GLORY

2010-12-12T19:50:00.000-08:00

Photos courtesy of Paramount Pictures

Rachael McAdams tries to turn a major network’s cellar-dwelling television program into a success in the comedy MORNING GLORY.

McAdams is Becky Fuller, a twenty-eight year old jobless Californian who’s seeking employment after falling victim to budget cuts at a local television station. She sends her resume all over the country, and finally lands a call from a network station based in New York. She lands the job of executive producer of the station’s morning show, Daybreak, and hopes to bring the show’s ratings up from the basement to the top.

She succeeds in coercing former nighttime anchor Mike Pomeroy, played by Harrison Ford, to host the show alongside mainstay Colleen Peck. Despite the all-star team, Mike and Colleen don’t exactly see high to eye.

Becky Fuller is the kind of executive producer anyone would like to have working for them, both in and out of the television industry. She’s devoted to her craft, her crew and she’s so naïve and optimistic that pie-in-the-sky dreams don’t seem like pie-in-the-sky dreams.

She’s also a character who deserves a more honed screenplay. MORNING GLORY is as pleasant as pleasant can be, creating a realistic, yet engaging atmosphere for Becky to navigate. It features a uniformly good cast, with Ford as the old curmudgeon anchor, Keaton the bright-eyed, but jaded co-host and Patrick Wilson as Becky’s charming love interest Adam.

All of the pieces are in place for a top-notch comedy, and there are some wonderful moments laced into MORNING GLORY, but writer Aline Brosh McKenna, and director Roger Michell, aren’t confident enough in the characters they’ve developed. MORNING GLORY goes to great ends to establish who Becky and Mike are, that the film’s glossed-over ending feels false and unsatisfying. Not only does Becky deserve a better outcome, but so does McAdams, who carries the film with a light, but big-hearted performance that is truly memorable.

MORNING GLORY has crafted all the right characters, but doesn't have the confidence to have them stay true to their nature.

Grade: C+

HARRY POTTER AND THE DEATHLY HALLOWS: PART 1

2010-12-12T19:22:00.000-08:00

Photos courtesy of Warner Bros.

Harry and his friends find life outside of Hogwart’s a lot more difficult in the seventh and final chapter of the Harry Potter series, HARRY POTTER AND THE DEATHLY HALLOWS: PART ONE.

Harry, Ron and Hermione are no longer attending Hogwart’s School of Witchcraft and Wizardry, and now will be forced to put their schooling into practice. Lord Voldemort, the murderer of Harry’s parents, is dead set on sending Harry and his two friends to the grave, and has assembled the Ministry of Magic to plot the threes doom. Harry, Ron and Hermoine catch wind of the plan and flee to the outskirts where they can hide in isolationism and plot their next move.
Harry, Hermione and Ron have grown up right in front of our own eyes, and so has the HARRY POTTER series. What started as a children’s adventure has turned into a survival test, and the subject matter isn’t for the faint of heart.

In many ways, I’ve come to enjoy the series more as it’s progressed. As a non-Potter reader, I’ve felt out of the loop, and haven’t felt that the series as a whole has filled in the necessary gaps. Yet as the HARRY POTTER series has evolved, the themes and story have grown broader and seemingly more important.

I’ve also become more fond of the characters, of which I’ve spent roughly 15 hours of my life with. HARRY POTTER AND THE DEATHLY HALLOWS: PART 1 is by far the darkest and most adult film of the series, and it benefits from both aspects. Life, death, love and honor are all at stake for our three favorite Hogwart graduates, and you can sense this in nearly every scene. There are times in DEATHLY HALLOWS where I still feel like an outsider looking in, but these are now the exception rather than the rule. Knowing that Harry, Ron and Hermione’s lives weigh in the balance, as does their friendship, and maybe more, HARRY POTTER AND THE DEATHLY HALLOWS: PART 1 has culminated the Potter series into a film with real human emotion and pathos.

This film, along with THE GOBLET OF FIRE, are the best of the Potter lot.

Grade: B

HEREAFTER

2010-12-12T12:43:00.000-08:00

Photos courtesy of Warner Bros.

Director Clint Eastwood delves into the afterlife with his latest drama, HEREAFTER. HEREAFTER features three separate storylines, each focused on the effects of death and what lies ahead.

Marie LeLay is the host of a hot-button French television show, who while on assignment, experiences a traumatic, near-death experience in the midst of a typhoon. Marcus and Jason are adolescent British twins, attempting to keep their family together in spite of their drug-addicted mother, each struck by a sudden tragedy. And lastly, there’s George, played by Matt Damon, an American psychic who’s left the profession for a blue collar job, with the hopes of obtaining a normal life.

Each of these characters grapples with their fate and the great beyond.

Always prevalent, but never expressly so, nearly all Clint Eastwood directed films have a certain synchronicity to them. Never so much so than HEREAFTER. Although Marie, Jason and George each share a commonality, we sense that there are greater forces at work.

The events that unfold in writer Peter Morgan’s script could have played out as melodrama or schmaltz, but under Eastwood’s careful touch, HEREAFTER serves as a thoughtful meditation on three lost souls. Marie, Jason and George all experience the pain and hardship of loss, be it through death, personal relationships or their profession, but underneath their anguish lies a sense that there’s light at the end of the tunnel.

Morgan’s screenplay is well-orchestrated, Eastwood’s touch on-the-mark, and the performances by the three leads are convincing and emotionally rewarding. Cecile de France as Marie, Frankie and George McLaren as Marcus and Jason and Damon as the aforementioned George, all convey their levels of despair appropriately, and each in different ways. Through their performances we explore grief and redemption in humanistic and reflective ways.

Eastwood again serves as his own composer, adding a layer of soulfulness with his simplistic, yet haunting score.

HEREAFTER is a moving and contemplative exploration of what lies ahead when our souls move on.

Grade: B+

DUE DATE

2010-12-12T12:19:00.000-08:00

Photos courtesy of Warner Bros.

Robert Downey, Jr. and Zach Galifianakis find themselves headed to Los Angeles via the roadway, instead of the airway in the buddy comedy, DUE DATE.

Downey’s Peter is scheduled to fly to LA, returning home to his pregnant wife Sarah, who’s scheduled for a C-section in a matter of days. Galifianakis’s Ethan is headed to Hollywood, in hopes of becoming an actor. Ethan’s father has recently passed away, and Ethan is now inspired to live out his dream.

After Peter and Ethan accidentally switch bags, and Ethan spiritedly uses the words terrorist and bomb aboard their flight, Peter and Ethan find themselves on the no-fly list. Ethan rents a car and plans on driving to Hollywood, but Peter, minus his seized wallet, license and credit cards, has no way to get there, until Ethan offers him a ride.

DUE DATE, as most critics have aptly dubbed it, is a modern day version of PLANES, TRAINS AND AUTOMOBILES. The set-up, mismatched pair and even events along the road, make DUE DATE an unmistakable homage to the Martin-Candy holiday classic.

Where DUE DATE errs, and PLANES, TRAINS AND AUTOMOBILES succeeded was in its humanity, or in DUE DATE’S case, lack thereof. Both Downey and Galifianakis are playing magnified extensions of their typical on-screen personas, with Peter as the extremely arrogant, self-absorbed elitist, and Galifianakis as the clueless, obnoxious fool. There are a substantial amount of laughs, due in large part to the tandem’s talents, but many laughs are lost due to the unlikable nature of Peter and Ethan.

Writer-director Todd Phillips, of OLD SCHOOL and THE HANGOVER fame, knows comedy and many of the film’s memorable moments capitalize on the absurdity of the situation and the two men involved. When the outlandish moments stop, we’re left with a snob and an idiot, and Phillips and a collection of co-writers create half-hearted back-stories in an effort to drum up empathy for our leads. It doesn’t work.

DUE DATE had all the makings of a laugh-out-loud romp, but it’s often hard to laugh at two men you’d leave stranded on the side of the highway.

Grade: C

LET ME IN

2010-12-11T19:09:00.000-08:00

Photos courtesy of Hammer Film Productions

A dangerous young girl befriends her neighbor, an outcast boy in the horror film LET ME IN.

The film is the American remake of the well-received Swedish horror film LET THE RIGHT ONE IN. Oskar and Eli are now Owen and Abbey, two kids who meet on the playground outside their apartment complex. Abbey warns Owen that they shouldn’t become friends, but the two’s exclusion from other children leads to a bond and friendship between the two.

Owen is bullied at school by his classmates which leads to his torment, but Abbey has a unique problem, she’s a vampire. Abbey’s father does her dirty work for her, sneaking out at night to provide Abbey with the necessary life blood.
This vampire remake retains many of the chills as the original, but instead of an overtly cautionary tale about teen angst, anger and cruelty, it is more of a straightforward thriller with a rich subtext.

The revamped script, written by Mark Reeves, who also directs, stays true to the Swedish film, with very few differences. The one change, and a welcomed one, is the torment felt by Abbey’s father played by character actor Richard Jenkins.

Jenkins has made a name for himself playing honorable dads, and in LET ME IN, this portrayal is even more challenging. In spite of Abbey’s father’s actions, there’s a certain nobility, and dare I say obligation, in dad’s gruesome work. It’s a credit to Jenkins that we emphasize with him.

Like the original, LET ME IN benefits from two terrific child performances. Chloe Moretz, of KICK ASS fame, plays Abbey straight, as a repressed, but loving girl. The fact that Abbey is a vampire burdens her, but Moretz doesn’t play it to superficial effect, treating it more like a form of supernatural abuse that plagues her.

Equally impressive is Kodi Smit-McPhee as Owen. Smit-McPhee follows up his performance in THE ROAD with another angst-ridden role. Smit-McPhee physically embodies the schoolyard victim, but also conveys his outward trepidation and inward anger terrifically.

As mentioned before LET ME IN is more of a horror-thriller than the original, and although there are some frightening moments, the horror is also where the film’s biggest misstep occurs. An over reliance by Reeves utilizing CGI drains some of the drama out of this fearful tale.

Although not quite up to the standards of LET THE RIGHT ONE IN, LET ME IN is still a cut above films in its genre.

Grade: B-

BURIED

2010-12-11T18:45:00.000-08:00

Photos courtesy of Antena 3 Films

Ryan Reynolds finds himself six feet under in the Middle East in the claustrophobic thriller BURIED.

As the title eludes Reynolds’ Paul, a contractor working in Iraq, is trapped under ground in a casket after being ambushed by a group of Iraqis. Paul is left with a lighter, a cell phone and a couple of glow sticks, but little hope of returning above ground.

BURIED takes experimental cinema to the next level. Several films have taken enclosed or secluded confines to dramatic effect from 12 ANGRY MEN to PHONE BOOTH to OPEN WATER, but none more challenging than turning a roughly eight by four by two foot box into the entire setting for a suspense thriller.

Amazingly enough BURIED works, even if there are a few liberties taken to pull off the proceedings. Reynolds is the lone actor in the film, with voice talent provided by a handful of actors, and he delivers a genuine performance full of frustration, despair and anger. Reynolds typically plays confident, often cocky, individuals. As Paul it was refreshing to see the young actor have everything stripped from him, and essentially work from scratch. Without the benefit of acting off another, Reynolds is forced to react to a dire situation, possible outcomes, government bureaucracy and a few voices.

BURIED director Rodrigo Cortes takes advantage of Chris Sparling’s script that provides a generous number of situations despite the confined setting. These situations, at times contrived, but often necessary, give BURIED enough substance to substantiate a full-length runtime.

BURIED digs deep enough into Paul’s predicament thanks to a creative script, skillful direction and a solid lead performance.

Grade: B-

WALL STREET: MONEY NEVER SLEEPS

2010-09-30T21:14:00.000-07:00

Photos courtesy of 20th Century Fox

Gordon Gekko gets a second chance on the market in Oliver Stone’s sequel, WALL STREET: MONEY NEVER SLEEPS

Michael Douglas, reprising his Oscar-winning role from the original, is Gekko, a financially successful, but morally bankrupt Wall Street trader who has just finished an eight-year prison sentence for money laundering and fraud. His return to society is welcomed by the press, with the release of Gekko’s new book, “Is Greed Good?”, but not by his estranged daughter Winnie, played by Carey Mulligan.

Winnie hasn’t forgiven dear old dad for his selfish ways, particularly the impact its had on their family. Winnie has moved on, and is now engaged to Jake, another Wall Street player, who finds Winnie’s father to be an intriguing figure to say the least. After attending a speech by Gordon, Jake decides to get to know his future father-in-law.

Of all the words to describe Oliver Stone films, pandering and tame are two which I never thought I’d use, but these two are the best to describe WALL STREET: MONEY NEVER SLEEPS.

In spite of some of Stone’s cinematic failures, his films have always provoked, entertained or both, but this sequel falls as flat as the Dow Jones average in late 2008. In addition to Stone’s lackluster direction, the film fails due to a script which merely regurgitates headlines from the financial collapse two years ago. Boardroom meetings, behind-door conflicts and market floor mayhem encompass the screenplay, but little seems at stake since the outcome is already known.

The real drama isn’t the market of course, but rather the personal relationships between Winnie, Jake and Gordon. This character-driven triangle doesn’t fare much better. Mulligan, who was terrific in last year’s AN EDUCATION, isn’t given much to work with. Her Winnie is sharp and determined, but is left with little to do but complain about the ill-effects of having Gordon as a dad. There’s little development of Gekko as a character, since it’s a reprised role, but for those who missed the first film 15 years ago, little is offered. That leaves us with Jake, whom the film is really centered around. LaBeouf’s Jake is already enamored with making money and trading, so his allure towards Gordon seems more natural than dramatic.

In spite of all the possibilities a WALL STREET sequel would have in our current state of affairs, Stone leaves several stones unturned, and somehow turns MONEY NEVER SLEEPS into a grand bore.

Grade: D+

THE TOWN

2010-09-30T20:59:00.000-07:00

Photos courtesy of Warner Bros.

A Boston bank robber begins to mend his ways after falling for one of his victims in the thriller THE TOWN.

Ben Affleck co-writes and directs THE TOWN, and also stars as bank and armored car robber Doug MaCray. Doug has been raised in Charleston, MA, the bank robbery capital of the world. Doug’s mother left the family when he was little, and Doug’s father, a thief himself, has raised Doug in the same mold.

Doug and his fellow thieves knock off a bank, but unlike their other robberies, Doug’s friend Jimmy elects to take a hostage. The hostage, Claire, is the assistant bank manager. After the heist, Jimmy thinks its a good idea to monitor Claire, and make sure she doesn’t squeal. Doug insists he’ll see that doesn’t happen, but he has alterior motives.

