CACHE

A family is terrorized via videotape and mail in the foreign-language film CACHE. The French film stars Daniel Auteuil and Juliette Binoche as Georges and Anne, a married couple who begins receiving surveillance video tapes of the outside of their home. The tapes seem harmless, but after receiving several of them, the couple becomes worried. The police are of no help, since a crime hasn’t been committed, so Georges and Anne attempt to solve the mystery on their own.

Modern American horror films could take a tip or two from CACHE, a spellbinding thriller which builds suspense, tension and terror through a few unsettling images, and the disturbing intrusion into a family’s life. CACHE writer-director Michael Haneke, known for his demented and graphic tales, only caves once, graphically showing one character’s demise, and instead focuses the fear on the psychological affects of constantly being monitored. Political allegories provide CACHE with a little more substance than your average thriller, but it works just fine as a personal, suspenseful story revealing the sins of one man’s past. Daniel Auteuil is again a man in peril, but this time due to his character’s own transgressions and his performance gradually reveals a man tormented by his own demons. CACHE is a brilliant thriller, creating horror out of the unseen and unknown.

Grade: B+

THE WORLD'S FASTEST INDIAN

Anthony Hopkins burns some serious rubber in THE WORLD’S FASTEST INDIAN. The film is based on the real-life story of Burt Munro, a New Zealander who dreamt of reaching the United States to race his motorcycle in the annual Speed Week in Utah. Anthony Hopkins portrays Burt, an eccentric and jolly old man determined to race overseas. The word “Indian” in the film’s title refers to the 1920’s engine used to move Burt’s cycle.

THE WORLD’S FASTEST INDIAN follows a familiar underdog formula, but seems uniquely new thanks to a subtle, wonderful and joyful performance from Hopkins. Hopkins, who will mostly be remembered for his deliciously twisted performance as Hannibal Lecter, turns in a remarkably lovable take on the New Zealand dragster. His Burt is really one-of-a-kind. Burt is eccentric, without seeming weird; ignorant to American culture, but certainly not stupid; and he’s also a daredevil, but not in the cocky, brash sense, yet a man who realizes the mission he must accomplish. The film was written and directed by Ronald Donaldson, whose past films have included such Hollywood action films as DANTE’S PEAK and SPECIES. With THE WORLD’S FASTEST INDIAN, Donaldson shows he can dig deep into a warm and engaging character, while still keeping the racing scenes crackling.

Grade: B

RUNNING SCARED

Paul Walker tries to retrieve an important gun in the crime thriller RUNNING SCARED. Walker is Joey Gazelle, an accomplice in a mob deal gone sour. It’s Joey’s job to dispose of the guns used in the deal, but one of the guns makes its way into the hands of Oleg, a friend of Joey’s son Nicky. Oleg uses the gun on his mother’s abusive boyfriend, and then runs away. These circumstances send Joey on a wild goose chase to retrieve the missing piece.

Some modern film noir have succeeded at integrating a wide array of characters, events and motives, interweaving them into a creative whirlwind which gradually reveals their connection. RUNNING SCARED is all whirlwind (more like tornado) which leaves everything out of whack. The film has a wide array of characters, events and motives, but writer-director Wayne Kramer seems more concerned with one upping himself with each subsequent scene, than attempting to tie it all together. Although it’s a mess of a screenplay, I still admire Kramer’s no-holds barred attack. Kramer throws everything and anything into the picture, including crooked cops, clean criminals, violent kids, pedophiles, killer hockey players, pimps, prostitutes and even a John Wayne-tattooed Russian who weeps when watching the Duke’s films. RUNNING SCARED is creative, but not clever, a brainstorming session which was filmed.

Grade: C

DATE MOVIE

After three SCARY movies, its romantic comedies turn for parody with DATE MOVIE. The film is in the same vein as the SCARY MOVIE films, but this time date movies are the target. Alyson Hannigan, of AMERICAN PIE fame, is Julia Jones, a twenty-something single, overweight woman who’s looking for Mr. Right. After receiving a drastic makeover with the help of Hitch, she goes on the television series “The Bachelor” and instantly falls for the show’s main attraction, Grant. Their main obstacle towards marital bliss is the fact that each will have to meet the other’s parents.

Just as many modern horror films mistakenly equate gore for terror, many comedies equate vulgarity for laughs. This error in judgment, and taste, has culminated with DATE MOVIE, a film so misconceived that it can’t identify itself as a parody of parodies. Many romantic comedies are ripe for the picking, but the ones that DATE MOVIE chooses, and more specifically the reasons they are chosen, are off the mark. Moments from MEET THE PARENTS, MY BEST FRIEND’S WEDDING and MY BIG FAT GREEK WEEDING are all spoofed, but many of the moments from these films were intended to be over-the-top. So what we’re left with is over-the-top jokes of over-the-top jokes, and it doesn’t work. DATE MOVIE’s tag line is “A film for people who love date movies, and people who hate them”. I can unequivocally say that DATE MOVIE isn’t for anyone.

Grade: F

The Best Films of 2005

Although I've procrastinated getting my "Best" on my blog, what better time than posting them just before the Academy of Motion Picture Sciences recognizes its creme de la creme tomorrow night. Here are the ten best films of 2005:

THE BEST FILMS OF 2005

10.) JUNEBUG

Big city ways and small town life clash in JUNEBUG. Director Phil Morrison captures the attitudes, inhibitions and essence of both worlds, in the tale of a prodigal son and his high-fluent wife. Benjamin McKenzie and Embeth Davidtz are good as the conflicted couple, but it’s Amy Adams as the naïve, charming and wonderfully cheerful Ashley that steals the show. I can’t remember a character as refreshing upbeat and authentically original as Ashley, and it’s all to Adams credit.

9.) PRIDE AND PREJUDICE

Just when I thought costume-dramas were a lost art, PRIDE AND PREJUDICE renewed my faith in the genre. Director Joe Wright adapts Jane Austen’s classic love story into a gorgeous romance with sharp dialogue and wonderfully filmed dance sequences. Of all the assertive roles we’ve seen Keira Knightley tackle, none has been more convincing, charming or passionate as her portrayal of Elizabeth Bennett. PRIDE AND PREJUDICE is one of the best romances in the last several years.

8.) MUNICH

Steven Spielberg’s look into the Israeli-Palestian conflict, MUNICH, is a captivating look into a political and religious hotbed. Spielberg has crafted an extremely riveting thriller with intense moments of great danger, a mystery with characters whose motives are not entirely known and a morally complex drama with no distinguishable conclusions. MUNICH has been chastised by both sides, but this should tell you something about the film, that it is a hard, fair and direct look at a conflict that is not easily diagnosed.

7.) BROKEBACK MOUNTAIN

Director Ang Lee’s cowboy romance, BROKEBACK MOUNTAIN is an emotionally driven picture with much angst. Larry McMurty and Diana Ossana have adapted E. Annie Proulx’s short story into a moving drama that utilizes sentimental items, family ties and last wishes. Lee takes each of these aspects to great emotional heights employing imagery, memories and the scenic Wyoming landscape. Although the cast is uniformly good, Heath Ledger stands out, convincingly depicting a man who internalizes his anger, sadness and fear.

6.) WALLACE AND GROMMIT IN THE CURSE OF THE WERE-RABBIT

Aardman’s dynamic duo return to the silver screen was a triumphant one with WALLACE AND GROMMIT IN THE CURSE OF THE WERE-RABBIT. Although the film is full of visual delights, rousing action sequences and clever jokes, it’s Wallace and Grommit’s good-hearted nature and camaraderie that make the film something special. The film’s technique of stop-motion animation has a simple and workman like touch that in many ways makes the characters seem more real. WALLACE AND GROMMIT IN THE CURSE OF THE WERERABBIT is a wonderful family film that can be enjoyed by anyone.

5.) WAR OF THE WORLDS

The best of 2005’s blockbusters was the edge-of-your-seat thriller WAR OF THE WORLDS. Steven Speilberg’s awesome imagination substitutes his familiar dream-like sense of exploration and discovery, for a nightmarish scenario of disaster, terror and carnage. Although the visual aesthetic is impressive, we are not invited to be in awe of the majestic showcase, but rather terrified of its affects WAR OF THE WORLDS defines what films should be in terms of spectacle and cinematic experience.

4.) FEVER PITCH

The well thrown romantic-comedy, FEVER PITCH rings true. The script, based on the Nick Hornby novel, is sharp in its dissection of sports obsessed individuals and those who love them. Despite their deliciously disgusting resume, the Farrelly brothers have concocted a sweet film filled with bizarre, yet realistic scenarios, quirky humor and lovable characters. FEVER PITCH really hit home for me, and assuredly has for thousand of sports fans and those who put up with them.

3.) MATCH POINT

Woody Allen returned to form in 2005 with the cunningly clever thriller MATCH POINT. The diabolically written script twists and turns with Allen’s masterful touch, revealing revelations that are natural, yet surprising. Jonathan Rhys-Meyers and Scarlett Johansson draw us into their web of lust, power and deceit with two attractive and alluring performances. MATCH POINT revels in affairs, greed and worse, but marks another morally compelling drama in Allen’s already impressive cinematic career.

2.) CRASH

Writer-director Paul Haggis’s CRASH is a clever twist on our country’s current cultural climate. This racially infused drama skillfully interweaves several stories of prejudiced Los Angeles residents. CRASH blatantly and subtly shows how racism is manifested, not just in white or black Americans, but also Hispanics, Asian-Americans and those of other ethnicities. Haggis provides an honest, revealing and tough look at several different characters, enables us to emphasize with their situations without excusing their actions. CRASH is a remarkably enriching drama.

1.) MURDERBALL

This awe-inspiring, uncompromising and brilliantly told documentary is a tribute to those who refuse to lose. This tale of the United States wheelchair rugby team shatters preconceived notions of paraplegics as victims, and displays individuals who have a zest and love for life. Competitors Mark Zuppan and Joe Soares are two of the greatest characters to light up the silver screen last year, and their stories would seem like clichés, if they weren’t true. Directors Henry Rubin and Dana Shapiro not only capture the soul of these amazing stories, but they’ve created an electrifying sports film that drains every heart tugging moment. MURDERBALL is a testament to the resilience of the human spirit, and it’s my pick for the best film of 2005.