THE TOWN sounds a lot like an old-time western, and this modern-day thriller feels just like one. Affleck, and co-writers Peter Craig and Aaron Stockard, establish the brains, brawns and bravado of both the good guys and the bad, so much so, that the lines between the two become blurred. Yes, we know that Doug and his childhood chums are on the wrong side of the law, but our sympathy for Doug, and the blind tenacity of FBI Agent Adam Frawley provide us with enough rooting interest to hope Doug finds his way out of a very sticky situation.

Affleck, much like actor-director Clint Eastwood, seems to have found a home behind the camera. His acting career has been hit and miss, but his directorial eye, and knack for establishing tone, setting and distinct characters, are making the GOOD WILL HUNTING alum a talent at delivering gutsy and real material.

As Affleck demonstrated with his directorial debut, GONE BABY GONE, and does so again with THE TOWN, he seems to get the most out of his performers. Not only is Doug one of Affleck’s better roles, but he also pulls terrific performances out of Jeremy Renner as Jimmy, Pete Postlethwaithe as smallbit crime kingpin Fergie and Rebecca Hall as Claire.

THE TOWN is a riveting thriller, delivering an updated Beantown western in the form of a crime drama.

Grade: B+

SCOTT PILGRIM VS. THE WORLD

2010-09-25T00:30:00.000-07:00

Photos courtesy of Universal Pictures

A Generation Y man meets the girl of his dreams, but must battle her former love interests to win her heart in SCOTT PILGRIM VS. THE WORLD.

Michael Cera is the aforementioned young man, and title character, who desires the heart of Ramona Flowers, a young woman he meets at a party. Ramona’s beauty, style and allure makes Scott fall in love with her at first sight. Winning over a girl’s heart isn’t the only obstacle Scott faces, as he must fight off Ramona’s seven exes before he can become a potential number eight.

SCOTT PILGRIM VS. THE WORLD is based on a comic book, and writer-director Edgar Wright captures the style and attitude of the medium. The film is drenched in pop culture, from video game to television references, but instead of serving as its backdrop, the style and attitude more or less dominates the film’s narrative.

Each ex of Ramona’s serves as another level of a video game that Scott must win to advance to the final ex, or stage of the game. The film is an odd-mix, part romance and part action comedy, neither of which completely work. Each ex encounter provides a portion of the action comedy, but doesn’t provide a greater understanding of who Ramona is, by glimpsing into her past affairs.

The battles Scott has with Ramona’s exes serve as a momentary jolt to a film severely lacking in chemistry. Cera is fine, as is Mary Elizabeth Winstead as Ramona, but together the two don’t work. The differences between their characters makes the romance seem like a stretch, and Wright never allots enough quality time between the two to develop the tough-sell romance.

The talented Wright becomes overly indulged in the spirited, but redundant encounters between Scott and Ramona’s former boyfriends, and girlfriend. Instead of using the battles as a springboard to develop Ramona, and Scott and Ramona’s romance, Wright goes for stylized, yet superficial moments filled with action and so-called comedy.

SCOTT PILGRIM VS. THE WORLD substitutes style for substance, and delivers an underwhelming romance and action comedy.

Grade: C

THE AMERICAN

2010-09-24T20:47:00.000-07:00

Photos provided by Focus Features

George Clooney begins to have second thoughts regarding his profession in the thriller THE AMERICAN.

Clooney is Jack, an assassin who travels across the globe to perform his assignments. Jack’s most recent job in Italy, just like all of his other hits, forces Jack to remain in proverbial isolation from others. While in Italy, Jack begins a relationship with Clara, a prostitute. What begins as a standard call-girl, client affair leads to a romance, and one which may compromise Jack’s latest job.

An independent, solemn, and yet thrilling character study, THE AMERICAN has been packaged as a standard thriller with Clooney at the helm. The fact that the film reached the top of the box office for it’s first week of release is a testament to Clooney’s star power and a successful ad campaign.

Although THE AMERICAN isn’t exactly what it appears, it is an intriguing and understated film about the disconnect between man and his surroundings. Jack’s violent escapades lead him across the map in search of his latest hit, visiting exotic and beautiful locales, women and cultures, none of which can be truly appreciated by the killer. Jack’s assignments don’t appear to be the most important thing in his life, but the only thing in his life.

Clooney portrays Jack as a cold and distant soul, not immune to life’s wonderments, but rather detached and frightened of the affect it may have if he chooses to embrace them. This makes for a compelling and often overlooked theme, but one more suited for an actor with a sharper edge. Although Clooney’s Jack is an engaging character, benefiting from the actor’s natural star power, the dark and distant side seems like too much of a stretch for one of Hollywood’s most eligible bachelors.

The film was directed by Anton Corbjin, who has an eye for both natural and human landscapes. By capturing the allure of both, THE AMERICAN creates a substantial atmosphere, one that even Jack comes to appreciate.

Grade: B-

LOST: Season Six

2010-08-23T18:31:00.000-07:00

Photos provided by ABC Studios

I still find myself watching the last ten to fifteen minutes of the LOST series finale. I've probably watched it a dozen times or so. The portion I'm talking about is when our fractured, flawed, but ultimately heroic Jack Shephard finally embarks on the moment we've been waiting six years for, the moment when he opens the casket of his deceased father Christian.

I'm not repeatedly watching this moment because I'm looking for a hidden goose egg, or greater thematic significance. I watch the waning moments of this epic adventure because I find the closure of LOST to be enriching, profound and most of all, comforting. The conclusion LOST came to was an unworldly one, one which is conciliatory without compromising.

Although LOST was always a terrific science fiction mystery, adventure, puzzle, romance, thriller and drama, more than anything, to me it was an experience, a particularly engrossing and absorbing spiritual one.

Religious symbolism, is revealed both explicitly and implicitly. The construction of a church on The Island, a prayer shared between survivors of the crash of Oceanic 815 or a conversation surrounding Doubting Thomas and his significance are ways that LOST wore its spirituality on its sleeve. The implicit nature of its spirituality was more engrossing. John Locke's faith in the island and his deep philosophical discussions with Jack made television's most engaging series what it was. Although these central characters constantly debated issues of science versus faith, free will versus destiny, all of the series other participants also struggled with life's complexities and found reconcilation by finding their great purpose in this world.

Many were disappointed with LOST's final season, and although I wasn't completely blown away by all of the series conclusions, LOST: Season Six did return the series to where it began, a character-centric program where those who once were lost have now been found. Many LOST fans discarded the alternate reality, or flash sideways, where we witness the survivors lives following the detonation of Jughead (in the season five finale). In a time where fans were demanding answers, LOST elected to dig deeper into the character's themselves, acknowledging the demons our survivors were still battling, but in a slightly different light. Although Kate, Jack, Sawyer, Sayid, Locke and the others still had problems to reconcile, they were much more aware of these obstacles and equipped to handle them.

On The Island, the writers revealed several answers, some more substantial and satisfying than others. We discovered who Jacob and The Man in Black were, how Richard obtained eternal life, what the whispers were, and why Jack, Kate, Sawyer, Hurley and the others were brought to The Island. Some viewers weren't satisfied, questioning the strength and validity of the answers, while other viewers demanded further explanation.

The real answers to me were the ones which the characters arrived at within themselves, many of which were revealed on The Island and in the flash sideways. This is what LOST was all about. Whether it was Jack discovering his faith and finding the ability to let go, Kate accepting the consequences for her actions, Sawyer learning to forgive himself and love again or Desmond finding a measure of self worth, these self-realizations provided the show with its heart and purpose.

The flash sideways revisited our characters internal struggles, but also hinted at the sideways' real existence. Nearly all season six episodes included a sideways story, and each revealed a clue to where the characters were operating. To discount the importance of the sideways is to discount what LOST is really all about.

LOST: Season Six had a difficult task, attempting to satisfy all of its fans. This would be a difficult task for any series, but particularly tough for a series which was many different things to many different viewers. It was many things to me: a brilliant mystery, a science fiction adventure, a series of romantic epics and even, at times, a funny and comical escape. Yet most of all, LOST was a spiritual experience, where misguided souls found themselves and something greater. In this respect, LOST: Season Six ended on just the right note, a melancholy, hopeful and ultimately comforting ride into the light.

Grade: B+

LOST: Season Six is now available on Blu-Ray and DVD.

WINTER'S BONE

2010-08-03T19:54:00.000-07:00

Photos provided by Roadside AttractionsA young woman attempts to salvage her home and family by locating her father in the drama WINTER’S BONE.

Ree is a high-school age teenager, probably seventeen or eighteen, one who isn't concerned about prom or even final exams, but rather keeping a roof over her family’s head and food on the table. With her father missing, and mother bed-ridden, Ree serves as the head of the household, scraping up food where she can, and teaching her young brother and sister how to survive as best as they can.

Ree and her family’s major obstacle is retaining possession of their house. Ree’s father was incarcerated, posted bond with the family’s home and then fled. The authorities have notified Ree that if her father isn’t found in a week, the city takes over her family’s home. Ree sets out on a quest, determined to find her father.

It’s not often that films cut to the core of basic human necessities, but WINTER’S BONE does, serving up a drama that’s equally thrilling and moving.

Desperation is at the core of WINTER’S BONE, and is expertly presented by director and co-writer Debra Granik. The time period could be present day or fifteen years ago, and although the film is set in the Ozarks, it could easily be set in the West, Midwest or great Northeast, as the essence of Ree’s world is that of rugged, quiet despair, where the adults run amuck in illegal activity and the children seem like an afterthought.

Building this odd, eerie and plausible atmosphere is no easy task, but Granik’s accomplishment not only sets the tone, but ends up delivering quite a dramatic punch. Granik’s steady direction is essential, but would be for naught if it wasn’t for a brilliant lead performance by newcomer Jennifer Lawrence.

Only 19-years old, Lawrence is completely in command and assured as Ree. Conveying a deep determination, tough attitude and street savy, Lawrence creates a modern day heroine. Her performance places everything in context. Some of the actions and reactions by her family members and acquaintances could have moved the film in a dark, almost sadistic place, but through her convincing portrayal, we accept the unusual encounters as status quo for Ree.

Lawerence’s performance is one of the best of the year, and the film is too.

Grade: B+

DINNER FOR SCHMUCKS

2010-08-03T19:08:00.000-07:00

Photos courtesy of Paramount Pictures

Paul Rudd attempts to win a contest at the expense of Steve Carell in the comedy DINNER FOR SCHMUCKS.

Rudd’s Tim is a financial analyst striving to climb the corporate ladder. After Tim woos the higher-ups with an innovative pitch, he’s invited by the company founder Lance Fender to a secret dinner for idiots. Everyone invited to the party is to bring their own idiot, with the participants attempting to top one another with the foolish guest of all.

Tim, due in large part to his girlfriend's coaxing, is going to decline the invitation, but then Barry stumbles across his path. Tim hits Barry with his car while Barry is attempting to salvage a dead mouse in the middle of the street. You see Barry isn’t just saving a mouse’s body for preservation, but for presentation. Barry collects dead mice, dresses them up in costumes and poses them in various landscapes. As Tim sees it, his meeting with Barry can’t be mere coincidence.

DINNER FOR SCHMUCKS sounds like a twisted comedy where no one is left unscathed. The contrary is actually true. DINNER FOR SCHMUCKS has it’s occasionally outrageous moment, but more often than not plays it safe comically.

It’s a film that’s more intent on warming the heart than chilling the soul. Considering the source material, a dark French comedy titled THE DINNER GAME, and the prospects for ruthless fun, DINNER FOR SCHMUCKS isn’t a bad film, just a missed opportunity.

There are laughs to be had, particularly the interaction between Tim and Barry. Although Rudd and Carell have worked together before in THE 40-YEAR OLD VIRGIN, DINNER FOR SCHMUCKS is a match made in heaven for the two, pitting Rudd’s sensible, every man nature with Carell’s deadpan, goofball antics. The two’s chemistry is dead-on, I only wish the screenplay would have been equally effective.

The same can be said of the direction, from skillful comic director Jay Roach. Roach’s films, including the AUSTIN POWERS and MEET THE PARENTS franchises, have run the gamut from uncomfortably to outrageously funny. DINNER FOR SCHMUCKS is neither, falling more towards mischievous when malicious is called for.

Grade: C+

INCEPTION

2010-07-18T18:39:00.000-07:00

Photos courtesy of Warner Bros.Leonardo Dicaprio steals ideas at the request of major corporations in writer-director Christopher Nolan’s latest INCEPTION.

DiCaprio’s Cobb steals ideas, with the assistance of a handful of colleagues, by infiltrating his victims’ dreams. Cobb and crew find secure locations where their victims, and themselves, can be lulled to sleep, while each is attached to the same unique machine where each can enter the victim’s dream. Within the dream, Cobb and his associates steal a thought or concept from the dreamer and provide it to the corporation they are working for. Cobb’s latest job requires him to perform the contrary, instead of stealing an idea, he’s going to plant one. This is called inception.

In addition to this extremely difficult, nearly impossible task, Cobb is plagued by his deceased wife Mal, who continues to appear at inopportune times in his and others dreams.

Examining dreams is far from unexplored territory, but the level of depth, execution and complexity has never before been projected as in INCEPTION. The film is a mind-bender, not only mixing illusion and reality, but digging further into the subconscious than most films dare to dream.

It’s said that Nolan worked ten years on the screenplay, and needless to say, a mere two and a half hours isn’t enough time for a viewer to fully appreciate, understand or explore the intricacy of INCEPTION. As complex as it is, it’s a credit to Nolan that INCEPTION is relatively easy to follow, even if it’s not completely comprehensible.

The general framework is that of a heist movie. Cobb and his crew are going to plant a thought in the heir of a major energy company’s mind, and attempt to get out before he recognizes what they are up to. This standard framework around a dense concept is further aided by the angst and depth of Cobb.

As with all Nolan films from MEMENTO to THE PRESTIGE to THE DARK KNIGHT, his protagonists carry a lot of dark emotional baggage. Cobb is haunted by the memory of his wife, and guilt-ridden by his estrangement from his son and daughter. By accepting this last job, Cobb believes it’s his ticket home to his family. DiCaprio is again on top of his game. Performing in a role eerily similar to Teddy Daniels from Martin Scorsese’s SHUTTER ISLAND, DiCaprio again reveals a man who’s tough, intelligent and aggressive exterior is merely a shell incasing a troubled and hurt soul. The remainder of the cast, including Ellen Page, Michael Caine and Joseph Gordon Levitt, is solid, but almost inconsequential.

INCEPTION is all about the layers of philosophical, thematic and narrative depth, and centering these aspects around a deeply complicated character. Watching INCEPTION once allots you an engaging and entertaining head-trip. To completely derive maximum enjoyment, I’d imagine at least two more trips are required.

Grade: A

TOY STORY III

2010-07-18T18:26:00.000-07:00

Photos courtesy of Walt Disney Pictures

Woody, Buzz, Mr. Potato Head, Rex, Jessie and the rest of the gang are back in the saddle again, this time attempting to avoid a permanent trip to the attic or the dreaded trash heap in TOY STORY 3.

The gang’s owner Andy, now a young adult, is preparing to leave for college, but dear old mom has issued an ultimatum. The toys have three options: college, the attic or the trash. Woody makes the college cut, but the rest of the toys are stashed in a garbage bag for the attic. The problem comes, and so does the plot, when Andy’s mom mistakes the garbage bag full of toys for trash.

It’s up to Woody to save his friends from their refuse destination, and back to Andy’s old stomping grounds.

Separation anxiety is nothing new for the old toys. In the original TOY STORY, Woody felt as if Andy had replaced him with Buzz, in the sequel some of the toys are yard sale or donation casualties and in TOY STORY 3 almost everyone feels as if they've been left for good.

Despite the repetitive theme, TOY STORY 3 feels fresh because it launches the toys into the new world of Sunnyside, a day care center that isn’t as pleasant as it seems. Just when you think you’ve seen all the colorful characters the TOY STORY series has to offer, the third installment serves up that many more. Two of the newest characters, from Sunnyside, are also the most memorable, with Lotso, a worn, and cute teddy bear with a dark past, and Ken, Barbie’s beau, who provides the film with the most laughs, and a wardrobe montage for the ages.

The voice work is again impeccable, with Michael Keaton as Ken, Ned Beatty as Lotso and all of the returnees not missing a beat. The film isn’t as efficiently paced as the first two, but it almost makes up for it with two of the series most emotional scenes. The gang has faced some serious odds in the past, but nothing like the third’s climax, one which really pulls at the heart strings.

TOY STORY 3, like all Pixar pictures, is a riveting adventure and comedy for children, and a whole lot more for their parents.

Grade: B+

KNIGHT AND DAY

2010-07-18T18:02:00.000-07:00

Photos courtesy of New Regency PicturesTom Cruise is a loose cannon who finds some excess baggage in the form of Cameron Diaz, on his plane flight in the action-adventure KNIGHT AND DAY.

Cruise is C-I-A operative Roy Miller, an agent who has apparently gone rogue after obtaining a self-sufficient and everlasting energy source off the black market. Diaz is June, the unassuming passenger aboard Roy’s flight. She’s headed for her sister’s wedding, but during the flight, after making a quick stop in the powder room, returns to find all of the flight’s passengers, with the exception of Roy, dead.

With Roy and June as the lone survivors, Roy’s foes believe that June must be complicit in Roy’s plans.
With Cruise and Diaz in the lead roles, and the film in an accomplished director’s hands like James Mangold, one would expect for KNIGHT AND DAY to be a breezy, lightweight, sometimes thrilling slice of entertainment for adults. It’s breezy and lightweight, but KNIGHT AND DAY also becomes enamored with CGI oriented action scenes, one’s which aren't bad, but also aren’t particularly good, and end up stripping away the chemistry that Cruise and Diaz have together.

Each moment between Roy and June is cut short by a high speed chase, a slew of bullets or the watchful eye of the Central Intelligence Agency. These two characters aren’t allotted any quality time together, so there’s little stake in their fate. It’s a shame because KNIGHT AND DAY returns Cruise to the role of movie star. After some admirable attempts at more serious films, Cruise’s Roy is a return to the charismatic role that made him a household name. Diaz is also good, creating a charming and naïve, but still smart and strong woman to counteract Roy’s natural instincts.

KNIGHT AND DAY’s effects-driven adventure is an upgrade from the incomprehensible 2009 films like TRANSFORMERS 2 and TERMINATOR: SALVATION. Ultimately though, KNIGHT AND DAY is more disappointing, since the participants are much more interesting, but are given less time to interact.

Grade: C

Paul's 2010 Fearless Oscar Predictions

2010-03-07T13:46:00.000-08:00

OK, so it's been nearly a year since I've posted anything on my blog, and now that I'm finally posting something, I'm still being lazy. Instead of typing out my selections, I've decided just to scan them in (you can view them by clicking on the scanned image above).

I will say this has been a pretty predictable Oscar season at least if you're an Oscar predictor, or Oscar pool participant. There may be some surprises tonight, but for Oscar pool sake, most are consensus selections/predictions.

Here's to UP and UP IN THE AIR, my two favorites from 2009, pulling a few upsets, but I just don't see it. I have UP down for two wins (Animated Feature and Score), and UP IN THE AIR winning Best Adapted Screenplay.

The most interesting races seem to be in these categories: Original Screenplay, Foreign Language Film, Film Editing, Sound Editing and Mixing, and the biggest prize for the evening, Best Picture. Although many of the major categories seem decided, the biggest seems like a toss-up right now.

Good luck Steve Martin, and especially Alec Baldwin. Hopefully Baldwin is better live than on his daughter's answering machine.

TAKEN

2009-03-11T11:04:00.000-07:00

Photos courtesy of 20th Century FoxLiam Neeson heads overseas on a quest to save his daughter in the action-thriller, TAKEN.

Neeson is Bryan Mills, a former United States spy, who’s daughter Kim has been kidnapped while vacationing in France. The abduction occurs while Bryan and Kim are on the phone, so Bryan is left with a few clues. After consulting with some former colleagues and local French authorities, Bryan has determined that he has roughly 96 hours to track down his daughter before she’s lost for good.

TAKEN is served up as a big-screen version of the television series 24, with Bryan Mills serving as a retired version of Jack Bauer. Although Bryan has a more vengeful streak in him, the similarities between he and Bauer are uncanny.

Although the film never incorporates the ticking clock, TAKEN does adopt a short time frame, allowing Bryan only 96 hours to save the life of his abducted daughter. Without 24 hours to tell its story, TAKEN wastes no time introducing the characters, establishing the situation and setting Bryan off on his perilous journey. The film runs only 90 minutes, but director Pierre Morel serves up an exhilarating and efficient slice of entertainment.

It’s not often that action roles lend themselves to great performances, but Neeson delivers just that. His tender and apprehensive intimate moments with his daughter help to establish Bryan as more than just a killing machine, and his intimidating and menacing presence make him a force to be reckoned with when dealing with his amoral French counterparts.

TAKEN is an action-thriller that avoids the pleasantries and gets right down to business, delivering a breathless, violent and captivating one-man crusade.

Grade: B

LAST CHANCE HARVEY

2009-03-11T11:01:00.001-07:00

Photos courtesy of Overture FilmsDustin Hoffman and Emma Thompson learn that love can be found when you least expect it in LAST CHANCE HARVEY.

Hoffman’s Harvey Shine heads to London for his daughter’s wedding and he’s slightly perturbed about the traveling inconvenience. Harvey is further inconvenienced by the hotel accommodations, rehearsal dinner seating arrangements and most importantly, his role in the wedding itself.

Upset and distraught he heads to the airport for a flight back to the states, but before he leaves London he meets Thompson’s Kate Walker, a surveyor at the airport. This causes Harvey to reconsider leaving England.

LAST CHANCE HARVEY is a wonderful companion piece to Richard Linklater’s romances BEFORE SUNRISE and BEFORE SUNSET. Where Linklater explores a European one-day romance between twenty year-olds in BEFORE SUNRISE, and then as thirty year-olds in BEFORE SUNSET, writer-director Joel Hopkins reveals that this type of affair isn’t exclusive to generation “X”.

Although the intensity of the romantic sparks between Harvey and Kate are not as intense as Linklater’s Jessie and Celine they’re no less important. Harvey is still dealing with the aftereffects of his divorce and the downturn of his music-writing career, while Kate hasn’t tasted must success in her love or professional life.

Romances, especially subtle ones like Harvey and Kate’s, don’t work without terrific performances. Hoffman and Thompson deliver pitch-perfect work, never escalating their character’s predicaments into melodrama, but also not downplaying them. The result is not only authentic, but also more relatable and effective than most big-screen romances.

LAST CHANCE HARVEY is an effective romance that celebrates love at any stage of the game.

Grade: B

TRANSPORTER 3

2009-03-11T10:44:00.000-07:00

Photos courtesy of LionsgateJason Statham puts on the driving gloves one more time, this time against his own will, in the action film TRANSPORTER 3.

After initially refusing an assignment to deliver a secretive package, Frank Martin is forced into action by Johnson, a ruthless businessman who uses a tracking device to make sure Frank delivers the goods. The device, an irremovable bracelet, will detonate if Frank moves too far from his vehicle. Going along for the ride is Valentina, a mysterious co-pilot who Frank is morally obliged to bring along.

Films like TRANSPORTER 3 are very reliant upon the action they deliver. This sounds like an obvious statement since the film is an action movie, but more so with the TRANSPORTER films, where the plot is an afterthought to the stunts.

TRANSPORTER 3 delivers several brilliant action sequences, by car, train and sea, but not quite enough to compensate for its length. To appease its male audience, and I suppose add something to the plot the third film throws in the exotic Natalya Rudakova. Rudakova’s exotic attractiveness adds a new layer to the series, but only lasts as long as her role remains speechless. Robert Knepper is fine as the sadistic Johnson, but offers nothing new to the villain role. Statham as always, brings a chiseled, macho and tough demeanor to Frank, a sort-of second-rate humorless Bruce Willis.

TRANSPORTER 3 will likely thrill those enamored with action movies, but those looking for a little more action or plot to condone a full-length feature film, you’re likely to be disappointed.

Grade: C+

The Better-Late-Than-Never Oscar Picks

2009-02-22T13:28:00.000-08:00

I'd planned on providing some analysis for my picks, but this late in the day, factoring in no nap for my 20-month old daughter, and this is the best I can do (picks only):

Best Picture
Will win: Slumdog Millionaire
Should win: Slumdog Millionaire

Best Director
Will win: Danny Boyle
Should win: Danny Boyle

Best Actor
Will win: Mickey Rourke
Should win: Mickey Rourke or Sean Penn

Best Actress
Will win: Kate Winslet
Should win: Anne Hathaway

Best Supporting Actor
Will win: Heath Ledger
Should win: Heath Ledger

Best Supporting Actress
Will win: Penelope Cruz
Should win: Viola Davis

Best Art Direction
Will win: The Curious Case of Benjamin Button
Should win: The Dark Knight

Best Cinematography
Will win: Slumdog Millionaire
Should win: The Dark Knight

Best Costume Design
Will win: The Duchess
Should win: ???

Best Documentary
Will win: Man on Wire
Should win: ???

Best Animated Feature
Will win: WALL-E
Should win: WALL-E

Best Documentary Short Subject
Will win: The Witness - From the Balcony of Room 306
Should win: ???

Best Film Editing
Will win: Slumdog Millionaire
Should win: Slumdog Millionaire

Best Foreign-Language Film
Will win: The Class
Should win: ???

Best Make-Up
Will win: The Curious Case of Benjamin Button
Should win: The Curious Case of Benjamin Button

Best Score
Will win: Slumdog Millionaire
Should win: Slumdog Millionaire

Best Song
Will win: "Jai Ho", Slumdog Millionaire
Should win: "Jai Ho", Slumdog Millionaire

Best Animated Short Film
Will win: Presto
Should win: ???

Best Live-Action Short Film
Will win: Spielzeugland (Toyland)
Should win: ???

Best Sound Editing
Will win: The Dark Knight
Should win: The Dark Knight

Best Sound Mixing
Will win: The Dark Knight
Should win: The Dark Knight

Best Visual Effects
Will win: The Curious Case of Benjamin Button
Should win: The Dark Knight

Best Adapted Screenplay
Will win: Slumdog Millionaire
Should win: Slumdog Millionaire

Best Original Screenplay
Will win: Milk
Should win: Happy-Go-Lucky

And since most tie-breakers involve the length of the Oscars, and the producers have been running a tight ship in recent years, I'll predict the length to be 3:02:01.

REVOLUTIONARY ROAD

2009-02-17T09:50:00.000-08:00

Photos courtesy of Paramount Vantage

Leonardo DiCaprio and Kate Winslet try to escape their life in the suburbs in the drama REVOLUTIONARY ROAD.

Dicaprio and Winslet are Frank and April Wheeler, an outwardly happy family along with their two children, Michael and Jennifer. Frank works an office job, while April plays housewife, and various characters through the community theatre group.

Both Frank and April long for something more. April aspired to be an acclaimed actress, while Frank’s future was never fully realized. The tense couple hopes to avoid their dreaded life in the suburbs by developing a new beginning for their family overseas.

Suburban angst is nothing new from director Sam Mendes. Mendes debut film AMERCAN BEAUTY dealt with the shortcomings of miring oneself in a superficial situation, but worked its way through it’s characters struggles to find a light at the end of the tunnel. REVOLUTIONARY ROAD sees no light at the end of Frank and April’s tunnel just a dark, suburban abyss where bright-eyed individuals go to have their dreams die.

MARLEY AND ME the less acclaimed, but more honest and real portrait of the American family, displays the joys and pains, sacrifice and success of balancing personal, professional and family needs. Outside of their pristine abode on Revolutionary Road, the Wheelers life is painted in broad strokes of anxiety. Although Frank’s job is far from glamorous, his well-paying desk job is portrayed as a career trap where Frank’s professional ambitions are thwarted. April is not a happy mother of two, but a tormented woman, who finds no solace in her acting or children. The children themselves are more devices than characters, providing no joy for Frank or April, but rather roadblocks for the couples wants.

Dicaprio and Winslet have received much critical acclaim for their performances, but that surprises me, as their portrayals were heavy-handed and out-of-touch. Mendes direction is just as contrived, smearing a cynical portrait of middle-class America.

REVOLUTIONARY ROAD may aspire to be a cautionary tale on comprise, unfortunately its narrow-minded and ham-fisted delivery makes for a painstaking trip through the suburbs.

Grade: C-

DEFIANCE

2009-02-17T09:44:00.000-08:00

Photos courtesy of Paramount Vantage Four brothers attempt to survive, and salvage their Jewish countrymen’s lives from Nazi Germany in the action-drama, DEFIANCE.

Tuvia, Zus, Ariel and Aron Bieleski fled their home in Poland following the murder of their parents by the Nazis. The Bieleskis fled to nearby forests where they hid from German forces, and as time passed, so did word that the family found comfort in the remote location. Several Jews latched on to the Bieleskis’ movement, and as word continued to spread, more and more members of the Jewish community joined the Bieleskis faction.

DEFIANCE tells a story rarely told, and at the same time, one which seems strikingly important. I can’t recall a World War II or Holocaust film detailing the Jewish community’s fight against the Nazi occupation. Most of these films relive the horror, but DEFIANCE celebrates a small faction of the Jewish community who fought back by living on their own terms, and defending themselves when push came to shove.