The Next Best of 2005

Before I get to posting my top ten films of 2005, here's a look at ten good films that didn't quite make the cut:

Honorable Mentions of 2005

THE SISTERHOOD OF THE TRAVELING PANTS was a nice surprise from 2005. It was refreshing to find a teen film that was charming, touching and real in its portrayal of teens and their troubles. Several talented young actresses bring conviction and passion to each of their characters, and the screenplay blends each of the sub-plots expertly.

The throwback Hollywood film, CINDERELLA MAN wasn’t a surprise, as the pedigree of Ron Howard, Russell Crowe, Renee Zelwegger and Paul Giamatti didn’t disappoint. Howard and his talented cast provide the necessary drive for this timeless tale of Depression-Era boxer Jim Braddock. The boxing scenes are superbly simplistic, revealing a brutal truth to the sport and the film’s era.

Bill Murray’s impressive streak of roles continued with the offbeat and quirky comedy-drama, BROKEN FLOWERS. As Don Johnston, Murray projects Don’s internal distress with a worn face, lackadaisical demeanor and deep, sorrowful glares. Director Jim Jarmusch delicately delivers a human drama about the heartache that follows the romance.

Two effective family dramas in 2005 were THE UPSIDE OF ANGER and WINTER SOLSTICE. THE UPSIDE OF ANGER, director Mike Binder crafted an emotionally enriching tale demonstrating the ill-effects when anger overtakes common sense, understanding and humility. Kevin Costner and Joe Allen are in rare form, and the performances by the four young actresses are understated, yet valuable. In WINTER SOLSTICE, the actors are appropriately low-key, and extremely successful in displaying the day-to-day struggles one tackles when attempting to overcome the loss of a loved one. The film is a patient and rewarding drama detailing the healing process.

IN HER SHOES and PROOF provided three of the best female performances last year. Despite their differences, Toni Collette and Cameron Diaz found common ground in Curtis Hanson’s heartwarming sibling rivalry IN HER SHOES, and in spite of their characters contemptible actions, the actresses reveal a great deal of humanity behind their bitter exterior. Gwyneth Paltrow proved to be the driving force behind PROOF. Paltrow’s Catherine is an extremely intelligent mathematician who can’t find the equation for love or happiness in director John Madden’s latest. Paltrow finds just the right balance between stress and sympathy, while Anthony Hopkins gives a moving performance as Catherine’s late father.

Indie films MILLIONS AND BROTHERS certainly deserve praise. Both deal with the painful loss of a loved one, one with whimsy and the other with turmoil. Director Danny Boyle put his vivid imagination to work in the uplifting and joyful MILLIONS. A young boy comes across a bag of loot, and decides to give rather than receive. The outcome is one of the year’s most rewarding. BROTHERS involves a love-triangle between brothers, as an Afghanistan war veteran is presumed dead, and his brother resumes his duties as husband and father. The dramatic results of the film are profound, and Ulrich Thomsen gives a riveting performance as war vet Michael.

The great ape, KING KONG rounds out my honorable mentions. For all its excesses, KING KONG delivered a special effects extravaganza, anchored by three magnetic performances from Naomi Watts, Adrien Brody and Jack Black. Director Peter Jackson’s love for the original is greatly known, and you can sense his passion in the making of this entertaining and engaging epic.

The Worst Films of 2005

Well, I've finally gotten around to posting my worst films of 2005. What better time than just before the Razzies dish out their dubious awards. Here's my take on last year's lowlights:

THE WORST OF 2005

10.) DERAILED

The not so-slick thriller DERAILED begins my wretched list. Clive Owen and Jennifer Anniston make the best of a maddening thriller where the characters constantly make ill-advised, ludicrous choices which seem based on the will of the script and not the will of its characters. DERAILED is a poorly written, piece of tripe.

9.) WOLF CREEK
8.) THE DEVIL'S REJECTS

Both WOLF CREEK and THE DEVIL’S REJECTS served up a hearty dose of blood, guts and gore, but little in the way of genuine suspense, shock or fear. Although both were visually effective, each film creates a sense of joy in its sadistic and sexually explicit encounters. THE DEVIL’S REJECTS Rob Zombie conjured up a sickening fictitious tale of a psychotic family, while WOLF CREEK writer-director Greg McLean took advantage of a real life tragedy to spew his vision of malicious mayhem.

7.) DIARY OF A MAD, BLACK WOMAN

All of the right intentions couldn’t help DIARY OF A MAD, BLACK WOMAN, a mishmash of comedy and drama. I don’t doubt writer-director Tyler Perry’s goal of providing a religiously infused tale of perseverance and forgiveness, but the execution is utter chaos. The film plays to the broadest of stereotypes, and the characters are downright exasperating. DIARY OF A MAD, BLACK WOMAN is what you’d get if you mixed THE NUTTY PROFESSOR with a Lifetime melodrama.

6.) BOOGEYMAN

BOOGEYMAN is half mystery, half horror which adds up to a whole lot of nothing. Although BOOGEYMAN builds a case for something more, with lame flashbacks and creepy kids, its resolution its nothing more than a poorly constructed monster mash. Poor acting, and even worse editing make the so-called frightening scenes unbearable.

5.) SON OF THE MASK

This sequel is both unnecessary and poorly crafted, not to mention about ten years late. This lifeless follow-up to the tame original offers little in the way of humor or star power. Jim Carrey may have overreacted in the original, but Jamie Kennedy doesn’t even appear to be trying. Screwy sub-plots, poor special effects and low brow humor make SON OF THE MASK the worst family film of 2005.

4.) DOOM
3.) ALONE IN THE DARK

Talk about lack of inspiration, Hollywood scraped the bottom of their creative barrel last year with the video-game based movies DOOM and ALONE IN THE DARK. DOOM is unbelievably dull for an action film, and when the so-called thrills arrive, it’s in a first-person point-of-view, which is the video game’s appeal, but on screen it plays like a third-grader’s home movie. ALONE IN THE DARK is even worse, proving Christian Slater and Tara Reid’s careers can get worse. Slater mugs for the camera as a brute, paranormal detective, while Reid tries to sell herself as an archaeologist. The only thing funnier than their silly performances, are the creatures that lurk in the dark.

2.) THE ARISTOCRATS

THE ARISTOCRATS, using its own vulgar terms, is an exercise in comic masturbation. Several notable and talented comedians tell a joke involving a family of four, and what they are willing do to as a sideshow act. Various versions of the joke, most of them very similar and even more uninspired, are drilled into our heads with disgusting thoughts of incest, oral sex, blood, guts and excrement. Now that’s entertainment.

1.) DEUCE BIGELOW: EUROPEAN GIGOLO

As if listening to the acts in THE ARISTOCRATS wasn’t bad enough, DEUCE BIGELOW: EUROPEAN GIGOLO gives us the pictures to put with our thoughts. This disgustingly brash comedy sends the oblivious Deuce overseas, where he encounters horrible European stereotypes, and a lame-brain pimp played by Eddie Griffin. While Europeans are lambasted, the real joke is on Deuce, who gives new meaning to the term, ugly American. This amazingly bad follow-up was so excruciating that my experience in the theater felt surreal.

The Good, The Bad and Madea

After watching a morally bankrupt celluloid character one night, and a righteous film family the next, you'd think each of the subjects would equate to the film's quality. Wrong. Roger Ebert has said (and I'm paraphrasing), that its not what the film is about, but how it is about it. Two great examples of this are Woody Allen's MATCH POINT, and Tyler Perry's MADEA'S FAMILY REUNION.

MATCH POINT surrounds the rise of tennis pro Chris Wilton into Britian's social uppercrust. There isn't anything that will stop Chris from obtaining whatever he wants, be it professional, social or sexual. Jonathan Rhys Meyers plays Chris nearly perfect, and although we despise his intentions, actions and emotions, there's a certain draw to him despite his amoral behavior.

MADEA'S FAMILY REUNION is in dark contrast. Each of the main players is a righeteous person, attempting to make sound judgements based on their family, friends and God. There's a genuine concern for each family member, and despite their flaws, behavior and past sins, a strong willingness to forgive one another.

In terms of quality, these two films couldn't be farther apart. Allen lures us into Britain's high society by intoxicating us with a family's luxurious estate, attractive individuals and wordplay that sizzles between the characters lips. In spite of all the misdeeds, MATCH POINT is throughly engaging due Allen's sharp, yet realistic twists and a morally provactive script which doesn't have to scream its message to be heard. Perry's FAMILY REUNION is all about yelling, and if you haven't heard the message, Great Granny Madea will beat it into you. Several scenes are staged to have "wise" characters spill lengthy monologues of right and wrong, treating its audience like a child in grade school.

Many viewers will see MADEA'S FAMILY REUNION as a good-hearted, spiritually enriching romp, while MATCH POINT will be deemed a dark and disturbing drama which rewards the wicked. This is too simplistic of a take for both films, one which many will determine based on each film's synopsis, and not the subtlety, or lackthereof, of each film.

FEVER PITCH

(Spring Training has just begun, and since my review for FEVER PITCH never made its way to the blog last Spring, here it is)

Drew Barrymore competes against Jimmy Fallon’s first love in the Farrelly brothers’ romantic comedy FEVER PITCH. Fallon is Ben, a school teacher, who meets Barrymore’s Lindsey during a class field trip at her place of employment. The two begin dating in the Fall, and everything couldn’t be going better, at least until Spring hits. Fallon is a die-hard Boston Red Sox fan, and from April to October his life is devoted to Red Sox baseball. His obsession with the Sox could jeopardize his relationship with Lindsey.