This small, but poignant story would seem to be enough, but it isn’t, as the story’s arch seems oddly flat for a film of its kind. The struggle waged by the Bieleski brothers begins at the film’s outset and continues in like manner to the film’s final frame. There are highs and lows in their forest encounters, but ones that surprisingly have little emotional impact.

Much of the film’s focus is placed on the execution of the brothers’ plan and the community built around the movement, instead of individual stories and efforts. Director Edward Zwick finds small stories within historical accounts, and weaves them into successful human triumphs from films like BLOOD DIAMOND to COURAGE UNDER FIRE. DEFIANCE is a film in this same vein, but Zwick may have become more enamored with the specifics of history rather than the personal achievements.

DEFIANCE feels and looks authentic, but lacks a necessary emotional pull for this important slice of history.

Grade: C

SLUMDOG MILLIONAIRE

2009-02-04T10:12:00.000-08:00

Photos courtesy of Newland FilmsA young Indian man reveals his past to justify his worldly knowledge in the much heralded latest from director Danny Boyle, SLUMDOG MILLIONAIRE.

Jamal is an 18-year old former orphan who grew up in the slums of India, braving religious upheaval, surviving gang violence and overcoming the loss of his parents. Despite all of his struggles, the winds of fate have blown in Jamal's favor, as he lands a spot on the number one India game show, "Who Wants to Be a Millionaire?".

After breezing through the first six questions to earn himself a shot at 25-million rupees, or one-million American dollars, Jamal finds himself in a troubling situation. Police have taken Jamal in to custody fearing that he's cheated his way through the game show, and it's up to Jamal to explain exactly how he knew the answers to the questions on the game show.

Mixing a unique backdrop with original storytelling, director Danny Boyle turns three classic film storylines into one crowd-pleasing success with SLUMDOG MILLIONAIRE. Whether you’re a sports fan pulling for the tenacious underdog to shock the world, a romantic longing to see two lovers reunite or a realist wishing to see the coming-of-age tale of an orphan matriculating his way through society, SLUMDOG MILLIONAIRE offers all three.

As if this wouldn't be enough, thanks to the observant and emotionally enriching screenplay from writer Simon Beaufoy, Boyle ratchets up the storytelling with an exciting and innovative format, framing Jamal's tale around each of the game show's questions. This device livens up an already compelling script, and instead of overshadowing Jamal's once-in-a-lifetime experience, it adds to the wholeness.

The setting for the film is Mumbai, India, the same city where terrorists recently wreaked terror and destruction, and Boyle reveals the city's slums, and their dangerous and unstable nature through Jamal's upbringing. The film reminds one of Fernando Meirelles CITY OF GOD who's portrait of the slums of Brazil was a real eye-opener.

Boyle's highly acclaimed works include TRAINSPOTTING, 28 DAYS LATER and SUNSHINE, but SLUMDOG MILLIONAIRE may turn out to be his crowning achievement. The relative cast of unknowns are equally effective, selling each stage of Jamal's life as a crucial piece of the puzzle. Dev Patel has received the most acclaim, playing Jamal for much of the film, but the other two young Indian actors, are equally effective. So are the six other actors who fill the roles of Jamal's brother Salim and his friend Latika, as well as a brilliantly suspicious performance from Anil Kapoor as game show host Prem Kumar.

SLUMDOG MILLIONAIRE is the equivalent of an endangered species in film terms, a movie which delivers three compelling stories through one boy's eyes, an updated fairy tale utilizing modern storytelling techniques and a timeless testament to one individual's resistance to accept anything less than justice. SLUMDOG MILLIONAIRE is one of the best films of 2008.

Grade: A

THE CURIOUS CASE OF BENJAMIN BUTTON

2009-02-04T10:00:00.000-08:00

Photos courtesy of Paramount PicturesBrad Pitt lives life backwards in David Fincher’s THE CURIOUS CASE OF BENJAMIN BUTTON.

Pitt is Benjamin Button an infant born with the attributes of an 80-year old man. His mother dies upon his birth, and his father, mortified of raising a deformed child leaves him at the footsteps of a nursing home. Dorothy one of the workers at the facility takes Benjamin in and raises him.

With the physical attributes of a senior citizen, Benjamin fits right in at the nursing home. As time passes though, Benjamin begins to heal physically and mature both mentally and emotionally, and even begins a friendship with Daisy, a young girl who visits the home regularly. In spite of his attachment to Dorothy, Daisy and the nursing home, there comes a time when everyone must go out on their own, and Benjamin does so by becoming a seafarer and hitting the open seas.

THE CURIOUS CASE OF BENJAMIN BUTTON is an aptly titled pictured, even if the title is strictly taken from F. Scott Fitzgerald’s popular slice of fiction. Despite the film’s lengthy run time, Fincher and screenwriter Eric Roth struggle to capture the growth, uniqueness and wholeness of Benjamin Button.

With an eclectic group of friends, acquaintances and family members, both blood and otherwise, encompassing a story that spans one individual‘s entire life, THE CURIOUS CASE OF BENJAMIN BUTTON attempts to illustrate how each individual that interacts with one’s life, impacts one’s life. This idea is clearly, succinctly and cleverly illustrated about mid-way through the film, connecting a group of seemingly irrelevant individuals into one of the film’s more dire moments. This short two minute scene exemplifies what THE CURIOUS CASE OF BENJAMIN BUTTON is about, so much so, that one wonders why Fincher and Roth couldn’t have done more with the remaining two and half hours.

Although the film isn’t as substantial as it could be, it never ceases to be an engaging experience, thanks to Fincher’s unique style, Pitt and Cate Blanchett’s performances and the skillful make-up and hair styling work from 34 talented individuals. Fincher’s fanciful and dark approach provides the film with an original backdrop, Pitt and Blanchett create endearing, if not fully realized characters, but the star of the film is the make-up, transforming Benjamin and Daisy in opposite directions.

THE CURIOUS CASE OF BENJAMIN BUTTON is an intriguing concept that is never fully realized, despite the technical, directing and acting skills displayed within the film’s framework.

Grade: C+

VALKYRIE

2009-01-26T10:13:00.000-08:00

Photos courtesy of MGMTom Cruise leads an underground rebellion against Adolf Hitler in the action-thriller VALKYRIE.

Cruise is Nazi Colonel Claus von Stauffenberg, a man who swore his allegiance to Dictator Adolf Hitler, but believes his true allegiance lies to Germany. After deciding country over comrade, Stauffenberg joins a group attempting to assassinate Hitler and topple the current regime. The group is composed of field generals, politicians and other highly influential members of German society. Stauffenberg leads the ground forces in the movement, with the colonel carrying the bomb destined towards Hitler.

The major mistake of VALKYRIE is director Bryan Singer’s, and the powers that be, decision to turn this historical account into a thriller. Since history spoils the film’s outcome, much of the suspense and thrills of the film are spoiled as well.

If the outcome leaves little suspense, the mechanics of the operation and Singer’s execution, almost make up for it. Outside of Singer’s insistence on an almost entire English speaking cast, limiting the authenticity of the Nazi officers, the story behind VALKYRIE still delivers several interesting angles. The general conceit of an uprising is intriguing, but even more so, considering the obstacles that Stauffenberg and crew face in their attempted uprising.

Most films set around defining historical moments tackle the subject matter through drama. VALKYRIE waxes over this aspect, presenting a small glimpse into Stauffenberg’s family life, but little more. Cruise is in historical Ethan Hunt mode, serving as a driving force and action hero, but not a dramatic heavyweight.

VALKYRIE’s aim to thrill fails, but the excitement of watching the intricacies of an underground revolution almost compensate for the foregone conclusion. I can’t quite recommend the Singer-Cruise collaboration.

Grade: C+

FROST/NIXON

2009-01-26T09:53:00.000-08:00

Photos courtesy of Universal PicturesA popular British talk show host gets his chance to interview a former U.S. president in the drama, FROST/NIXON.

The film is based on the actual interviews between British talk show host David Frost and former United States President Richard Nixon. The interview is presented in docudrama style, with Michael Sheen as Frost and Frank Langella as Nixon. In addition to the interview, director Ron Howard explores Frost’s producing team and their take on the historical encounter.

With a title reading like a boxing title fight, FROST/NIXON is definitely intended on being a proverbial and verbal bout between two titans of their respective fields, Frost as a television personality and Nixon a politician.

The build-up is great, with Howard and scribe Peter Morgan providing analysis and opinions from Frost and a collection of producers, but the clash between Frost and Nixon feels inconsequential. Late film critic Gene Siskel often posed the question, “Is this film more interesting than a documentary of the same actors having lunch?” with most films, regardless of the actors or subject, the answer would be no, but with FROST/NIXON the answer is undoubtedly “yes”. Howard attempts to examine what each of the men is trying to prove through the interviews, not only to the American public, but more importantly to themselves.

Had this been filmed as a documentary, the insight would not only have been greater, but factual. FROST/NIXON only fully examines Frost, leaving Nixon as a mere combatant, and through Howard’s eyes, a surprisingly sympathetic one.

The film is well made, if self-important, with Sheen giving a solid reenactment and Langella providing a succinct figure (even if the voice inflection is a bit much), and Howard skillfully twisting the stage play into big screen material.

FROST/NIXON appears to be an accurate and proficient retelling, but one which lacks little insight or a demanding purpose.

Grade: C

HAPPY GO-LUCKY

2009-01-16T09:55:00.000-08:00

Photos courtesy of Miramax Films

A bright-eyed and cheerful school teacher finds the best that life has to offer in writer-director Mike Leigh’s latest, HAPPY-GO-LUCKY.

Poppy is definitely a “glass is half full” type of girl. After visiting a bookstore, Poppy discovers her bicycle has been stolen. Instead of becoming infuriated, angry or even the slight bit perturbed, Poppy shrugs it off and decides to finally get her drivers license. She enrolls at a small-time driving school where she meets Scott, her instructor and the owner of the business. Scott’s worldview is in dark contrast to Poppy’s, and the two exchange a tit-for-tat type relationship during their time in the car.

In today’s cinema, polluted with far too many genre pictures, HAPPY-GO-LUCKY is a breath of fresh air. Leigh, who has brilliantly handled the human condition with such films as SECRETS AND LIES and CAREER GIRLS, does so again examining two very familiar types of individuals, optimists and pessimists.

HAPPY-GO-LUCKY is told through the rose-tinted glasses of Poppy, a very unique, quirky, but all-together lovable character. Poppy is content with her life, she likes her job, loves her flat-mate and enjoys her wild nights out with her sister and friends. Even when difficult situations arise, Poppy sees a glimmering light at the end of the tunnel. These situations help to underline that Poppy is not naïve to the world’s faults, but sees the best in every person, and strives to do the right thing in each circumstance. These moments are realistically and skillfully handled, revealing that some causes may be lost ones.

As deftly written and directed as the film is, Leigh benefits from two of the year’s best performances. Sally Hawkins as Poppy gives a lot of weight to a very tricky role. Poppy could have been a one-trick character, but through Hawkins portrayal, not only is Poppy joyful, but just as importantly compassionate and tender. Eddie Marsan, as the anti-Poppy, gives Scott everything Leigh could have asked for, a cynicism beyond compare, as well as a bitterness and pathetic nature that can’t be matched.

HAPPY-GO-LUCKY is a simple story that wraps itself in complicated yet enriching personal struggles. It’s delicate tackling of these struggles makes for an enlightening and emotionally rewarding picture.

Grade: A

QUANTUM OF SOLACE

2009-01-16T09:43:00.000-08:00

Photos courtesy of Sony Pictures Daniel Craig returns as Britain’s top secret agent in another action-packed 007 quest, QUANTUM OF SOLACE.

Bond’s latest adventure has him attempting to avenge the death of a friend, while also infiltrating an underground organization that appears to be far more mysterious and dangerous than Bond or “M” could have imagined. Bond’s nemesis this turn is Dominic Greene, a ruthless businessman, using the guise of an environmental organization in order to seize portions of third world countries.

QUANTUM OF SOLACE continues the darker tone of the most recent Bond escapade, CASINO ROYALE, but fails to continue the rich character examination that ROYALE began to lay out. Instead QUANTUM OF SOLACE falls into a familiar pattern for the Bond series, one that may be commercially successful, but has failed to bring much excitement to the decades old franchise.

The film’s pacing is frantic, so much so, that one wonders if director Marc Forster was taking a page out of Paul Greengrass’s BOURNE playbook. Regardless, QUANTUM OF SOLACE benefits from the energized tempo, not only in the action sequences, but also the locales as 007 visits Italy, Austria, Chile, Panama and Mexico. The unique backdrops help to keep the focus off the convoluted plot, and engineer some unique scenery for Bond and enemies to shoot or blow up. Forster, not know for the action genre, presents a mixed bag. The opening car chase is too manic to follow, but a combat scene on some high-rise scaffolding provides one of the best action scenes from a Bond film in years.

Despite a few moments of genuine excitement, QUANTUM OF SOLACE remains content on serving up a familiar dish to its hungry fans, one which I haven’t had a great deal of taste for.

Grade: C+

ZACH AND MIRI MAKE A PORNO

2009-01-13T10:42:00.000-08:00

Photos courtesy of Weinstein Co. Two roommates desperate for cash decide to produce a low budget adult film in ZACH AND MIRI MAKE A PORNO.

Zach and Miri have been friends forever, and roommates for much of their adult life, but their recent financial situation is leading them to take drastic measures. After the duo’s water and electric is shut off, Zach comes up with the idea of making a low-budget porn movie.

One of my favorite quotes from philosopher Homer J. Simpson is “it’s funny because it’s true”. ZACH AND MIRI MAKE A PORNO isn’t funny for exactly that reason, none of the film rings true.

The film was written and directed by Kevin Smith, of CLERKS fame, a man who has made a living off of crude humor, independent-minded ideas, but I’ll argue, most of all, a sense of realism in his characters actions, reactions and general thought process. His last few movies still carry the humor and ideas, but his well of truthfulness is bone dry. I didn’t buy much of what ZACH AND MIRI was selling, whether it was the porn production in general, the racial banter between coffee co-workers, the supposed romantic love scene between Zach and Miri on a bag of coffee beans or the naïve nature of the porno’s willing participants.

Underneath the absurdities, and the grotesque and questionably obscene incidents, ZACH AND MIRI is at heart a romantic comedy. Although I liked the chemistry between Rogan and Banks, I never felt the passion ignite. The two actors rapport was terrific, but in more of a brother-sister relationship.

ZACH AND MIRI MAKE A PORNO is as truthful and funny as its title suggests.