At times I felt as if I was watching my own reflection in FEVER PITCH. Although I’m a die-hard Reds, not Red Sox fan, there are far too many eerie similarities between Ben and I. The script, written by Lowell Ganz and Babaloo Mandel and based on the Nick Hornby novel, is sharp in its dissection of sports obsessed individuals and those who love them. I’ve never read a Hornby novel, but following his other adaptations, HIGH FIDELITY and ABOUT A BOY, it's no wonder they’ve been plucked for big-screen material. The Farrelly brothers work here is just as impressive as the writing. Although known for their absurd humor, they work a stroke magic with FEVER PITCH. They take advantage of bizarre, yet realistic scenarios, layer them with a touch of their quirky humor and ground them with two utterly likable characters. In addition to the skillful direction and wonderful script, FEVER PITCH gets an unexpectedly good performance out of Fallon. Barrymore is again charming, but Fallon is the surprise, bringing a warm-hearted interior to his outward fanaticism. FEVER PITCH isn’t a perfect game, but it's darn close.

Grade: A-

THE MATADOR

A salesman makes an unlikely friendship with a hit man in the dark comedy, THE MATADOR. Danny Wright, played by Greg Kinnear, heads south of the border in order to convince a prospective company that his firm should handle their account. While in Mexico, he meets Julian Noble, an Irish assassin who has just performed his latest hit. After an uncomfortable exchange between the two at the hotel bar, the two men hit it off and head to a coliseum for a bullfight. After the fight, Julian decides that Danny may be up for something more, maybe a bit role in Julian’s next assignment.

I’ll be the first to tell you that recent dark comedies have either lacked an edge, a comic sense or both. THE MATADOR surprised me, being both impetuous and humorous, riding the slippery slope between comedy and distaste. Writer-director Richard Shepard has crafted two characters who are headed in opposite directions, Julian towards a softer center, and Danny on the brink of a nervous breakdown. With Danny and Julian’s unpredictability, it opens the possibilities and suspense up to unforeseen conclusions, and several funny moments. Kinear has found his niche as the average schmuck, while Brosnan is especially good in a performance I didn’t think was in him. Tossing aside his debonair demeanor, Brosnan chews up every scene, enabling Julian to be many things: uneasy, alluring and even pathetic. THE MATADOR doesn’t break any new ground for dark comedies, but it does provide a fresh and welcomed relief from the genres more recent entries.

Grade: B

FIREWALL

Harrison Ford must crack a systematic safe he created, in order to stave his own wife and children’s lives in the thriller, FIREWALL. Ford is Jack Stanfield, a security expert at a high-volume bank. Jack has created a computerized security system designed to prevent illegal money transfers, protecting the bank’s clients from fraud. With knowledge and access to a tremendous amount of money, Jack becomes a target and a means to someone’s greedy aspirations. Jack’s wife and children have been kidnapped, and he must break into the bank’s computerized system, in order to save his loved ones.

The skill displayed by director Richard Loraine and writer Joe Forte is in keeping FIREWALL moving at a quick enough pace, where discrepancies and unlikely events are overshadowed by tense situations and suspenseful moments. The film isn’t a great example of authenticity or plausibility, but it’s constantly shifting script, and the actors’ on-key performances keep FIREWALL exciting and consistently entertaining. Ford and Virginia Madsen, as his wife Beth, convey smart, head-strong and calming presences, enabling their characters to be realistically resourceful and emotionally grounded. The best of the performances comes from Paul Bettany’s Bill. Bettany, who’s last big role came in Loraine’s WIMBLEDON, shows off a side rarely seen from the Brit. In Bill, he’s created a cold, calculating and callous individual capable of almost anything. Due to Bettany’s performance, we’re given more than enough pull to hope the Stanfield family survives.

Grade: B-

SOMETHING NEW

An interracial romance creates conflict for a successful black female and her traditional family in SOMETHING NEW. Sanaa Lathan is Kenya, a successful, professional and beautiful black woman who hasn’t landed a beau due to her own insecurities, hang-ups and unwieldy expectations. She decides to take a chance, and sets up a blind date via the internet with a man named Brian. Brian is white, and once Kenya realizes this, their date is no longer. After meeting again through a common friend, Brian becomes employed by Kenya as her landscaper.

Although it doesn’t break any new ground in race relations, SOMETHING NEW does add a little more weight to the sentimental genre. A recent Gallup Poll showed that 60% of individuals ages 18 to 29 have dated someone of a different race. The film, if anything, may not be something new for many, but instead something to relate to. Regardless of the social commentary, SOMETHING NEW works as a charming love story where in addition to race, personality conflicts, income and family acceptance stand in the way of two individuals romantic bliss. Lathan turns in another winning performance in a romantic comedy, conveying a strong female in professional and social situations and a more inhibited individual when she shares time with family and friends. Similar to her turn in LOVE AND BASKETBALL, Lathan demonstrates a beauty with brains. SOMETHING NEW is a fresh and warming romantic diversion which arrives just in time for cupid.

Grade: B-

FINAL DESTINATION 3

Director James Wong returns for more bloodshed in the third part of the death destiny series, FINAL DESTINATION 3. The set up is the same as the first two FINAL DESTINATION films. A high school student envisions a horrific disaster just minutes before it occurs, tries to convince everyone that the vision is true, and then following the catastrophe attempts to cheat death in order to spare her and many others lives. This time around, the premonition comes to Wendy, a high school yearbook photographer, and it surrounds a disastrous roller coaster ride.

FINAL DESTINATION 3 is like watching a chain reaction version of a series of ITCHY AND SCRATCHY episodes. Neither of the films are as funny or half as clever as THE SIMPSONS fictional cartoon duo, and the pain in watching some of the film’s deaths is nearly unbearable. The enjoyment of the movie is supposed to be derived from watching elaborately staged death sequences where teens are mutilated via nail guns, car crashes, tanning beds and other assorted objects and devices. For those with a more sick and twisted funny bone, FINAL DESTINATION 3 is merely an extremely violent cartoon to laugh at. My problem is that the film doesn’t play that way. Certain scenes and characters provide some semblance of humanity, and these individuals genuinely struggle with the events that are occurring around them. FINAL DESTINATION THREE is a continued testament to the drastic decline in horror films. Avoid this painful dance with the reaper.

Grade: F

GLORY ROAD

Josh Lucas leads an integrated Texas basketball team towards sports immortality in the late 60’s in the drama GLORY ROAD. Lucas is Don Haskins, a successful high school girls’ basketball coach, who lands the head coaching job at Division I Texas Western to coach men’s collegiate hoops. With very few scholarships and recruiting dollars, Haskins hits the inner city for overlooked black players. The Texas Western Miners grab national attention, as well as their critics and fans, by not only challenging the color barrier in college basketball, but also its undefeated record.

Dr. Martin Luther King Junior once said, “Judge us not by the color of our skin, but by the content of our character.” Although GLORY ROAD preaches to be color blind it seems to be a contradicting itself, even if the film is historically accurate. Much of GLORY ROAD is devoted to showing the discrimination the black ball players faced, and Haskins drive towards winning. The team is nearly evenly integrated, with five white and seven black players, and the minutes, points and victories are distributed amongst the team’s best players, be it white or black, during the film’s entire season. It isn’t until late in GLORY ROAD when Haskins decides to make a political point, rather than seeking the best coaching decision for his team, that the film turns a double-standard. The film, and history’s late tournament twist, is a compelling statement, but one which doesn’t seem to fit the GLORY ROAD underlying message. This thematic miscalculation undermines an entertaining picture, with good performances, exciting on-court action and a great R & B soundtrack. For as much grandstanding as it does, GLORY ROAD doesn’t score enough points.

Grade: C+

BROKEBACK MOUNTAIN

Heath Ledger and Jake Gyllenhaal form a friendship and much more in Ang Lee’s romantic epic BROKEBACK MOUNTAIN. Ledger is Ennis Del Mar, and Gyllenhaal, Jack Twist, two cowboys who together tend sheep along Wyoming’s Brokeback Mountain. 1963 is the only year the men would work together, but their romantic experience on Brokeback Mountain, would lead to several more trips to the mountain range. Despite obstacles, including marriage, distance and time, the two men find moments throughout the years to reunite.

Although BROKEBACK MOUNTAIN has been tagged a gay cowboy movie, the film is a little more complicated for such a simple label. The two men are not necessarily gay, as their attraction is not only limited to their sex. Ennis and Jack’s appeal is more than sensual, as the men share a kinship and bond through their mountainous experiences. Ledger and Gyllenhaal are both effective in roles that demand a lot. Both actors sell themselves as rugged Western folks, but also pull off a romance conveying great sensitivity. Ledger stands out, as his Ennis internalizes his anger, sadness and fear. The screenplay deserves as much credit as the actors, with Larry McMurty and Diana Ossana adapting E. Annie Proulx’s short story into a moving drama that utilizes sentimental items, family ties and last wishes. Director Ang Lee takes each of these aspects to great emotional heights employing imagery, memories and the scenic Wyoming landscape. BROKEBACK MOUNTAIN isn’t just a gay cowboy movie, but a display of a fractured relationship and a man coming to terms with his emotional detachment. BROKEBACK MOUNTAIN is one of 2005’s best films.

Grade: B+

MUNICH

Steven Spielberg tackles the Israeli-Palestinian conflict with the dramatic, thriller MUNICH. The film is centered around a group of Israeli assassins who have been called by their government to serve on a mission of retribution and revenge. During the 1972 Olympics in Munich, Germany eleven Israeli athletes were kidnapped and murdered. The group of Israeli assassins’ mission is to kill each of the men responsible for the tragedy in Munich.

Spielberg has been lambasted by both Israelis and Palestinians for MUNICH. Each side has been critical of the film, as Spielberg doesn’t take a firm stance either way. MUNICH is a hard look at a conflict that is not easily diagnosed. The five Israeli assassins struggle with the moral implications of their mission to varying degrees. Spielberg has crafted a morally complex film with no distinguishable conclusions, and an extremely riveting thriller with intense moments of great danger, and characters whose motives are not entirely known. Bana provides MUNICH with a person who is passionate, caring, complicated, deadly, and when all is said and done, confused. His Avner is inevitably where I believe we see Spielberg through MUNICH. Although he is a passionate Israeli, determined for his cause, he isn’t convinced his actions or his government’s hard line position is the right approach. MUNICH is a morally compelling must-see movie.