Grade: D+

MADAGASCAR: ESCAPE 2 AFRICA

2009-01-13T10:31:00.000-08:00

Photos courtesy of Paramount Pictures America’s favorite New York City zoo animals have escaped their life behind bars for more action and adventure in the sequel MADAGASCAR: ESCAPE 2 AFRICA.

As the title identifies, Alex the Lion, Marty the Zebra., Melman the Giraffe and Gloria the Hippo inadvertently land in Africa after their departure from Madagascar due to some porous plane craftsmanship by the lemurs, and even worse flying by their penguin captain and co-pilot. Upon arrival, Alex discovers he has family roots in the country, Marty finds some familiar faces and Melman and Gloria begin to feud.

The original MADAGASCAR was a simplistic short story stretched into a full-length feature concept. The sequel is quite the contrary, as it features several storylines, one for each of the main characters, but none amount to much.

There’s Alex attempting to accept himself for who he is, Marty trying to find himself in a sea of look-alike Zebras and Melman and Gloria tangled up in an odd romantic triangle.

The bright spot of the original were the supporting characters, in the form of crazy lemurs and cutthroat penguins. These humorous secondary characters have apparently run their course, with the exception of a strange romance between the penguin Skipper and his inanimate hula girl.

The humor has gone from silly and off-the-wall to awkward and sometimes inappropriate. A relationship, particularly the tone and dialogue, between Gloria and an African hippo is improper for a kids film, and hearing King Julien, a Lemur, spout out political rhetoric is unfitting.

MADAGASCAR: ESCAPE 2 AFRICA is an ill-conceived, poorly written and tiresome animated feature.

Grade: C-

PRIDE AND GLORY

2009-01-13T10:18:00.000-08:00

Photos courtesy of Warner Brothers A trio of brothers serving as New York City police officers find themselves in the middle of a messy police investigation in the thriller PRIDE AND GLORY. Ray Tierney, played by Edward Norton, is placed on a special investigation unit created by his father Francis, following the killing of four NYPD officers during an apparent drug bust. Ray’s brother, Francis, Jr. was in command of the four slain officers, while his brother-in-law Jimmy also serves on the force. The investigation threatens not only the future of the New York police department, but also the Tierney’s and their legacy.

PRIDE AND GLORY feels like an attempt to revive the popular 1970’s police corruption thrillers. The setting is New York City, the action involves both hand-to-hand combat and gunplay and the atmospheric tone created by director Gavin O’Connor feels both gritty and real. Somewhere between the realistic atmosphere and authentic family dynamics, O’Connor and NARC scribe Joe Carnahan let the script get overrun with testosterone-laced moments that turn a somewhat tense family thriller into a ludicrous and overblown morality tale. The performances are very compelling enabling the fairly standard script into feeling like something new. Norton, one of the finest actors of his generation, shows why, giving Ray a tough demeanor, but revealing a fractured individual underneath the exterior. Farrell is also terrific, creating a menacing officer who will do anything to protect his name and his family. Some of Jimmy’s interrogation techniques would make 24’s Jack Bauer cringe. Noah Emmerich and Jon Voigt are also good rounding out the family of officers. In spite of its acting, PRIDE AND GLORY implodes towards its conclusion. A preposterous final act left O’Connor and Carnahan with neither pride nor glory.

Grade: C

HIGH SCHOOL MUSICAL THREE : SENIOR YEAR

2009-01-13T10:09:00.000-08:00

Photos courtesy of Walt Disney Pictures Cable television’s most successful movie franchise has now become one of Hollywood’s most successful big-screen musicals with HIGH SCHOOL MUSICAL THREE: SENIOR YEAR. Troy and Gabriella, played respectively by teen heartthrobs Zac Efron and Vanessa Ann Hudgins, are winding down their senior year and realize their lives are taking different paths. The two have enrolled at separate California universities with Gabriella focusing on a law degree, and Troy set to play college hoops. In addition to the two’s romantic challenge, they and the rest of their friends are putting on a spring musical about their final days as Wildcats.

Outside of the tabloids and the general pop culture phenomenon of HIGH SCHOOL MUSICAL I wasn’t too familiar with the previous two films, and ignorantly mocked them without having viewed them. Much to my surprise, and guilt fully so, I enjoyed HIGH SCHOOL MUSICAL THREE: SENIOR YEAR, due in large part to the film’s unabashedly juvenile, innocent and most of all, energetic approach to the mild-mannered, but high-spirited material. The plot is as generic as they come, but this SAVED BY THE BELL and GREASE mix serves the Disney franchise well, serving up a wholesome mix of family fun, with bright colors and lively tunes. Although the actors play rather cookie-cutter roles, they infuse their characters with charisma and liveliness. Efron and Hudgins are the stars, and its not surprising to hear that the two share an off-screen romance. Their chemistry on screen is the driving force in the film, and in spite of the hokey moments, provide the film with a bit of substance. HIGH SCHOOL MUSICAL THREE: SENIOR YEAR is a welcomed surprise, so much so, that I actually wouldn’t mind seeing what happens to these Wildcats after graduation.

Grade: B-

FLASH OF GENIUS

2009-01-10T13:28:00.000-08:00

Photos courtesy of Universal Pictures A college professor creates a revolutionary invention that will change car windshields forever in the drama FLASH OF GENIUS. Dr. Bob Kearns, portrayed by Greg Kinnear, is a local university professor who dabbles in inventions from time to time. One Sunday, when riding home from church with his family, Bob becomes frustrated with the use of his windshield wipers, and formulates an idea to make the wipers better. Bob creates the intermittent windshield wiper, and pitches his idea to the higher-ups at the Ford Motor Company. After accepting his proposal, the Ford Motor Company reneges on their offer, but ends up manufacturing Bob’s idea anyways. Not one for accepting defeat, Bob sues the Ford Motor Company for patent infringement.

Bio pictures are a dime dozen, but what differentiates FLASH OF GENIUS from the rest is its relatable nature. Most films in the genre are centered around a famous, tragic or tragically famous individual. The FLASH OF GENIUS protagonist certainly isn’t famous, at least in conventional circles, but his story is no less compelling depicting a family man reaching for the American dream. Kinnear, who was wonderfully egotistical and charming in GHOST TOWN, is equally convincing as Bob, a man who becomes so obsessed with personal justice, that his parental priorities become an afterthought. Although the film is a bio-picture, it isn’t as much concerned with Bob and his invention as it is in detailing the American dream and the difficulty achieving it. FLASH OF GENIUS is based on John Seabrook’s article of Kearns in “The New Yorker”, and was later released as a novel this year. Screenwriter Philip Railsback and director Marc Abraham skillfully balance the need for facts versus the spirit of the story and end up delivering a solid piece of family entertainment that doesn’t appear to meddle with the truth.

Grade: B

BODY OF LIES

2009-01-10T13:25:00.000-08:00

Photos courtesy of Warner Bros.Leonardo DiCaprio and Russell Crowe attempt to cut off a terrorist cell in Jordan in Ridley Scott’s latest thriller, BODY OF LIES. DiCaprio is Roger Ferris, a CIA ground operative in the Middle East, with his mission to uproot potential terror networks. His domestic surveillance contact is Ed Hoffman, played by Crowe, a family man who never leaves his work behind, monitoring Middle East situations from his kitchen to his daughter’s elementary school. The terrorist the two are tracking down is Islamist Al-Saleem. Al-Saleem has been gradually building an underground infantry, and Roger and Ed plan to dismantle the network from the ground up.

BODY OF LIES is familiar turf for Scott, mixing fact with fiction and drama with thrills. The film is based on the 2007 novel by Washington Post columnist David Ignatius, and the screenplay, penned by Oscar winner William Monaham is as dry as an Associated Press news release. Much of the problem is the regurgitation of situations that Roger is wrapped up in. The repetitive nature of Roger working his way up the terrorists’ food chain is almost identical to watching a covert detective work his way up a drug cartel. Scott infuses these moments into well-orchestrated action sequences, and differing techniques with the camera, but not enough to overcome the predictability of events. DiCaprio holds his own for most of the picture, before succumbing to overwritten dialogue in the film’s finale. Crowe, on the other hand, feels drastically underutilized. The casting of Crowe as Ed is an interesting choice, downplaying the actor’s charisma and machismo, and electing to derive a wise and cunning nature from the Aussie. The result is a mixed bag, but ultimately a poor one, as Crowe ends up playing a much distant and less remarkable second fiddle to DiCaprio. BODY OF LIES is a missed opportunity for the talented pedigree.

Grade: C

EAGLE EYE

2009-01-10T13:22:00.000-08:00

Photos courtesy of Dreamworks PicturesShia LeBeouf and Michelle Monahan’s every move is being watched, and every action may lead to their demise in the action-thriller EAGLE EYE. LeBeouf is Jerry Shaw, a twenty-something slacker whose main source of income is a toss-up between petty gambling and his work at a copy center. Monahan is Rachel Holloman, a single mother of one. Jerry and Rachel’s lives have nothing in common until someone calls each of them and demands certain actions. Jerry fears for his own life, while Rachel’s son Sam’s life hangs in the balance. Each of them must follow a series of instructions, while attempting to discover why and how a third party is dictating their every move. Here, Jerry and Rachel first meet, and immediately are thrust into a high speed chase.

Some films require a suspension of disbelief, but EAGLE EYE requires a complete cerebral shutdown. Even if you buy into the general conceit of the film, which is as ludicrous as they come, the details involved are preposterous and the untimely deaths are laughably bad. LeBeouf who has shown a surprisingly keen eye for scripts at a young age, erred in his decision to make this laugher. He and Monaghan are relatively unscathed, but the same can not be said of DISTURBIA director D.J. Caruso and a collection of screenwriters. It’s hard to imagine Caruso making much out of this mish-mash of a science fiction script, but less is more may have worked, leaving a little more imagination to the viewer and less foolish visuals. Even with a subtler touch from Caruso, the outlandish story invites far too many eye-rolls and unintended laughs regarding Jerry and Rachel’s contacts from the unknown. EAGLE EYE attempts to provide some overarching theme about big brother’s intrusion into out daily lives, but its wasted in a picture that could have used a lot more oversight.

Grade: C-

CHOKE

2009-01-10T13:08:00.000-08:00

Photots courtesy of Fox SearchlightSam Rockwell is a sex addict attempting to discover his father’s whereabouts in the dark comedy, CHOKE. Rockwell is Victor Mancini, a colonial theme park worker who is battling a sex addiction, while his mother is recovering at a long-term care facility for the mentally ill. During his most recent trips to the facility, Victor meets Paige, a doctor who is tending to his mother Ida, played by Angelica Huston. Victor takes a liking to Paige, but doesn’t want her to be another notch on his sexual conquest. Here Victor and his buddy Denny, are punished for not staying in character at work.

CHOKE fashions itself as a dark comedy, mixing explicit sexual encounters, touchy religious turf and graphic language in a tale of self-discovery. The picture is dark alright, but the lack of laughs made it a stretch to be considered a comedy, despite its blatant attempts. In spite of its obnoxious nature, Rockwell’s Victor is surprisingly endearing, no doubt a testament to the actor’s oddly charming ways. Rockwell, seen as a character actor in many mainstream films, has found a knack for playing off-beat individuals with extremely unique personalities. Victor is no different, and is certainly not one-dimensional. Despite his perversions and general contempt for mankind, Victor is an intelligent, crudely witty and often caring individual. Much of the credit should be given to writer-director Clark Gregg. His emphasis on Victor is a wise choice considering the ineptitude of the screenplay. Victor’s sexual addiction is never treated as anything more than a comedic device, and the relationship between he and Paige never amounts to much. CHOKE is an experimental, self-discovery picture that could have used a little less bite, and a lot more substance.

Grade: C

FROZEN RIVER

2009-01-09T10:31:00.000-08:00

Photos courtesy of Sony Pictures Classics

A mother attempting to keep her family fed turns to smuggling illegal immigrants across the border in the drama FROZEN RIVER. Melissa Leo is Ray Eddy, a wife and mother of two, whose gambling addict husband has left his family with next to nothing. Ray is having a hard time making ends meet working at the local discount store, until she runs into Lila, played by Misty Upham. Lila knows of a route, a frozen river that stretches from upstate New York to Quebec where illegal immigrants can be transported with little hassle. Each trip Lila and Ray complete brings 24-hundred dollars into their pocket. Ray plans on spending her earnings on a new home for her family.

FROZEN RIVER is one of the more realistic, and more importantly, honest looks at economic hardship and the desperate steps taken to escape such a plight. Writer-director Courtney Hunt not only captures the day-to-day depression of Ray and her kids, but also glimpses into the life of a single, Native American mother who longs for the custody of her child. Both Ray and Lila are not your typical movie moms. Although sympathetic at times, both moms have undeniable flaws that lead to their lives of illegality. Ray may be a loving mother, but her hierarchy of needs requires some adjusting when renting a television ranks higher than a healthy dinner for the family. Lila is a strong-willed woman, one strong enough to steal a car and connive another desperate mother, but not forceful enough to reclaim her son from the clutches of her mother-in-law. These characteristics help to humanize these broken women into real people. At times maddening, but never so much to distance these women from the viewer. Hunt also does a wonderful job capturing the mystique and desolate nature of the cold Northeast. Her eye for atmosphere delivers an appropriate backdrop for the distant, solemn and cold fates that await both Ray and Lila. FROZEN RIVER delivers an authentic slice of Americana, both good and bad.

Grade: B

RIGHTEOUS KILL

2009-01-09T10:20:00.000-08:00

Photos courtesy of Overture Pictures

Screen legends Al Pacino and Robert Deniro investigate a murder they believe is the work of a serial killer in the thriller RIGHTEOUS KILL. Deniro is Turk and Pacino Rooster, two New York City detectives attempting to unravel the most recent case in a long line of murders that appear to be vigilante slayings. Rooster believes the killings may be coming from a fellow officer, but the evidence is circumstantial.

Pacino and Deniro have starred in two movies twice before, and shared screen time only once, in HEAT, so the anticipation of seeing these two together again was pretty high. Whether the material drags down these two acting heavyweights, or the two lift RIGHTEOUS KILL into something more than it should be, depends on whether you are a glasses half-empty or glasses half-full moviegoer. I believe the latter is true, making a mediocre thriller into passable slice of entertainment. The film’s narrative is off from the start, cutting back and forth between Turk’s video taped declaration, past murders and the current investigation. This storytelling device has been utilized several times, but often to greater, and much less convoluted consequence. Eventually the jumbled narrative takes a back to seat to Pacino and Deniro, both of whom are good, but underutilized in rather standard detective roles. The film plays as a fairly typical killer thriller, with a late plot development that should not be revealed, but in the same sense, doesn’t add much to the overall picture. It’s nice to see Deniro and Pacino together again, I only wish it had been in a film worth their and your time.

Grade: C+

THE HOUSE BUNNY

2009-01-09T10:05:00.000-08:00

Photos courtesy of Sony Pictures

Anna Farris goes from hanging with the hotties to hanging with the notties in the comedy THE HOUSE BUNNY. Farris is Shelly, a Playboy bunny, who is evicted out of Hugh Hefner’s Playboy mansion, after she becomes over-the-hill at the staggering age of 29. With nowhere to go, Shelly stumbles aimlessly around town until she comes to the Zeta Alpha Zeta sorority house. The sorority is on the verge of being disbanded by the university due to lack of pledges, but Shelly may be just what the Zetas ordered. Shelly is hired as the house mom for the Zetas, as the sorority plans on utilizing Shelly’s assets as a Playboy bunny to earn their clan the required amount of pledges to remain an active sorority.

THE HOUSE BUNNY is the Paris Hilton or Britney Spears of comedies. It’s not naughty enough for adults and not pristine enough for young girls, and in the process turns out to be something that teenage girls and boys may enjoy, but probably shouldn't be viewing. I presume THE HOUSE BUNNY fashions itself as the next LEGALLY BLONDE, but unlike BLONDE, BUNNY is more concerned with crudity and less concerned with cleverness. Make know mistake, LEGALLY BLONDE is not ANNIE HALL when it comes to comedy, but it knew its audience and did a wonderfully playful and funny job in its fish-out-of-water comedy. THE HOUSE BUNNY can’t decide on its audience, and despite some funny moments, it can’t find any consistency in its characterization of Shelly. Is Shelly really as stupid as she appears? Is she street smart, or at least boy smart? Is she naughty or nice? The film never answers these questions. THE HOUSE BUNNY leaves Farris with a mess of a character, and remarkably she makes something out of nothing. Although its hard to place a finger on the true nature of Shelly, Farris still enables the former Bunny to be endearing, cute and sometimes even wise, in her own way. THE HOUSE BUNNY isn't as bad as it appears, and isn’t as good as it could be, its simply a tease for high school boys, and something that feels edgy for teenage girls.

Grade: C

TELL NO ONE

2009-01-09T09:57:00.000-08:00

Photos courtesy of Music Box FilmsA doctor finds his deceased wife on-line in the foreign-language thriller, TELL NO ONE. Eight years ago, Dr. Alex Beck and his wife Margot, went skinny-dipping at an old watering hole where the two grew up. After their swim, Margot swam back to shore, only to be brutally beaten and murdered, while Alex was knocked unconscious during his attempt to save her. Now modern day, Alex is sent an email which links him to a video feed that appears to show Margot alive and well. Whether a cruel trick or a link to his lost love, Alex is determined to get to the bottom of it.

Mixing old-time suspense with timeless music, TELL NO ONE conjures up a thriller that defies my sniff test of the genre, one worthy of a viewing in spite of a lackluster finish. The film sets the tone and attitude of several scenes wonderfully by incorporating catchy and classical music to the proceedings. “For Your Precious Love” by Otis Redding beautifully sets the mood for Alex and Margot’s nostalgic swim, and U2’s “With or Without You” pulsates through an emotional discovery Alex makes about the potential whereabouts of Margot. The music and context of each of these scenes is brilliantly orchestrated milking mystery, suspense and emotionality out of each moment. Director Guillaume Canet puts his stamp on the film in these instances, but also in the script, along with co-writer Phillipe Lefebre. The movie flows well for the most part, but drags on too long during a sluggish climax. Just when the film should be hitting full stride, an overly long and unforeseen explanation taps a bit of energy out of an otherwise solid thriller. The film does benefit from some effective performances. Francois Cluzet as Alex and Marie-Josee Croze as Margot headline a uniformly good cast, one that sells the labyrinth of a story that encompasses the film. TELL NO ONE may be imported, but outside of its subtitles, its accessibility and execution are a nice fit for American audiences.

Grade: B

TROPIC THUNDER

2008-09-13T11:43:00.000-07:00

Photos courtesy of Dreamworks PicturesActor, writer and director Ben Stiller mocks Hollywood and its movie conventions in the comedy, TROPIC THUNDER. Stiller is Tugg Speedman, a legendary action star whose latest efforts have been less than stellar. Speedman, along with well-acclaimed Kirk Lazaraus, played by Robert Downey, Jr., and comedian Jeff Portnoy, played by Jack Black, star in the latest war adaptation TROPIC THUNDER. After several half-hearted shoots of the film, TROPIC THUNDER director Damien Cockburn decides these prima donnas need some tougher terrain. Damien flops the three, and two other actors, in the middle of a hostile region, hoping to toughen up the crew and land some quality footage for the film.

No one gets through TROPIC THUNDER unscathed which is good and bad, hilarious, but sometimes offensive and off-putting. Stiller throws everything he has at Hollywood, and several other assuming and unassuming groups, and finds much to laugh about. Some targets are easy, such as the big Hollywood action star, the gross-out comedian and the pretentious artist, while others seem less noteworthy such as studio executives and agents. Stiller and co-writers Justin Theroux and Etan Coen hit the bulls eye with opening trailer spoofs of Speedman, Lazaraus and Portnoy’s work, particularly THE FATTIES trailer which spoofs the most recent NUTTY PROFESSOR films, with twice the flatulence. Although TROPIC THUNDER is often times laugh-out-loud funny, it does stumble along the way. The film goes to the well too many times with the characters one-note jokes, and a satire targeting Hollywood actors who play the mentally disabled is insensitive at best. In spite of the missteps, TROPIC THUNDER provides plenty to laugh about.

Grade: B-

THE WACKNESS

2008-09-13T11:38:00.000-07:00

Photos courtesy of Sony Pictures Classics

A recent high school graduate tries to work his way out of depression in the Big Apple in the mid 1990’s in the eccentric coming-of-age film, THE WACKNESS. Luke is not your average high school grad. Sure he struggles with finding a girlfriend, can’t deal with his parents and burns away endless hours on the Nintendo, but he also is a drug dealer, a depressed one, who finances his trips to the psychiatrist by peddling dime bags to the doctor. In addition to his psychiatric trips, Luke is also crushing on his doctor’s stepdaughter, Stephanie.

THE WACKNESS has all of the make-up of a vanity project, so when I looked up whether or not these were the real life experiences of the film’s writer-director Jonathan Levine, and the answer was “no”, it left me scratching my head. Levine claims the film is semi-autobiographical, in terms of the backdrop, details and perspective, and in these terms Levine gets it right. The soundtrack is chalk full of catchy and appropriate, if not important R & B and rap hits of the era, and the attitude of Luke, Stephanie and other young adults seems dead-on. Since this is a coming-of-age film, I guess I expected some of, if not all, of the characters to mature. Luke, his psychiatrist Dr. Squires, played by Ben Kingsley and Stephanie don’t grow up much, leaving THE WACKNESS feeling shallow. Levine is more concerned with providing an edge to the film, and in the process, it suffers in terms of substance. Levine has mixed his semi-autobiographical high school years, with an actual biographical essay, but the core of the story must have been lost in translation. It’s a shame because Josh Peck, as Luke, is good, and Olivia Thirlby as Stephanie, turns in a star-making performance. THE WACKNESS isn’t as dope as it thinks it is, despite Peck and Thirlby’s efforts.

Grade: C

THE MUMMY: TOMB OF THE DRAGON EMPEROR

2008-09-13T11:30:00.000-07:00

Photos courtesy of Universal Pictures Brendan Fraser returns to battle ancient warriors in the third mummy movie, THE MUMMY: TOMB OF THE DRAGON EMPEROR. Fraser reprises his role as Rick O’Connell, but Maria Bello replaces Rachael Weisz in the role of Evelyn, Rick’s wife. The O’Connells are now retired, but not happily, as Rick struggles with hobbies and Evelyn with her latest action-adventure novel. The two become intrigued by a discovery made in the tombs of the Far East, regarding the statue of an ancient Chinese emperor. Little do the O’Connells know, that the Emeror Han is not dead, but merely resting due to a curse.

I’ve always felt that the MUMMY movies were second-rate INDIANA JONES adventures, with worse acting, special effects and storylines. With the latest MUMMY and JONES movies falling just months within each other, it’s obvious I was wrong, the MUMMY is a third or fourth rate version of the JONES series. Although the acting is more forced in TOMB OF THE DRAGON EMPEROR than its predecessors, and the special effects still an eyesore, the distinct problem with the film is in its storytelling. Although I didn’t care for either of the previous two MUMMY movies, the storylines were rather simple, to the point and were delivered with reasonable success. TOMB OF THE DRAGON EMPEROR belabors an idea that is suited for a swift 90-minute runtime. New rules involving the immortality of the Emperor Han seem to change at the film’s convenience, allowing director Rob Cohen several opportunities to engage our heroes and heroines with fireballs, tumbling rocks, hundreds of warriors and of course, a dragon-emperor. As with this summer’s JONES adventure, TOMB OF THE DRAGON EMPEROR makes the film a family affair by introducing the O’Connell’s son, Alex. A mere bit part in THE MUMMY RETURNS, Alex’s character intends to bring some tension to the mix between he and dear old dad, but the chemistry isn’t there, making the father-son moments flat. THE MUMMY: TOMB OF THE DRAGON EMPEROR is a JONES wannabe that should have remain buried, and would have, if it wasn’t for the treasure it would find at the box office.

Grade: D+

THE DARK KNIGHT

2008-07-29T18:25:00.000-07:00

Photos courtesy of Warner Bros. PicturesThe Cape Crusader returns following his dangerous dust with the Sandman to face a more ominous foe in THE DARK KNIGHT. Batman’s terrorizing combatant this time is the Joker, a menacing bank thief who has more tricks up his sleeve, including mob manipulation, random killings and a plot to turn Gotham on its head. Christian Bale returns as both Bruce Wayne and Batman, and if you haven’t heard, the late Heath Ledger dons white face as the Joker.

THE DARK KNIGHT is not your father’s Batman, and shouldn’t be your young son’s either. The film is a dark, unnerving and intense comic-book action film that wrestles with morally complex issues, and eerily mirrors the current state of our union. If BATMAN BEGINS was an intricate character study of a dark, but heroic man, THE DARK KNIGHT is an expertly weaved morality tale where the answers are just as complex as the questions posed. Director Christopher Nolan, an expert on dissecting personal conundrums, in addition to BATMAN BEGINS see INSOMNIA, THE PRESTIGE and MEMENTO, again ratchets up the drama with a surprisingly effective love triangle and supporting characters that assist in upping the emotional intensity. The tone and plot are particularly grim, but Nolan and his brother, co-scribe Jonathan Nolan, lace the film with several exhilarating action sequences that would curb any summer moviegoer’s appetite. Bale delivers another solid, yet distant performance, and Morgan Freeman and Michael Caine bring a sense of importance and levity to their moments, but THE DARK KNIGHT is really all about the Joker, and Heath Ledger lives up to all of the hype. Ledger’s Joker is disturbing, manic, and psychotic, delivering the ying to Batman’s yang. Each moment Ledger appears, a chilling and unsettling atmosphere washes over the brooding, and somewhat epic, superhero saga. THE DARK KNIGHT serves as a reminder that movies don’t need to be shackled by the confines of their genre, but can turn the tables on convention and deliver an exciting, emotionally rich fable that speaks to modern times, while also tackling timeless moral dilemmas.

Grade: A

HELLBOY II: THE GOLDEN ARMY

2008-07-29T18:10:00.000-07:00

Photos courtesy of Universal PicturesRon Pearlman once again dons two horns and one gigantic claw as the wisecracking, ego-inflated superhero Hellboy in HELLBOY II: THE GOLDEN ARMY. Hellboy’s nonchalant, sarcastic ways may be appealing to television reporters, but its beginning to wear on the general public and his girlfriend Liz, another superhero at the United States Bureau for Paranormal Research. In spite of their relationship issues, Liz and Hellboy must put their differences aside to protect mankind from Prince Nuada and his band of warriors. Nuada has disregarded a truce between mankind and the world’s supernatural inhabitants. Now he’s back to reclaim dominance, and plans to do so with a dominant, but dormant golden army of warriors.

The original HELLBOY was a rather dull introduction to the series, focusing solely on the lead character, with little else to offer. HELLBOY II: THE GOLDEN ARMY again offers Pearlman a chance to shine in the lead role, which he does, but it also delivers some pretty exciting combat moments, and plenty of personal drama to make the act of saving the world well worth it. In the midst of two oddly effective love stories, HELLBOY II: THE GOLDEN ARMY conjures up four well-orchestrated and thrilling action scenes that crazed comic book fans should eat up. Although these moments don’t necessarily further the plot, they do serve as wonderful isolated battles where writer-director Guillermo del Toro has a field day with crazy creatures and plenty of destruction. Pearlman is again dead-on as Hellboy, but del Toro also has more fun this time around with the supporting cast. Abe Sapien, the odd-looking but warm-hearted sidekick of Hellboy, gets in on the romance, and Jeffery Tabor lends some comedic support with his constant clashing with Hellboy over government protocol. HELLBOY II: THE GOLDEN ARMY may not shatter preconceived notions of the genre like THE DARK KNIGHT, but it does live up to every expectation that a comic book fan should demand.

Grade: B

HANCOCK

2008-07-29T18:02:00.000-07:00

Photos courtesty of Sony Pictures

Will Smith defies the standards of his superhero predecessors in HANCOCK. Smith is the title character, a heavy-drinking, often-cursing and nearly homeless superhero who finds little acclaim for his efforts. Oh Hancock saves lives and captures criminals, but in the process leaves the city and its residents with a lot of mess to clean-up. After saving Roy Embrey from a potential train crash, Embrey, a public relations professional, decides to return the favor. Embrey plans on revamping Hancock’s image, and believes making amends for his collateral damage is the first step in the process.

Hancock is not your average superhero, and HANCOCK is not your average superhero movie. Two things stand out about the film, one which I can divulge, and the other which I’ll leave up to the film itself. The first, and undoubtedly the reason to view HANCOCK is another star-turning performance by Smith. Smith is one of the most likable, maybe the most likable leading man, and Hancock both affirms and challenges his status as such. Hancock, as previously mentioned, is a boozing, inconsiderate, rude and slightly disgusting superhero. The fact that Smith maintains all of these attributes, and still finds a dose of charm in the flawed superman, is not only a tribute to his star power, but also to his unshakable good nature. The other portion of HANCOCK that stands out is its twist, which serves as both a detriment and as an intriguing factor in the film. The twist, in retrospect, isn’t quite as surprising as initially anticipated after adding up the variables, but needless to say, takes HANCOCK to another level. This next level is one where the writers have created more than can handle, especially within the confines of a 92-minute picture. Just like its protagonist, HANCOCK is flawed, but inevitability worth it.