Grade: B+

NINE LIVES

An ensemble cast of talented actresses reveal several pressing issues for women in NINE LIVES. The film is broken down in several episodic scenes, titled with one of the nine women’s names, and focuses on a pressing issue. These topics include imprisonment, loss, love, betrayal and death, amongst many others. The film co-stars a number of character actors including, Kathy Baker, Mary Kay Place, Joe Mantenga and Stephen Dillane, and also some heavy hitters like Sissy Spacek, Robin Wright Penn, Glen Close and Dakota Fanning.

NINE LIVES works on many levels, and as several different films. Each segment can serve as its own entity, a short film, but is greater enhanced by the short films that precede and follow it. Some of the characters appear in multiple shorts, but it’s not used as a gimmick or a clever trick, yet an understated way to demonstrate the connectivity and continuity of all women. Each of the short films is shot with a steady cam, allowing for no editing to occur. Again, this could have been seen as pretentious, but director Rodrigo Garcia utilizes this technique to simply have us walk with his characters for a short while. All of the shorts work, but some have a greater impact than others. A romance rekindled at a supermarket, a forbidden affair and memories of a loved one are the three which not only have the greatest emotional force, but are also handled with great subtlety and care. NINE LIVES is a balanced and successful collection of women’s short subjects.

Grade: B

TRANSAMERICA

Desperate Housewife Felicity Huffman undergoes a personal transformation in the comedy-drama TRANSAMERICA. Huffman is Bree, formerly Stanley, a transsexual who is in the final stages before gender reassignment surgery. Just before her surgery, she finds out that she may have a son named Toby. After consulting with her therapist, Bree heads to New York to find out if Toby is hers.

For all of its socially conscious intentions, TRANSAMERICA is a misguided film with an awkward moral barometer. Writer-director Duncan Tucker’s strength is obviously not subtlety. The character of Toby couldn’t be written more obvious or pathetic. Toby’s mother committed suicide, his father is now becoming a woman and his step-father molested him. Couple this with the fact that he’s a coke-addicted male prostitute, and you have enough material for five edgy dramas. The central character of Bree is handled as well as possible, but I’m not quite sure someone in her circumstances can be empathetic. I certainly felt sympathy for Bree, and she comes off as genuinely decent person, but I didn’t come close to understanding her situation. This is where TRANSAMERICA drastically fails.

Grade: D+

LOOKING FOR COMEDY IN THE MUSLIM WORLD

Writer-director Albert Brooks tries to assist the United States government in easing tensions between America and the Middle East in LOOKING FOR COMEDY IN THE MUSLIM WORLD. Brooks, playing himself, is called on by a special committee on US foreign affairs to help bridge the tension gap between the United States and the Muslim world. The committee requests that Brooks visit India and Pakistan, and write a 500-page report on what makes members of the Muslim faith laugh.

LOOKING FOR COMEDY IN THE MUSLIM WORLD has all the marks of a Brooks’ comedy, but unlike most of his works, it doesn’t go anywhere. Much of the humor works, but its small chuckles not big laughs, and it relies on more plot than standard Brooks fare. I liked Brooks’ idea of playing himself in the lead role. This enables the comedian more laughs and comedic situations, and helps to play off other real people, places and events. The insecurities and doubts he has when he reaches the Middle East, are all confirmed when the citizens either don’t get, or more humorously, don’t like his jokes. These situations are sustained for much of the film, before Brooks must begin to tie his overseas experiences into one cohesive story. LOOKING FOR COMEDY IN THE MUSLIM WORLD is a mildly amusing movie, that doesn’t quite pull its premise off.

Grade: C

TRISTAN AND ISOLDE

James Franco and Sophia Myles share a forbidden love in the romantic period piece, TRISTAN AND ISOLDE. Following the fall of the Roman Empire, much of the region has fallen under the power of Ireland, while the remaining parcels are divided amongst several British factions. Tristan is a Brit, one whom is left to die when his raft drifts upon Ireland’s shore. Isolde, posing as a commoner, finds Tristan, cares for him and then falls in love. Later the two meet, in unlikely circumstances, with Tristan winning Isolde’s hand for his Lord.

Director Kevin Reynolds seems to have a knack for telling classic stories. His remakes of ROBIN HOOD and THE COUNT OF MONTE CRISTO weren’t nearly as memorable as their written works, but they were entertaining vehicles told in ageless style. TRISTAN AND ISOLDE is much of the same, a classic love story set across a historical backdrop, with plenty of meaty action sequences for those who aren’t won over by the romance. After being force-fed hyper edited scenes from modern action directors, it was refreshing to view battles where one could be excited and thrilled, while still understanding their moments, motives and outcomes. TRISTAN AND ISOLDE is visually drab, creating a dark and gloomy atmosphere, but does reflect the tone of the characters struggles. James Franco and Rufus Sewell provide strong performances, in spite of their weakly written dialogue. TRISTAN AND ISOLDE is an effective romantic and action-oriented period piece, despite a few missteps.

Grade: B-

CASANOVA

The legendary lover’s romantic escapades come to a screeching halt when he falls in love in CASANOVA. Heath Ledger is Casanova, the desire of every woman’s heart and the disdain of the local government. After several run-ins with the law due to his passionate affairs, Casanova elects to settle down and marry. Determined he’ll never find true love, Casanova becomes engaged to the virgin Victoria. Just as Casanova becomes engaged, he falls for Francesca, after losing to her in a swordfight.

Director Lasse Halstrom’s light-hearted, romantic touch has eluded him for some time, but he creates a delightful little picture with quite a bit of help from Ledger. Ledger’s Casanova not only succeeds due to his physical and romantic charms, but in large part, because Ledger’s enjoyment radiates through his portrayal. This is quite a turnaround from the Aussie last performance. In BROKEBACK MOUNTAIN, his Ennis is an emotionally repressed introvert beaten by his own intimacy issues. In CASANOVA, Ledger does a 180-degree acting turn, wearing the lover’s emotions on his sleeve, wowing women through verse, charisma and other obvious attributes. The supporting cast is also enjoyable, with Sienna Miller projecting a strong persona, Oliver Platt turning in a surprisingly lovable performance as Paprizzio and Jeremy Irons, as the staunchly salty Pucci. Halstrom still tends to draw out a few less than compelling sub-plots, but overall he keeps CASANOVA on track as a light and breezy romantic escape.

Grade: B-

ANNAPOLIS

A young boxer tries to fight his way into the Naval Academy in the military drama, ANNAPOLIS. Jake Huard, played by James Franco, is surprised to see a Navy recruiter outside the steel mill that he works at. The recruiter has seen Jake box at the local bingo hall, and feels the tenacity and perseverance Jake shows in the ring may translate into a fine naval officer. Jake accepts the invitation to Annapolis, but may have gotten more than he bargained for, squaring off with an overbearing commanding officer, competitive classmates and the rigorous training.

Although ANNAPOLIS nails the right themes, codes and mantras involved in serving your country, the film’s portrait of the actual academy might as well be Narnia or the Land of Oz. I highly doubt the Naval Academy would put up with half of what is depicted in the film. Fraternizing with a commanding officer, insubordination and attacking a lieutenant are, as far as I know, grounds for immediate dismissal. Jake commits each of these transgressions throughout the film, but still seems to land on his feet. Franco is fine playing the defiant Jake, but I can’t help but wonder when the rebel routine will wear off. Tyrese Gibson, as commanding officer Cole, provides a real commanding presence and is leaving his modeling career as a distant memory. His character deserves to be in a better film. ANNAPOLIS isn’t a bad picture, just not a believable one.

Grade: C

LORD OF WAR

Nicolas Cage tackles the arms industry in the latest from writer-director Andrew Niccol, LORD OF WAR. Cage is Yuri Orlov, a lower-class New Yorker who works at his family’s restaurant, dreams of landing a former high school classmate, turned model and hopes to turn his fortunes around. Yuri believes he may have found his answer in the dangerous, yet profitable industry of firearms. He begins selling in Brooklyn, but after much success, expands nationwide and then internationally. Yuri is assisted in his venture by his brother Vitaly, played by Jared Leto.

LORD OF WAR is a simplistic, but expertly crafted left-leaning examination of the international arms trade. Although LORD OF WAR bears many similarities to Ted Demme’s BLOW, it’s a more intelligent picture in its dissection of its industry, working on a practical, tactical and satirical level. It also wisely addresses its lead character without much bias, where Demme’s view of George Jung was of miscalculated sympathy. Niccol has an agenda, but LORD OF WAR’s approach to Yuri’s dealings is very business-like in nature. Although Yuri’s dealings are a bit too hands-on for plausibility’s sake, it does skillfully demonstrate the step-by-step process. Cage continues his recent trend of roles, internalizing his anger and frustration, which is a necessity for an arms dealer. LORD OF WAR avoids the tough political questions and answers of arms dealing, but still provides an entertaining piece of propaganda.

Grade: B

YES

Joan Allen begins a multi-cultural love affair following her husband’s infidelity in writer-director Sally Potter’s latest, YES. Allen’s character, credited as simply “She”, discovers that her husband Anthony has cheated on her the same evening that the two are to attend a major social event. During the event, “She” makes a connection with one of the event’s chefs, a Middle Eastern man played by Simon Abkarian. Their affair begins as a loving one, but becomes complicated when each reveals their thoughts and ideas on politics and religion.

I admire Potter’s ambition in tackling touchy issues in our post 9/11 atmosphere, and the flowing nature of the wordplay, phrasing it in poetic form. Somewhere, though, between her religious and political statements, and the film’s pretentious nature, Potter never really establishes a sense of character. YES is more concerned with its style, which at times works, and at other moments feels extremely ostentatious. Allen has received plenty of acclaim for her work in YES, and much of it is deserved. After playing second fiddle in supporting performances, Allen has established her persona has a strong-willed woman. She conveys this is in YES, but her character seems more like a device than a woman, intent on carrying out a purpose. YES is an ambitious film who’s lyrical and political style flows, but falters in its characterization and emotional connectivity.

Grade: C

FLIGHTPLAN

Jodie Foster loses her only child aboard a trans-Atlantic flight from England to the United States in the thriller FLIGHTPLAN. Foster is Kyle, a recent widow, who following her husband’s apparent suicide decides to return to the States with her young daughter Julia. During the flight, both Kyle and Julia decide to sleep, but when Kyle wakes up Julia is missing.

Director Robert Schwentke ratchets up the intensity, and with a compelling performance by Foster one can excuse a screenplay which asks its audience to put their minds on auto-pilot. Schwentke’s first major American release is a success thanks to his patience, as the German director allows the mystery and intrigue to boil. His patience is a luxury a director can afford with Foster in the lead. As she did in PANIC ROOM, Foster again plays the role of heroine in very convincing fashion. She epitomizes a woman of intelligence, instincts and resourcefulness, but also adds an edge to her performance that keeps us guessing. Peter Sarsgaard, as a Federal Marshall, and Sean Bean, as the plane’s captain, provide grounded performances that maintain a crucial sense of realism. It isn’t until the film’s final quarter that screenwriters Peter Dowling and Billy Ray go too far. When our questions are answered, the film’s improbabilities become impossibilities, and the film nearly spirals out of control. Even in the midst of the lunacy, Schwentke and Foster accelerate the ferocity to a level where one loses track of all the nonsense.

Grade: B-

A SOUND OF THUNDER

Time travelers disrupt the evolutionary track in the sci-fi thriller A SOUND OF THUNDER. A group of time-traveling scientists lead macho-millionaires back to pre-historic times for the thrill of encountering a T-Rex. Since the scientists have visited this specific place and time on several occasions, safety isn’t much of a question as they have all of the events calculated. As long as the participants stay on the charted course, everything will go just as planned. As you may have guessed, this doesn’t happen, as two adventurers veer off the path and alter the past. And if there’s one thing science fiction has taught us, if you alter the past, you alter the future.

Make no mistake, A SOUND OF THUNDER is a terrible film, but one which I enjoyed for the most part. The film took me back to my childhood, where second-rate science fiction, horror films would dazzle me. The special effects in A SOUND OF THUNDER are on the same level of the monster movies of the 80’s. The effects aren’t second-rate, but probably third or fourth rate, with various creatures resembling a hybrid of insect, bird, reptile and dinosaur. The creatures and circumstances get more bizarre and diverse as the story leaps from one time wave to the next. There are no distinguishable ideas in the movie, but rather a sense of joy to top one outlandish creature or scene with the next. Burns and McCormack seem to be acting in a different film, emphasizing a serious struggle and predicament, while Ben Kingsley hits his role dead-on projecting a madman who’s only concerned with the bottom line. A SOUND OF THUNDER is a goofy, brainless exercise, which despite my inner child exuberance, I can not recommend.

Grade: C-

ASYLUM

Passions run wild at a correctional facility in ASYLUM. Max Raphael has accepted a high administrative role at a correctional facility for those with psychological disorders. Max, along his wife Stella and son Nick live in close proximity to the facility, with several inmates serving as groundskeepers for their estate. Max doesn’t pay much attention to Stella, except to school her in proper etiquette so she is deemed acceptable to his colleagues. Stella meets an inmate named Edgar through Nick, and after several brief encounters, begins an elicit affair with him.

Very few films have as contemptible characters as ASYLUM, or as much contempt for their characters. More or less, all of ASYLUM’s characters are mad, with their characteristics ranging from passionate to calculating to cruel. Whether its love, power or money, these characters are obsessed with these entities and will do anything and everything to achieve them. The last time I can remember viewing such despicable individuals, was the well-directed and well-acted CLOSER. It should come as no surprise that scribe Patrick Marber wrote both CLOSER and ASYLUM. Both films are cold and calculated, more concerned with utilizing its characters for twisted storylines than understanding them. Where CLOSER seemed unrealistic, ASYLUM feels preposterous. Natasha Richardson and Ian McKellan play their characters earnestly even if Stella and Peter aren’t deserving of their talents. This cold harlequin film should be avoided at all costs.

Grade: D+

GRIZZLY MAN

An animal rights activist gets up close and personal with some menacing bears in the documentary GRIZZLY MAN. Timothy Treadwell was on a mission to bring awareness to the plight of grizzly bears that roamed the Alaskan region. During a 13-year stretch, Treadwell would embark on a retreat each summer to live amongst the Alaskan grizzly bears and other wild animals.

Although titled GRIZZLY MAN, Treadwell is far from that, but rather a sensitive, fractured and plagued soul, who seemingly couldn’t deal with normal society so he reverted to life in the wilderness. Director Werner Herzog seems as interested in Treadwell as he does his impact in the Alaskan region, and for good reason. While it’s enthralling to watch him interact with wild bears and foxes, it’s also engaging to learn why he would subject himself to such danger, limitations and seclusion. Treadwell’s footage is astonishing, revealing the brutal nature and animal instincts of the bears and Treadwell himself. At times you wonder which animal is more dangerous, the bears clashing in brutal fur-ripping confrontations, or Treadwell barking out profanity-laced monologues against his doubters, Alaskan wildlife personnel and the federal government. GRIZZLY MAN is an interesting look into several wild animals, one of which is the documentary film maker.

Grade: B

THE EXORCISM OF EMILY ROSE

A priest faces charges of reckless patient endangerment in the horror, courtroom drama THE EXORCISM OF EMILY ROSE. Father Moore is on trial for manslaughter in the death of Emily Rose, a college student who died of either an epileptic disorder or demonic intervention. His defense attorney, Erin Bruenner played by Laura Linney, doesn’t believe in demons but hopes the case will be a springboard for her at the firm. The case becomes an even tougher test, when a practicing Christian represents the prosecution.

Although often haunting, the courtroom posturing drains much of the drama and intrigue out of THE EXORCISM OF EMILY ROSE. The film is told during the trial of Father Moore, with flashbacks demonstrating Emily’s demonic possession and her exorcisms. These flashbacks infuse the film with fear, intrigue and mystery, and also benefit from Jennifer Carpenter’s intense and impacting performance as the tormented soul. Carpenter’s performance is the film’s best, which says a lot when sharing the screen with Wilkinson, Linney and Campbell Scott. These three veteran actors provide solid performances, but are punished with a less-than compelling script. The defense’s case is a flimsy one at best, and the presentation of it is poorly handled. The film is based on the actual trial of Rose, and I believe the outcome stays true to form. I only wish the film’s case for Moore was more convincing. Despite some genuine chills, I can’t recommend THE EXORCISM OF EMILY ROSE.

Grade: C+

VALIANT

A group of misfit carrier pigeons hope to assist Allied forces in World War II in the animated feature VALIANT. Valiant is the title character, a small, but aspiring pigeon who dreams of delivering mail to British forces, braving all obstacles and dangers. Valiant enlists in the R-H-P-S, or Royal Homing Pigeon Service, but may have gotten more than he bargained for with the service’s combat training.

VALIANT is one strange bird. It’s an odd and poorly calculated decision by Disney to set a children’s film around World War II. The situations are a bit darker by understanding the world’s circumstances at the time, and although younger children won’t pick up on this, there also isn’t anything for youngsters to embrace. The occasionally witty British humor works at times, but it’s not obvious enough for children and not consistent enough for adults. The characters are too dry, and the situations too familiar making the film seem less reverent than more recent animated fare. Despite all of the VALIANT miscalculations, the film may still have worked had it been anchored with interesting or colorful characters. Instead, are feathered friends are rather bland and lifeless. Leave this bird grounded.

Grade: C

THE 40-YEAR OLD VIRGIN

The Daily Show’s Steve Carell is a man beset by bed-side struggles in the romantic-comedy THE 40-YEAR OLD VIRGIN. Carell is Andy, a 40-year old virgin, whose sex life failed him during high school and college, and now, has more or less resigned from dating. During a late-night game of poker with his co-workers, Andy’s love life is exposed and his fellow employees decide they’ll assist Andy in ending his drought.

Just like THERE’S SOMETHING ABOUT MARY and this year’s WEDDING CRASHERS, THE 40-YEAR OLD VIRGIN works because it’s hilariously crude absurdities, really aren’t that absurd. In some ways, the film is just as crude as DEUCE BIGALOW: EUROPEAN GIGELOW, but VIRGIN earns laughs because, as ludicrous as the situations are, we laugh with its characters and understand their plight. Carell, along with director Judd Apatow, wrote the script which works in large part due to Andy. Unlike the previously mentioned BIGALOW, Andy is a really likable guy, who hasn’t been with a woman due to luck, circumstance and probably most of all, because he’s a gentleman. Carell deserves as much credit for his acting, as he does his writing, creating a character who we can laugh at, and with. THE 40-YEAR OLD VIRGIN is a rambunctious and fun-loving comedy that I recommend.

Grade: B

BROKEN FLOWERS

Bill Murray takes a cross country journey in search of his potential son in Jim Jarmusch’s BROKEN FLOWERS. Murray plays Don Johnston, a past-his-prime Casanova, who has become rich thanks to the computer craze, but has yet to find happiness. Don receives an anonymous letter in the mail claiming that he has fathered a child, and that his 19-year old son is en route to find him. His neighbor Winston views the letter, and decides it’s time for Don to take action. Winston researches all of the potential mothers, creates a cross-country itinerary and sets Don out on his search.