Grade: B-

KITT KITTREDGE: AN AMERICAN GIRL

2008-07-29T17:51:00.000-07:00

Pictures courtesy of Picturehouse

A young girl finds the Great Depression hits a little too close to home in the children’s period piece, KITT KITTREDGE: AN AMERICAN GIRL. Kitt Kittredge, played by LITTLE MISS SUNSHINE’s Abigail Breslin, is an aspiring journalist in the late 1920’s, even at the young age of ten. She attempts to latch on with the local paper, the Cincinnati Register, but to little avail. In the midst of her aspiring career as a journalist, Kit is also initiating new members into her secret club, fending off harassing schoolmates and most importantly, attempting to deal with the ill-effects of the Depression.

Just like its lead character, the aspirations of KITT KITTREDGE: AN AMERICAN GIRL are honorable, welcomed and often times far-reaching. There’s much to like about KITT KITTREDGE from Breslin’s starry-eyed performance to the well-intentioned script, but the mystery that encompasses the latter third of the film is an awkward and amateurish departure from the drama, tension and camaraderie that builds during the film’s first two acts. Kitt goes from budding reporter to private investigator, and the screenplay goes from tackling an important period in our country’s history and the individuals it affected to a clownish and tame mystery involving a robbery. The robbery is designed for two reasons: one, to entertain those children potentially put-off by the dramatic nature and tone of the film, and two, to further emphasize the film’s message of not judging others by their socio-economic lot in life. Breslin, and a talented supporting cast, nearly pull it off. Kitt is a cute, bright and understanding girl, and Breslin delivers a performance that is as confident as Olive was out-of-place in LITTLE MISS SUNSHINE. Stanley Tucci, Chris O’Donnell, Julia Ormond and Wallace Shawn all bring a sense of realism or originality to their roles. KITT KITTREDGE is an amiable attempt at reliving a harrowing time in our country’s history through the eyes of a child, but it ends up caving to a secondary story.

Grade: C+

GET SMART

2008-06-25T18:33:00.000-07:00

Photos courtesy of Warner Bros. Pictures Steve Carrell goes from analyst to agent in order to stop Russian secret agents in the action comedy GET SMART. The film is based on the television series of the same title, with Carrell taking over the role of Maxwell Smart, a former US intelligence analyst turned agent. Smart, also known as Agent 86 is teamed with the beautiful Agent 99, played by Anne Hathaway, and their mission is to track down top Russian secret agents known as KAOS. Although Smart is anxious for his mission, Agent 99 is less than enthused about taking a rookie under her wing.

Although I wasn’t around for the television version of GET SMART, the film plays like a mix between James Bond and THE NAKED GUN. The film has its share of laughs, similar to THE NAKED GUN series, but much like the Bond franchise, it plays as rather bland in terms of plot. If the scales were balanced between these two factors, the action would tip the scales one way or the other, and GET SMART doesn’t quite deliver enough excitement. It’s a shame because Carrell and Hathaway almost make it worth the price of admission. Carrell’s gift, much like Will Ferrell or Steve Martin in his hey-day, is the ability to sincerely deliver ridiculous and asinine dialogue, and pull off even more outlandish actions. Carrell’s deadpan humor, which worked wonders on “The Daily Show”, and now on in “The Office”, does again. Hathaway is also very good. Despite her good looks and youth, she enables us to buy into the romance between her and Smart, and provides a good comic foil to Carrell’s funny man. The film is rated PG-13, but compared to YOU DON’T MESS WITH THE ZOHAN or THE LOVE GURU, GET SMART can pass as a family film. Inoffensive, often funny, but rarely engaging, this spy action comedy falls just short of the required intelligence.

Grade: C+

THE INCREDIBLE HULK

2008-06-25T17:57:00.000-07:00

Photos courtesy of Universal Pictures

Edward Norton follows in the footsteps of Bill Bixby and Eric Bana in the role of Bruce Banner in the latest version of THE INCREDIBLE HULK. Plot-wise THE INCREDIBLE HULK picks up where the film version of HULK left off. Banner, now a fugitive from the United States military, has fled to a small town in Brazil, works at a local plant and constantly works on keeping his temper down as not to arouse the beast that lurks within. His love interest Betty, now played by Liv Tyler, is working as a college professor, while her father General Thaddeus Ross is still working to track down Banner and utilize his situation to the American military’s benefit. Here Hulk battles a combat fighter played by Tim Roth.

I suppose the thing that most people wanted in HULK, the film directed by Ang Lee, was more action. If that’s what you’re seeking, THE INCREDIBLE HULK delivers some big moments, but it doesn’t provide a consistent amount of action or adrenaline. Since THE INCREDIBLE HULK more or less picks up where HULK left off, I was seeking more dramatic and emotional tension between Bruce and Betty, and another one-on-one showdown between General Taylor and Bruce. Neither of these moments occur and despite infusing the cast with the talents of Norton, William Hurt and Tim Roth, THE INCREDIBLE HULK sees them more as scene combatants then characters. The plot is also more of a device than a story, serving as an excuse to move from one big Hulk battle to the next. Had the battles lived up to the billing, one might be able to overlook the film’s other flaws, but the CGI is a step backward technologically. Even the climatic battle between Hulk and Abomination, which provides plenty of bang for the buck, is visually lame, rendering a glorified version of rock’em, sock’em robots. THE INCREDIBLE HULK lacks the ambition and execution that Ang Lee’s HULK did.

Grade: C

KUNG FU PANDA

2008-06-25T17:40:00.000-07:00

Photos provided by Dreamworks Animation An overweight, noodle cooking bear finds that fate has bigger plans for him in Dreamworks animated summer film, KUNG FU PANDA. Jack Black voices Po, a Chinese panda who works at his father’s restaurant serving homemade noodles, but dreams of one day becoming a Kung Fu warrior. His day may have finally come, as Po attends a festival where the Dragon Warrior will be chosen, an individual selected to defend the Valley of Peace where Po and his father reside.

Just when I thought that Jack Black’s shtick had run thin, an animated panda comes to the rescue. KUNG FU PANDA enables the wild man to unleash his silly and off-the-wall humor to perfect affect. Directors Mark Osborne and John Stevenson keep Black’s impromptu comedy in check, and the result is a rather funny, mildly amusing, but overall winning kid’s film. The general plot is as old as the genre itself; an underdog and outcast protagonist are thrust into a situation where he must overcome great odds and hardships to save the day. In spite of the familiar and predictable story, KUNG FU PANDA succeeds in large part to Black’s voice work, exciting and well-done kung-fu scenes and a screenplay filled with more than a few nods to the STAR WARS series. In addition to Black’s voice-work, the rest of the high profile voice talent is also good, but many go unnoticed. Seth Rogan, Dustin Hoffman and David Cross’s voices are well-suited and distinguishable for their characters, whereas Angelina Jolie, Jackie Chan and Lucy Liu are well cast, but undetected. KUNG FU PANDA recycles many a scene from similar pictures, but the originality of Po and Black’s unique touch make this animated tale kick.

Grade: B-

SEX AND THE CITY

2008-06-25T17:24:00.000-07:00

Photos provided by New Line Cinema and Warner Bros. Pictures HBO’s fab four of fashion and flings receives the big screen treatment with the same title, SEX AND THE CITY. As far as I know, the movie picks up where the television program left off. Carrie, Sarah Jessica Parker, and Mr. Big decide to move in together in a ritzy Manhattan condo, Miranda and Steve are finding marriage to be a tough proposition, Charlotte and her husband are enjoying the riches of adoption and Samantha is finding her lavish Los Angeles lifestyle and boyfriend aren't all their cracked up to be. The four reunite for Carrie’s big day, after Carrie and Mr. Big decide marriage is what their relationship is missing.

To start with I should tell you that I’ve never seen the HBO version of SEX AND THE CITY, and my viewings of the program have been limited to reruns on TBS. That said, writer-director Michael Patrick King establishes the background of the characters and their situations succinctly during the film’s introduction, so well, that most of what follows is a disappointment. Outside of the fact that these ladies’ lifestyles are ones which most cannot related to, the relationships they’re entangled in seem nearly as implausible. The core of the film surrounds the on-again, off-again relationship between Carrier and Mr. Big. This may have worked, but the picture’s narrative only allows us to view the relationship through Carrie’s eyes, leaving Mr. Big’s emotions and motivations as an after-thought. Miranda’s marital woes are relatable, but uninteresting and Samantha’s issues are neither. Charlotte pops in from time to time, but King doesn’t seem too concerned with her story. Although the plot leaves little to be desired, the four actresses seem to be a match made in heaven. Whether it's dining at Carrie’s honeymoon destination, or bonding after a dramatic moment these four convey a strong chemistry and friendship. Their loyalty and honesty is refreshing, even if it's surrounded by superficial circumstances. SEX AND THE CITY doesn’t have much to say, and at nearly two and a half hours, it takes a long time to say it.

Grade: C

INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL

2008-06-04T20:27:00.000-07:00

Pictures courtesty of Paramount Pictures and Lucasfilm Ltd. Cinema’s most famous archeologist is back, and finds himself caught between comrades, companions and communists in the action-adventure, INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL. Harrison Ford returns as Indy, and Steven Spielberg slips back into the director’s chair for the fourth installment of the INDIANA JONES series. In this adventure, following a shoot-up at the military’s infamous Area 51, Jones finds himself on the short list of communist assailant suspects, and at the same time catches wind of a rare artifact known as the crystal skull. With not only an excuse, but now a reason, to flee the states, Jones embarks on an overseas adventure with his artifact informant Mutt, played by Shia LeBeouf.

It’s hard to teach an old dog new trick, which not only seems to be a blessing, but a curse for Spielberg. INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL features nearly as many terrific high-octane, well-orchestrated and humorously driven action scenes as RAIDERS OF THE LOST ARK, even if the driving force behind CRYSTAL SKULL seems as dead as a skeleton. There isn’t much for Indy to hang his fedora on when it comes to plot, so Spielberg seems intent on devising a series of action sequences that deliver plenty of excitement, suspense and laughs. CRYSTAL SKULL gets off to an exhilarating start with Jones under assault at Area 51, followed by a trip to a dangerous, but unassuming village, but after this brilliant beginning the film drifts in and out of entertaining action moments and less than stellar relationship entanglements between Indy, Mutt and Indy’s old love interest Marion, reprised by RAIDERS Karen Allen. The final revelation is something less than the sum of the parts, a bit of a rehash from the climax of RAIDERS, but a combination that shouldn’t come as a surprise for Spielberg fans. With that said, the highly improbable, yet utterly believable action-adventure moments deliver anything and everything a JONES fan could want, and justifies the means to the end.

Grade: B

PRICELESS

2008-06-04T20:18:00.000-07:00

Pictures courtesy of Samuel Goldwyn PicturesA naïve and mistaken bartender is seduced by a beautiful gold-digger in the French romantic-comedy PRICELESS. Jean, a bartender at a prestigious hotel, passes out on one of the hotel lounge’s loveseats and is awoken by Irene, a gorgeous gold digger whose sugar daddy is also passed out. Irene mistakes Jean for a wealthy visitor, and after sharing more than a few drinks, the two leave their inhibitions aside and share a one-night stand. Jean wakes up the next morning alone in bed, and it isn’t until exactly one-year later, that Irene returns with another wealthy and elderly boyfriend by her side. This doesn’t seem to sway Jean.

Complete with laughs, chemistry and genuine romantic tension and suspense PRICELESS delivers an old fashioned style romance, with a touch of naughtiness. The achievement by writer-director Pierre Salvadori isn’t as much the subtle humor, or sophisticated and mannered game that the players play with love and dollars, but the unorthodox screenplay that breaks from convention, and delivers because of it. Most of, if not all Hollywood scripts would have relied on the star power to deliver the goods, and would have dragged out the mistaken identity through the fifth or even sixth reel of the movie. PRICELESS dispenses, quite naturally, with this cliché early on and assuredly delivers a storyline that is just as rewarding and much more plausible. This isn’t to say that the star power isn’t there. Audrey Tautou not only resembles Audrey Hepburn, but her Irene is Holly Golightly incarnate, and Tautou gives a performance that can stand up to Hepburn’s. Gad Elmaleh has just as tricky a job as Jean, and walks a acting tight rope, keeping his character from veering into complete schmuck while still remaining likable. PRICELESS plays the cat and mouse contest between Jean and Irene just right, tackling matters of the heart with both intellect and emotion. Although it doesn’t live up to it’s far-reaching title, PRICELESS is definitely worth the price of admission.

Grade: B+

SPEED RACER

2008-06-03T20:28:00.000-07:00

Pictures courtesy of Warner Bros. Pictures A young boy’s racing pedigree leads him to stardom on the track in the cartoon-based, live-action feature SPEED RACER. Emile Hirsch stars as Speed Racer, a young man torn between family pride and success when confronted by a major sponsor who seeks him as their new driver. Adding to Speed’s tough racing decision is the emotional baggage of losing a brother to the sport, his father’s approval and a childhood romance that has blossomed into something more with girlfriend Trixie.
In spite of all its brilliant colors, high speed racing and clever storytelling SPEED RACER ends up off track in terms of tone and nature. Regardless of the story’s origin, the theatrical version of SPEED RACER turns out to be far more schmaltzy than it should be, and not nearly silly enough, considering the film’s PG rating. The film was written and directed by the brotherly tandem of Andy and Larry Wachowski of Matrix fame. The two’s visual sense is second to none, but wrapping their genius around a cohesive and engaging tale is another story. Although not nearly as complex as the Matrix’s labyrinth, SPEED RACER is a bit complicated for its target audience. Couple the kid-challenged plot with several manic racing sequences, and the film’s ability to entertain is drastically reduced. The extremely talented cast, consisting of Hirsch, Chistina Ricci, John Goodman, Matthew Fox and Susan Sarandon, all go to waste with performances that are too sincere for the synthetic script. SPEED RACER has its engine all revved up, but never is running on all cylinders.

Grade: C-

REDBELT

2008-06-03T20:11:00.000-07:00

Pictures courtesty of Sony Classics
Writer-director David Mamet examines the world of mixed martial arts in the dramatic thriller REDBELT. Chitel Ejiofor is Mike Terry, the central character of REDBELT, a highly skilled instructor of Jiu-jitsu, a rare form of mixed martial arts. Mike has held to the belief that martial arts are a wonderful means of self defense, patience and use of mind over matter. Following some bizarre circumstances one evening at Mike’s self defense studio and at a local bar, the Jiu-jitsu teacher may be forced to step into a mixed martial arts competition in order to recover from a few financial losses.