Don Johnston and Warren Schmidt have completely different lifestyles, but have a lot in common. Alexander Payne’s Schmidt and Jarmusch’s Johnston are both aging men who are realizing their lives haven’t amounted to much. BROKEN FLOWERS is more off-beat and quirky than ABOUT SCHMIDT, but at times it’s just as enriching. Murray is ideal as Johnston, a lost soul, whom after years of romancing beautiful women and making tons of money, has little to show for it. Throughout the years, Murray’s performances have contained more internal strife. With Don, he’s able to project this with a worn face, lackadaisical demeanor and deep, sorrowful glares. Murray’s Don is terrific, but the film’s actresses are just as crucial. Sharon Stone, Tilda Swinton, Jessica Lange and most-of-all Brea Frazier bring a unique nature to their characters, and help to explain Don’s condition. BROKEN FLOWERS uniquely explains the heartache after the romance.

Grade: B+

Lazy and busy

Due to a hectic schedule of films, sports and a treacherous two-week fantasy baseball championship victory I haven't posted anything on this rascal for a while.

In the next several posts, I'll be dropping several reviews I've meant to post for a while. Also, I've been too tired to write anything half-way intelligent about politics or sports lately. Needless to say, it's been a tough three months for Dubya.

FOUR BROTHERS

A group of adopted siblings return home for their mother’s funeral and revenge against her killer in John Singleton’s latest, FOUR BROTHERS. The Mercer brothers were always known as a tough bunch, but their return to the Motor City will leave an even more distinct mark. Their mother, Evelyn Mercer, was shot dead during an apparent robbery at a local carry-out. They come home to Detroit for their mother’s funeral, but are just as focused on avenging her death.

FOUR BROTHERS is best viewed as a modern-day, urban western. All the pieces are there: a vengeful clan of anti-heroes, a corrupt group of law enforcement officers, a rundown town and a classic man to man showdown. Singleton’s latest doesn’t match the social commentary of previous works BOYZ IN THE HOOD or ROSEWOOD, but it still carries the director’s same intensity and immediacy. He also knows how to capture the essence of his characters surroundings. Utilizing Motown classics by Marvin Gaye, The Temptations and The Four Tops, Singleton not only builds nostalgia for old Detroit, but also brings out camaraderie between the adopted siblings. The performances are lock and step with the picture. Wahlberg, Tyrese and Andre Benjamin turn in rough, but real performances as the Mercer brothers; while Chiwetel Elijofar turns in a menacingly memorable turn as gangster Victor Sweet. For those that don’t mind viewing a violent, vengeful film, FOUR BROTHERS delivers.

Grade: B-

THE DUKES OF HAZZARD

America’s favorite lawbreakers from down south have returned in the action-comedy THE DUKES OF HAZZARD. The popular 80’s television series has been revamped for the big-screen with funnymen Johnny Knoxville and Seann William Scott as Luke and Bo Duke, Jessica Simpson as Daisy and country singer Willie Nelson as Uncle Jessie. The good ole’ boys are up to their same tricks again: high speed chases, charming women and protecting Hazzard County from the conniving mayor, Boss Hogg and his trusty sidekick Roscoe P. Coltrane.

The difference between my childhood and today’s kids seems to have been captured by the difference between the big-screen THE DUKES OF HAZZARD and the one I grew up on. The innocence and naiveté of the original has been replaced with a profanity-laced, sex-charged and racially-infused version of the Dukes that not only seems inappropriate for family viewing, but condescending in nature. Writers Jonathan Davis and John O’Brien have pulled a “Freaky Friday” on the main characters. Instead of focusing the humor on the bumbling bad guys, Davis and O’Brien decide to make the Dukes the blunt of all the jokes. Not only is this in stark contrast to the original, but makes what little humor there is, seem out of place. The casting for the film is a grand miscalculation, with jokesters Knoxville and Scott creating their own versions of the Duke boys; Simpson providing only eye candy and Nelson phoning-in his performance. This THE DUKES OF HAZZARD doesn’t have the same sense of joy and fun as the old one.

Grade: D

THE DEVIL'S REJECTS

Writer-director Rob Zombie’s follow-up to HOUSE OF 1000 CORPSES reunites viewers with Otis, Baby and Captain Spaulding in the horror, sequel THE DEVIL’S REJECTS. THE DEVIL’S REJECTS picks up where CORPSES left off. Following the Firefly family’s massacre, the local authorities are called in to bring justice to the wicked family at their rundown estate. After a brutal shootout, Otis and Baby escape, meet up with Spaulding and begin their trek across the town attempting to avoid the cops and bring further suffering to the town’s residents.

I’ve never understood the appeal of films like THE DEVIL'S REJECTS. At its worst, THE DEVIL'S REJECTS is a sick, disturbing endorsement of violence, cruelty and satanic bliss. At its best, it’s mindless entertainment which seeks to exploit these aspects for momentary fun. Either way, the film is an excessively self-indulgent exercise which believes that violence, profanity and sex are forms of entertainment, rather than a means of generating drama, fear or comedy. The film contains the same gruesome content as the most recent TEXAS CHAINSAW MASSACRE, but here we’re encourage to enjoy the slaughter. The film isn’t funny, although it desperately tries to sound wickedly hip; it isn’t scary, despite the characters twisted nature; and it isn’t suspenseful, as the Firefly family steamrolls whatever is in its path. THE DEVIL'S REJECTS is a film which wallows in the mud, and feels like it should be rewarded for doing so.

Grade: D-

THE ISLAND

Ewan McGregor and Scarlett Johannsson discover that they’re not quite themselves in the futuristic action-adventure THE ISLAND. McGregor is Lincoln Six Echo, and Johannsson is Jordan Two Delta, each a clone developed by a black-market corporation// The corporation exists thanks to anonymous investors, who pay millions of dollars to ensure their quality of life through the clones. Eventually Lincoln and Jordan discover their destiny, but aren’t waiting around for it. They break out of the corporation’s secluded institute, and find themselves on the run from their creators.

Filled with an ingenious set-up, two talented and attractive stars and a handful of skilled character actors, THE ISLAND had all the makings of an exciting, and well thought out science-fiction, action picture. It must have been Michael Bay who got in the way. The ARMAGEDDEON and BAD BOYS director brings his same maniac editing and machismo to THE ISLAND, but it seems out-of-place in a film whose ambition seems left in the film’s first two reels. The set-up is intriguing promising more than it delivers, as we’re allured into the utopian society that Lincoln and Jordan inhabit. Everything in their daily routine has a purpose, and it’s interesting to see how they benefit from their itinerary. But when the storyline takes the clones out of their confines, the film turns from a science fiction critique to an average action picture. It’s suddenly a series of chases, with Lincoln and Jordan attempting to avert extinction by way of the institute’s hired henchman. These scenes don’t elicit much excitement, with Bay replaying action scenes from his previous works. THE ISLAND is a great concept that concedes and becomes an ordinary summer blockbuster.

Grade: C+

SKY HIGH

Superheroes-to-be receive their schooling in Disney’s latest family film SKY HIGH. Will Stronghold has some mighty big expectations to live up to. The 14-year old boy’s parents are Steve and Josie Stronghold, or as most people know them, “The Commander” and “Jetstream”, the two most powerful superheroes in the world. All of the superheroes children attend Sky High School, a secretive training school in which the children can groom their skills as either a superhero or a superhero sidekick. The pressure on Will is already intense, but his biggest problem is that he hasn’t gained a superpower yet.

SKY HIGH blends two of the most successful genres of the last five years, the superhero movie and the teen movie, provides an imaginative touch and in the process creates a real sleeper hit of the summer. There is a lot of fun to be had in SKY HIGH, as it twists itself as a superhero movie turned teen romantic comedy, or a teen romantic comedy with a superhero slant. Regardless of the angle, a collaboration of writers succeed in creating a multitude of super kids with several unique powers, a screenplay which plays wonderfully as tongue-n-cheek material and dialogue which seems appropriately tame, yet funny for the family sector. The performances are on-the-mark, with Kurt Russell and Kelly Preston doing their best ma and pa Cleaver routines, while protecting mankind against ultra-lethal Robots; and Michael Arigarano finally finds a role to his liking as the underdog Will. SKY HIGH is a pleasant surprise mixing two standard genres into one original, small film.

Grade: B

APRES VOUS

Two Frenchman find themselves in a bizarre love triangle in the romantic comedy APRES VOUS. Antoine, played by Daniel Auteuil, stumbles across the attempted suicide of fellow Frenchman Louis, Jose Garcia. After saving Louis’s life, Antoine also tries to help the desperate man in his recovering. He puts Louis up in his home, provides him with employment at the restaurant he manages and secretly tries to reunite Louis with Blanche, his lost love. While Antoine attempts to reunite Louis with Blanche, he begins to fall for her.

Similar to MUST LOVE DOGS, APRES VOUS is another two-man/one-woman love triangle where the writing drains the charm created by the leads. Where MUST LOVE DOGS scripting was overly cutesy, APRES VOUS feels too calculated and controlling. There are several nice moments between Auteuil and Garcia, Auteuil and Sandrine Kiberlan, and Kimberlan and Garcia. Yet despite these moments, there’s far too much plotting and plodding involved. The romantic tension between all parties is played out several times over, leaving the well-thought out ending as an after-thought. Regardless of the screenplay, the three actors make APRES VOUS fairly enjoyable. It’s refreshing to see Auteuil succeed at something lighter, in contrast to his work in Patrice Leconte’s pictures; while Garcia and Kimberlan bring unique qualities to their original characters. APRES VOUS isn’t a bad film, just one which seems to be trying too hard.

Grade: C+

STEALTH

America’s three finest pilots are adding a new member to their unit in the action film STEALTH. The newest member to the crew is not human, but an actual stealth fighter that is operated by a form of artificial intelligence called EDI. The threesome, Ben, Kara and George, are not sold on their new wingman and become even more skeptical when EDI begins acting up after a lightning storm

Artificial intelligence is what is used to control EDI, and it seems like the screenplay for STEALTH was also under A.I. control. The writers were on auto-pilot when scripting this action-picture borrowing bits from TOP GUN, BEHIND ENEMY LINES and KNIGHT RIDER. The one thing that wasn’t incorporated was any semblance of reality, plausibility or, at the very least, fun. Neither of director Rob Cohen’s previous films, THE FAST AND THE FURIOUS and XXX, had any form of realism, but they at least attempted to play themselves off as fun B-movie material. STEALTH seems intent on being taken seriously, but there’s no substance to the loud and crash adventure. Jamie Foxx, Josh Lucas and Jessica Biel’s characters are flat and clichéd, and Sam Shepherd’s tough-guy mantra wears thin after a few scenes. In a summer of several blockbuster successes, I guess Hollywood was due for a letdown.

Grade: D+

MARCH OF THE PENGUINS

Antarctica’s main inhabitants take a treacherous trip across the artic continent in the documentary MARCH OF THE PENGUINS. The film, produced by National Geographic and narrated by Morgan Freeman, follows a group of penguins who take an annual journey across the polar terrain to continue their circle of life.

Although we share the same planet as our feathered friends, for all intent and purposes, MARCH OF THE PENGUINS takes us to a completely different world. The journey the penguins embark on is a brutal one challenging their body, mind and will. If this story were told to us, it would be hard to fathom, but by watching it unfold it’s undeniably true. From a survival standpoint, it’s a well documented film, explaining the penguin’s annual birth ritual so anyone can follow. Director Luc Jacquet’s formal presentation is effective, but he also recognizes the importance of his subject’s sentimental appeal. He captures the birds in some of their most expressive moments, be it light-hearted or heart-breaking, and hooks us by establishing an emotional attachment. At times the film seems challenged to reach feature-length status, but the majestic photography of the icebergs and snowy terrain keep our eyes always engaged. MARCH OF THE PENGUINS is an engaging look into one species quest for survival.

Grade: B-

FANTASTIC FOUR

Marvel’s fab four make their big-screen debut in Tim Story’s FANTASTIC FOUR. A group of four scientists and one big business mogul take a trek to outer space with the hopes of a revolutionary discovery. Their trip goes awry when the troop hits a patch of cosmic rays, and turns their voyage into a life-changing event. The rays give the five-some unique powers: Reed Richards, the crew’s leader, can stretch his body to any shape and form; Sue Storm possesses the power of invisibility; her brother Johnny can create fire throughout his body; Ben Grimm becomes extremely strong and stone-like and Victor Von Doom becomes physically resilient with a metallic center. Reed, Sue, Johnny and Ben utilize their powers to benefit others, becoming known as the Fantastic Four, while Victor selfishly seeks to exploit his newfound dominance.

On the heels of the wonderfully scripted BATMAN BEGINS, the FANTASTIC FOUR feels like a super-hero adventure for toddlers. Unlike other comic book heroes, the Fantastic Four’s identities are known to all, but here, little is actually known about them. Director Tim Story, and a collection of screenwriters, turns the focus from characterization to combat. The emphasis is on action, which works at times, but without any interest for those involved, it’s all instant gratification. A few attempts are made at a romantic sub-plot between exes Reed and Sue, but it’s extremely underdeveloped, and Ben’s pathetic storyline feels awkward and flat. The performances are a comic-book, toss-back to one-dimensional caricatures. Each actor seems pigeon-holed by their poorly developed hero, and turns in a b-rated performance. FANTASTIC FOUR seems engineered to entertain with a couple of adeptly orchestrated action sequences, but with little invested in the four-some, it feels hollow to the core.

Grade: C-

WAR OF THE WORLDS

Steven Spielberg’s vision of the H-G Wells science-fiction classic WAR OF THE WORLDS pits man against some ruthless extra-terrestrials. The war to end all wars has alien beings attacking planet earth, with little for us mere humans to stop them. Although the attack is on a grand scale, Spielberg focuses the storyline around Ray, a single father played by Tom Cruise, his two children and their quest to survive the massive assault.

The 1938 radio broadcast of WAR OF THE WORLDS had several Americans panicked about the plight of their future. Spielberg recreates this same sense of tension, trouble and worry in a science-fiction epic that makes INDEPENDENCE DAY look like child play. WAR OF THE WORLDS provides another palette for the legendary director to display his awesome imagination. Here he substitutes his dream-like sense of exploration and discovery, for a nightmarish scenario of disaster, terror and carnage. By viewing the war of the worlds through one family’s eyes, it places us in their predicament, and engulfs us in the terrifying experience. Unlike last year’s THE DAY AFTER TOMORROW, we are not invited to be in awe of the majestic visual spectacle, but rather terrified of its affects. The visual sense created by Spielberg and cinematographer Janusz Kaminski, has the camera, and our eyes, constantly moving to avoid the horrors that are occurring. In a day and age where each week brings us the “event movie of the summer”, Spielberg proves that he is still the one to deliver the blockbuster of blockbusters. I highly recommend this visual, imaginative and terrifying WAR.

Grade: A-

HERBIE: FULLY LOADED

Hollywood’s most famous Volkswagen Beetle returns with Lindsay Lohan at the wheel in HERBIE: FULLY LOADED. After years of success and fame, old number 53’s best years seem behind him. Herbie is set for demolition at the junk yard, but lucky for the bug, Maggie and her NASCAR-racing dad have arrived looking for some new wheels. Maggie selects Herbie just before his destruction, and the two begin their drag-racing match made in heaven.

Herbie is exactly how I remembered him from my childhood years, tame Disney fare that is suitable yet not enjoyable, harmless yet not fun. The players have changed, substituting teen sensation Lohan for former drivers Dean Jones, Cloris Leachman and Helen Hayes, but the same lame concept is intact. Lohan, who was effective in last year’s MEAN GIRLS, and even previously in Disney’s remake THE PARENT TRAP, isn’t terrible, but appears bored with Herbie. The same could be said of Breckin Meyer and Michael Keaton, who seem awkward in racing attire. The one bright spot of the film is Matt Dillon, who goes overboard as egotistical race driver Trip Murphy. Although not nearly as funny as Glen Healy, Dillon shows glimpses of humor reminiscent of his work in THERE’S SOMETHING ABOUT MARY. Herbie may be fully loaded, but it’s with almost all the wrong parts. Leave this bug in the garage.

Grade: C

WINTER SOLSTICE

A father and his two sons cope with the loss of their mother in the drama WINTER SOLSTICE. Anthony Lapaglia is the father, Jim Winters, a man struggling to keep his family together. Gabe, the eldest son, is handling the loss the best, but still longs for something more than their small town can provide. Pete, the youngest, is failing to stay focused at school.

Our winter solstice occurs every December 21st, providing us with our shortest day and hence our longest night. The title is appropriate for this family drama, since the characters lives have become dim with sorrow, but with each passing day their grief will become less and their lives will hopefully become brighter. Just like the gradual transformation from shorter days to shorter nights, writer-director Josh Sternfeld tackles his characters with the same gentle touch. Their emotional rehab is not something that is going to occur over night, but will take time, patience and understanding by each family member and those around them. The performances are appropriately low-key, and extremely effective in displaying the day-to-day struggles in overcoming the loss of a loved one. Lapaglia is becoming one of our most under-appreciated actors. He often says so much about Jim, without every muttering a word. WINTER SOLSTICE is a patient and rewarding family drama which enriches with its subtlety.

Grade: B

Successful Summer

I've been pleasantly surprised at the success of the summer movie season. There has been a lot of talk, be it true or not, about a slump at the box office. Who cares? Well, the one reason to care (assuming there is indeed a slump), is that several movie-goers are missing some good films.

WAR OF THE WORLDS is one of the few great blockbusters that have come out in the last ten years, BATMAN BEGINS continues comic books revival at the theatre and even MR. AND MRS. SMITH turns an otherwise plotless spy film into a fun exercise of humor, excitement and most of all...star power. The three things these blockbusters have in common are strong directors. Spielberg needs no introduction, but Christopher Nolan and Doug Liman are also good picks for their films. Nolan is an expert at digging deep into the darker side of his lead characters, and does so brilliantly with Batman. Liman, who's previous films GO and THE BOURNE IDENTITY, have contained high-octane action scenes and a nice comedic touch wonderfully adds his flair to MR. AND MRS. SMITH.

With the studios allowing these talented directors to make their movie, and not just a spectacle of special effects, maybe, just maybe Hollywood has figured it out.

BEWITCHED

Will Ferrell and Nicole Kidman bring Darren and Samantha to the small and big screen in Nora Ephron’s BEWITCHED. Ferrell is Jack Wyatt, a former movie star who is attempting to revive his career on television as Darren in a remake of the popular 60’s television series “Bewitched”. Jack is the star of the show, and to ensure that he remains the show’s focus, he informs the show’s producer’s that he will cast an unknown in the role of Samantha. Enter Isabel, played by Kidman, who is not only an unknown, but she’s not even an actress. She does have experience as witch though.

Thanks to a clever spin on a remake, and the charm of its two stars, BEWITCHED casts a spell of humor and romance that is hard to deny. The Ephron sisters, Nora and Delia, construct a creative screenplay that allows the film to play off the original, while still maintaining an identity of its own. Jack and Isabel are great examples, as Ferrell and Kidman are allowed to create one-of-a-kind personalities, while still portraying the original characters of Darren and Samantha. Kidman’s performance is a pleasant change of pace from her recent darker roles, while Ferrell proves ELF was no fluke as a leading man. It’s a joy to watch Ferrell when he’s on top of his game, and when he has a competent director to funnel his energy. Despite a slow beginning and a tame finish, BEWITCHED has a lot of fun in between.

Grade: B-

HIGH TENSION

A Holiday break from school turns wrong for two college students in the horror-import, HIGH TENSION. The French film, made in 2003, provides a similar set-up for American audiences. Marie and Alex elect to spend their Holiday break at Alex’s family’s home in the country. It should be a relaxing time for both, but a maniacal killer has different plans.

Several leaps in logic present themselves in HIGH TENSION, but the final revelation turns the film from unreasonable to unbelievable. Much of the movie plays like a well-oiled teen slasher flick. You accept the implausible events, sacrificing realism for the sake of fear and horror. As HIGH TENSION progresses, or digresses as the case is, it bites off more than it can chew, and climaxes with a conclusion that seems to cheat us out of a legitimate answer. Further adding to my frustration is a poorly dubbed version of the film, with an accent that doesn’t seem to match one of the character’s ethnicity. With a minimal amount of dialogue, this is one foreign-language film which would have sold just as well with subtitles. HIGH TENSION has a few thrills, but not enough to compensate for its other inadequacies.