As with most Mamet films, not everything is as it appears. REDBELT features a wide array of strong character actors who serve as proverbial chameleons. These actors’ characters in REDBELT are constantly sliding up and down a slippery moral slope involving success, desire and most of all, money. Ejiofor’s Mike tries to avoid these sticky situations by adhering to a strict moral code, but despite his best efforts, Mike is drawn into difficult circumstances. Although operating effectively as a thriller thanks to Mamet’s often elaborate screenplay, REDBELT makes for a compelling character study of Mike, a man trying to operate on a samurai’s system in a fractured, violent and ruthless world. Ejiofor’s focused, patient and restrained performance makes REDBELT as good as it is. With his world slowly crumbling down around him, Mike remains true to himself and his belief that there isn’t any situation too great to overcome. Through Ejiofor’s internally intense, but determined portrayal, REDBELT is lifted from an engaging thriller to a thrilling critique on our current culture.

Grade: B+

BABY MAMA

2008-05-02T22:49:00.000-07:00

Pictures courtesy of Universal Pictures Tina Fey hears her biological clock ticking in the comedy BABY MAMA. Fey plays successful businessman woman Kate Holbrook. Kate has always put her professional endeavors ahead of her personal ones, and now single and 37, she realizes that what she wants most out of life is a baby. After several failed pregnancy attempts through a sperm bank, Kate elects to have a surrogate carry the child. The surrogate is Angie, a working class woman whose common law husband leaves little to be desired.

Although treading over familiar turf as last summer’s KNOCKED UP, BABY MAMA still feels fresh due to its feminine point of view and two spot-on performances by Fey and co-star Amy Poehler. Unlike Apatow’s comedy, the couple is the same sex, but each is struggling with similar issues. Fey’s Kate has been so focused on her work that she’s allotted little time for herself, and Poehler’s Angie has been enjoying life’s small pleasures but doesn't get the full picture. The plot is second to the humor which mixes Fey’s dry, but clever wordplay with Poehler’s outlandish, yet devilishly deadpan antics. Writer Michael McCullers, of AUSTIN POWERS fame, has a knack with Saturday Night Live alums, and works wonderfully with the Weekend Update anchors. Fey and Poehler are a great comedic tandem, possessing the type of chemistry severely lacking in today’s comedies. Quality supporting performances provide further comedic aid, with Greg Kinnear as a lovable small business owner, and Steve Martin and Sigourney Weaver adding a nice touch to their eccentric characters. Thanks to these performances, and a solidly silly screenplay, BABY MAMA avoids feeling like an Apatow re-run.

Grade: B

HAROLD AND KUMAR ESCAPE FROM GUANTANAMO BAY

2008-05-02T22:28:00.000-07:00

Pictures courtesty of New Line Cinema

Two bright, but mismatched friends find their trip to Amsterdam rerouted to a terrorist imprisonment camp in the comedy HAROLD AND KUMAR ESCAPE FROM GUANTANAMO BAY. Just after their wild evening to the fast-food joint WHITE CASTLE, Harold and Kumar decide to travel to Amsterdam, where Harold can reunite with his dream girl, and Kumar can enjoy some marijuana legally. The trip goes sour when Kumar decides to inhale some weed during their flight to Europe, and the authorities mistake Kumar’s bong for a bomb. This leads to Harold and Kumar being suspected of terrorism, and being thrown into a high security cell at Guantanamo Bay.

More of the same would summarize HAROLD AND KUMAR ESCAPE FROM GUANTANAMO BAY in relation to their trip to White Castle. This red-state lambasting, blue state ideological comedy severely lacks both clever social and political commentary and basic comedic elements. In between the first and second HAROLD AND KUMAR flicks a similarly themed, equally offensive, but more often than not hilarious comedy was released, BORAT. Where BORAT allowed its subjects to paint their own derogatory self-portrait, HAROLD AND KUMAR takes familiar, easy and crude potshots at their victims. Southern Americans are in-breeders, racists or hors, and those of a conservative mindset are portrayed as small-minded, racist hypocrites. There’s no joke to low brow for HAROLD AND KUMAR, and no body fluid, function or orifice that escapes writer-directors Jon Hurwitz and Hayden Schlossberg. Even the appearance of Neil Patrick Harris as Neil Patrick Harris can’t salvage this mess, as his role turns out to be a tired repeat, as opposed to his invigorating and hilarious turn in the original. If you enjoyed HAROLD AND KUMAR GO TO WHITE CASTLE than their trip to and from Guantanamo Bay should be right up your alley, if not, like me it will be a painful exercise in raunchiness.

Grade: D

UNDER THE SAME MOON

2008-04-19T19:24:00.000-07:00

Pictures courtesty of Fox Searchlight A young boy travels across the border in search of his birth mother in the Mexican film, UNDER THE SAME MOON. Carlitos, a nine-year old Mexican boy, lives with his elderly grandmother and dreams of someday reuniting with his mother Rosario, who is residing in the United States. Rosario sends money weekly to support Carlitos, and calls him every Sunday morning, but the distance is still much more than either mother or son can handle. After Carlitos’s grandmother passes away in her sleep, the young boy sets out on a journey across the Mexico-United States border in search of his mother, a Los Angeles, California resident.

An intimate emotional tale is wrapped around the controversial issue of illegal immigration in UNDER THE SAME MOON. The Mexican made picture isn’t balanced in its view on the hotbed issue, but it is a seemingly fair and honest portrayal of what hundreds, if not thousands of Mexicans strive for in an attempt to better the lives of themselves and their families. Politics aside, UNDER THE SAME MOON is an easy film to embrace with a storyline centered on the reunion of a loving mother and ambitious son. When analyzing the steps young Carlitos must make to find his mother, the script sounds contrived, but director Patricia Riggen allows time for the events to unfold in a realistic manner. Riggen’s careful touch is aided by two terrific central performances from young Adrian Alonso, and Kate del Castillo. Alonso’s Carlitos is a cute kid, but he doesn’t play the role as such, instead focusing on the drive, determination and passion of reuniting with his mother. Del Castillo is equally effective, conveying an adult torn by the distance between her youngster and the benefits she can provide her son by earning a living thousands of miles away. UNDER THE SAME MOON presents this tale of perseverance effectively around the argumentative issue of illegal immigration, and punctuates it with a clever and riveting final shot.

Grade: B

SMART PEOPLE

2008-04-18T20:03:00.000-07:00

Pictures c ourtesy of Miramax
An intellectual father and daughter are academic successes, but failures in the social scene in the comedy-drama SMART PEOPLE. Dennis Quaid is widowed professor Lawrence Wetherhold, an English professor who is attempting to get his book publicized, and is having as much trouble getting his car out of the impound lot. In the midst of scaling the impound lot’s fence, Lawrence has a minor seizure that lands him in the emergency room. Dr. Janet Hartigan, played by Sarah Jessica Parker, is Lawrence’s physician in the ER, and also an old student of his. He begins seeing Janet, which makes his daughter Vanessa, played by Ellen Page, very agitated.

Many of the characters in SMART PEOPLE operate on their own island. That is to say, they function well on their own, but when it comes to relations with others they become withdrawn, awkward and often angered. Lawrence, Vanessa and Lawrence’s adopted brother Chuck, played by Thomas Haden Church, all provide compelling and intriguing individuals, but when they are called upon to interact with one another, the reality of SMART PEOPLE falls short. Part of the problem comes from the screenplay, penned by Mark Poirer. Poirer’s carefully constructed examination of these individuals only goes so far, establishing their own strengths and deficiencies, but fails when it comes to the quintessential portion of the picture, their relationships. Most of, if not all of these encounters are a tough sell. An attractive and successful doctor falling for an old, overweight, unattractive curmudgeon like Lawrence is quite a stretch, and the storyline between Vanessa and her adoptive uncle attempts to play as dark and edgy, but ends up far closer to awkwardness. SMART PEOPLE is a fairly focused study of fractured individuals, but is as seemingly clueless about social interaction as the characters its attempting to bring together.

Grade: C

21

2008-04-04T21:52:00.000-07:00

Pictures courtesty of Sony Pictures
A group of MIT students utilize their means of deduction on the blackjack tables in Sin City in the movie 21. Ben Campbell is a brilliant MIT student hoping to land a scholarship to Harvard’s medical school, because money is the only thing standing between Ben and the Ivy League school. His chance at landing the scholarship is slim, and Ben isn’t making nearly enough working at a fine men’s clothing store. Luck may have just turned Ben’s way, when he is recruited to join a secret blackjack club at MIT, composed of fellow students and run by a professor. The group develops a system of counting cards, and codes, and with their team system in place, they’re able to make tens of thousands of dollars at Vegas’s finest casinos.

This wild fantasy of MIT students going from honor students to high stakes hustlers is the kind of story built for Hollywood. 21 is based on the real-life story of Ben Campbell, a 20-something MIT student, who finds the art of counting cards to be a lucrative enterprise. Although based on actual events, 21 wisely, or should I say fairly, never eludes to the fact that it is based on a true story. This a calculated and rational decision by director Robert Luketic, since I presume several liberties were taken with characters and events involved. By skirting the factual aspects, 21 can simply serve as escapist fun, a sometimes thrilling, often engaging romp where fair-minded college students turn into major Vegas players. The performances are standard, but deliver enough realism to overcome the inadequacies in the screenplay. One of these inadequacies has the brilliant Ben stashing hundreds of thousands of dollars in his dorm room’s drop ceiling, instead of several other safe spots. A wizard with mathematics, odds and probability, one would think Ben could have deducted the probability of these riches being stolen from his ceiling as opposed to a high security bank. This qualm aside, 21 delivers a fairly entertaining, and mainly forgettable thriller.

Grade: B-

STOP-LOSS

2008-04-04T21:36:00.000-07:00

Pictures courtesy of MTV Films
Iraq war veterans receive their marching orders just after returning home from a tour of duty in the war zone in the drama, STOP-LOSS. STOP-LOSS refers to the practice the United States military utilizes requiring certain soldiers to continue serving their country in battle. As defined by Wikipedia, stop-loss is an “involuntary extension of a service member's enlistment contract in order to retain them beyond the normal end term of service or the ceasing of a permanent change of station move for a member still in military service”. In STOP LOSS, Ryan Phillippe’s Brandon King, purple-heart, bronze-star wearing Iraq War veteran, is stop-lossed and ordered back to Iraq. Not agreeing to the terms of service, Brandon flees his hometown and becomes a fugitive of the United States military.

The practice of stop-loss is a controversial one, one which director Kimberly Pierce is dead against. There’s a reasonable and rational argument against the use of stop-loss, but Pierce does not deliver it. Her passionate criticism against the procedure has blinded her sense of realism and ability in storytelling. The characters in the film, excluding Brandon, are poorly drawn caricatures of what many anti-war activists view as the American military. Brandon’s pals are short-tempered, muscle-bound idiots who’s machoism supercedes their intellect. By painting those willing to serve their country in a derogatory light, Pierce undermines her legitmacy and those she is seemingly seeking to protect. Her general tackling of the issue is heavy-handed and poorly presented, but the intimate moments between Brandon and his fellow soldiers work. Despite his transparent Texas accent, Phillipe delivers some nice emotional scenes surrounding the sacrifices made by those that serve. Not only is Phillipe good, but Pierce demonstrates a wonderful touch allowing the drama of the scenes to unfold. In spite of these moments, the highly contentious and highly charged issue of stop-loss is more than Pierce can handle.

Grade: C-

HORTON HEARS A WHO

2008-03-23T19:56:00.000-07:00

Pictures courtesy of 20th Century Fox

An elephant believes he hears voices coming from a speck of dust in the big-screen version of HORTON HEARS A WHO. The film is based on the popular Dr Seuss short story of the same title. Dead-set on protecting the speck, Horton, a large, but lovable elephant, plans on delivering the speck, carrying an entire community of individuals known as “Whos” to the highest peak in the jungle. Unfortunately for Norton, other jungle wildlife would like to prove him wrong and will try to stop him and his speck from reaching their destination.

Silly, smart and sweet are words I often associate with Dr Seuss’s works, and each of these attributes is wonderfully abundant in the big-screen adaptation of HORTON HEARS A WHO. The central character in each of Dr. Seuss’s works is the driving force, and HORTON is no different. The enormous pachyderm is one of the most likable children’s characters to hit the screen in quite some time, and is also incredibly goofy, honest and determined. Jim Carrey voices Horton, and despite some ad libbing at times, restrains from going overboard, and brings life and a lovable nature to the big guy. The rest of the high profile voice talent is also good. Steve Carrell’s unique voice is appropriately quirky as the Mayor of Whoville, and Carol Burnett provides a terrifically twisted voice performance as an overly skeptical Kangaroo mom. Not only is HORTON HEARS A WHO true to Seuss’s characters, it also remains true to its verse. In its own poetic way, such lines as “A meant what I said, and I said what I meant, an elephant’s faithful one-hundred percent” and “A person’s a person no matter how small”, are refreshing from a literally standpoint, but also lend this charming picture even more assistance. HORTON HEARS A WHO is a wonderful example of Seuss on-screen.

Grade: B+

FUNNY GAMES (U.S.)

2008-03-23T19:46:00.000-07:00

Pictures courtesy of Warner Independent Pictures

Writer-director Michael Haneke remakes his own European horror film for the states with FUNNY GAMES. Billed as FUNNY GAMES (US), the film is a supposedly shot-by-shot remake of Haneke’s horror film from 1997. FUNNY GAMES follows two privileged young men who find pleasure in torturing well-to-do, vacationing families. The two men, Paul and Peter, find their next victims with Ann, George and their son George, Junior.

FUNNY GAMES is not an easy film to watch, but it’s also not a film that’s easy to turn away from. I have a strong feeling this is exactly what Haneke was shooting for. The film has been tagged as the latest torture porn film, but by my standards, it’s a cut above the genre. I’m not sure any pleasure is to be derived from FUNNY GAMES violent acts, but a sense of terror, intrigue and suspense is existent for much of the film. Its not until the film’s latter third, that Haneke’s directorial choices seem as if he’s playing “funny games” with his audience. A few techniques Haneke utilizes seem intent on manipulating our emotions and reactions simply for the sake of manipulation. While I can appreciate toying with the conventions of the genre, it seems as if something more substantial should come from it. It’s a shame that Haneke’s experimental, but childish choices are manifested in a film with much skill. As the two antagonists, the performances by Michael Pitt and Brady Corbet are effectively eerie, and Naomi Watts is once again on the mark as the damsel in distress. FUNNY GAMES is an often uncomfortable and skillful film that is often too clever for its own good.

Grade: C+