Grade: C-

THE PERFECT MAN

Hillary Duff concocts the ideal mate for her mom in the romantic comedy, THE PERFECT MAN. Heather Locklear is Jean Hamilton, a single mother of two who skips from boyfriend to boyfriend, but not by choice. After each relationship fails, Jean moves her and her kids to the next town in hopes of a new beginning. The Hamilton’s latest home is New York City, and Jean has already landed a date with her bakery co-worker. Realizing that this can only lead to heartache, her eldest daughter Holly, played by Duff, decides to create a secret admirer to boost her mom’s spirits, but not provide any emotional baggage.


In many ways, THE PERFECT MAN is a near-perfect example of a poor romantic comedy. Its characters are exasperating, situations preposterous and there’s little that’s either romantic or comedic. Jean is established early on as a woman who only finds happiness through men. This makes her pathetic, but the fact that she drags her kids down with her, makes her a selfish and careless mother. THE PERFECT MAN is centered on Jean’s happiness, and the efforts of her child to find it for her. By creating such a maddening mother like Jean, little interest is invested in her happiness. If anything, I was pulling for her children to find their own joy since their mother wasn’t very concerned about it. THE PERFECT MAN also tinkers with ideas of female empowerment, before caving to a candy-sweet finish. Avoid this mess at all costs.

Grade: F

BATMAN BEGINS

MEMENTO’S Christopher Nolan digs deep into the origins of the caped crusader with BATMAN BEGINS. Christian Bale is the latest Batman/Bruce Wayne, the wealthy owner of Wayne Industries who moonlights as a superhero. As the title suggests, this Batman looks back at how a young Bruce Wayne was motivated to take the law into his own hands, and inflict justice upon Gotham City.

Recent comic book movies have been leaning towards more character development and dramatic circumstances. BATMAN BEGINS goes full tilt. Bruce Wayne’s background, motivations and demons are thoroughly examined, providing an immense amount of intriguing information and the required empathy for Wayne, his love interest Rachel and their foes. Nolan is a great choice to revamp the BATMAN series. The same dark edge he brought to the lead characters in FOLLOWING, MEMENTO and INSOMNIA, he does again with Batman. Each of his heroes, or anti-heroes, must fight their own internal enemies before taking on the ones in the real world. Bale does a nice 180-degree turn from his performance in THE MACHINIST. Not only is he physically intimidating, but his performance reveals a Bruce Wayne beset by more problems than successes. The rest of the cast is uniformly good, with Michael Caine, Morgan Freeman and Katie Holmes providing solid counterparts. BATMAN BEGINS is not your average BATMAN movie, and that’s a good thing.

Grade: B

On the last "Now Playing"

Sorry for the delay, but here's a look at my reviews for the last airing of "Now Playing" (see following posts). It includes a rare positive review for BEWITCHED starring Will Ferrell and Nicole Kidman, and directed by Nora Ephron (SLEEPLESS IN SEATTLE AND YOU'VE GOT MAIL). This film is a great example of critics distain for lighter film fare.

STAR WARS EPISDOE III: REVENGE OF THE SITH

Anakin Skywalker makes the complete transformation to the dark side in George Lucas’ galactic epic STAR WARS EPISODE 3: REVENGE OF THE SITH. As the star wars heats up, growing resentment begins to build over who maintains control over the republic, the Senate or the Jedi Counsel. After rescuing Supreme Chancellor Palpatine from the clutches of Count Dooku and the clones, Palpatine forcefully requests that Anakin be placed on the Jedi counsel. This creates complications for Anakin, who must inevitably decide which side to choose.

REVENGE OF THE SITH marks an appropriate finish for the first three STAR WARS, maintaining a stoic approach, but delivering a terrific introduction into the events of Episode Four, the original STAR WARS. REVENGE OF THE SITH still lacks some of the fun and excitement of Episodes Four through Six, mainly because the characters lack the personality and connection that a Darth Vader or Hans Solo brought to the mix. Yet, despite its dry personalities, Episode Three delivers the necessary tension and drama, especially in the film’s final reel. Not only is there a great deal of connectivity between Episode Three’s finish, and the following three episodes, but a certain amount of compassion can be gained by knowing what lies ahead for Anakin, Obi-Wan and the two twins, Leia and Luke. REVENGE OF THE SITH does not capture the full spirit of the following episodes, but it does provide many interesting and compelling answers to the STAR WARS saga.

Grade: B-

MINDHUNTERS

A group of FBI agents must stake out a killer amongst themselves in the thriller MINDHUNTERS. The Federal Bureau of Investigation is seeking another agent for the position of profiler, and eight lucky individuals have been pegged as potential profilers. Their assignment is a pseudo-serial killer case on a remote island just off the shores of the United States. As the agents soon find out, the pseudo-case isn’t the only one they’ll be working on. One by one the agents are murdered, and it’s obvious that the killer must be one of them.

If you buy into, or at the very least, go along with the synopsis that I just provided there’s a good chance you’ll enjoy MINDHUNTERS. The film was directed by Renny Harlin, who’s DEEP BLUE SEA was quite enjoyable because it was extremely absurd, graphically terrifying and had a couple of decent surprises to boot. Although not quite on the level of DEEP BLUE SEA, MINDHUNTERS is absurd, terrifying and at times surprising. Much of the entertainment comes from the mousetrap scenarios concocted by writer Wayne Kramer, and the game performances by Val Kilmer, LL Cool J, Christian Slater and Johnny Lee Miller. The mousetrap scenarios are ludicrous, but enjoyable, as we witness the agents’ flaws become their death sentence. MINDHUNTERS is preposterous, violent, campy, and a pretty fun little film.

Grade: B-

LAYER CAKE

Matthew Vaughn serves up another sorted crime caper with LAYER CAKE. The producer of LOCK, STOCK AND TWO SMOKING BARRELS and SNATCH, centers LAYER CAKE around an unnamed drug dealer, played by Daniel Craig. Craig’s unnamed anti-hero doesn’t consider him self as much a drug dealer as he does a businessman, providing a service to a willing customer. His mantra is as an accountant, he doesn’t brandish a firearm and he likes to keep his transactions nice and tidy. Things become messy for him when his boss requests a special assignment, involving a sticky drug deal and both of their bosses daughter.

With layer upon layer of criminals, drug dealers, assassins and other assorted bad guys, LAYER CAKE continues the spirit of SNATCH AND LOCK, STOCK AND TWO SMOKING BARRELS. All of the movies are deeply entangled webs of crime, which require multiple viewings for complete comprehension. Maybe multiple viewings wouldn’t be enough for each. Despite it’s convoluted plot, LAYER CAKE is a compelling corruption tale thanks to an intense performance by Craig, and a conclusion which is both shocking and appropriate. As XXXX, as his character is titled in the end credits, Craig creates a morally inept character who somehow elicits a rooting interest in the picture. He’s fairly cold, completely calculating, ethically bankrupt, but he generates a brilliant anti-hero. Director Matthew Vaughn keeps things interesting as well, ratcheting up the intensity with a wide array of characters and motivations. LAYER CAKE is a puzzle which might not be able to be solved, but contains some entertaining pieces.

Grade: B-

HOUSE OF D

David Duchovny marks his theatrical writing and directing debut with the coming-of-age drama HOUSE OF D. Duchovny also stars as Tommy Warshaw, a forty-something French artist, who finally realizes on his son’s 13th birthday, that he must come to terms with certain events that defined his childhood. Anton Yelchin portrays the 13-year old Tommy, while Robin Williams is his best friend Pappass, a mentally handicapped man who also works with Tommy as a delivery man.

If good intentions made good movies, I’d be singing the praises of HOUSE OF D. Despite Duchovny’s attempt at a heart-warming coming-of-age tale, his writing and directing falls flat in terms of character establishment, emotion and connectivity. If isolated, the characters might have worked, but when they are forced to interact there is no sense of purpose and little emotion to pull us in. Tea Leoni as Tommy’s mentally anguished mom Katherine, Erkah Badu as an inmate at a women’s detention center and, yes, even Williams as Pappass all seem authentic. But when they share their scenes with Yelchin, the moments feel fabricated and never ring true. Part of the problem is Yelchin, who’s abundance of charm and innocence from HEARTS IN ATLANTIS, is all but absent There’s no connection between Tommy and any of the three abnormal characters, and it leaves HOUSE OF D hollow. I don’t recommend this Duchovny dud.

Grade: C-

CINDERELLA MAN

Russell Crowe fights heavyweights and poverty in director Ron Howard’s latest, CINDERELLA MAN. Crowe portrays James Braddock, a former heavyweight boxer who suffered through the Great Depression and an injured right hand. After years outside of the ring, Jim receives a call from his former manager, on a one-time only fight with a serious contender. Despite his wife Mae’s urging, Jim steps into the squared-circle one more time with the assurance of a nice payday for his financially troubled household.

To call CINDERELLA MAN a boxing version of SEABISCUIT would not be far off. Both films are centered around struggling, Depression-Era competitors who strive for one last hurrah, and find themselves as an inspiration to many. Although I enjoyed SEABISCUIT, CINDERELLA MAN works even better thanks to several good performances, a wonderful storyline and an unrelenting patience by Howard to demonstrate the perils many faced during the period. Despite opening the picture with a bout, much of the film’s background is centered on the Braddocks and the country’s financial struggles and hardships. This isn’t to say the boxing matches don’t pack a punch, they do. Howard wisely chooses a “meat and potatoes” approach to filming the sport. He utilizes concise cuts, freeze frames and a more brutal, less artful way of capturing the action. Crowe once again demonstrates there’s no limit to his acting prowess, bringing his rugged machismo to Braddock’s matches, while showing a delicate, sensitive side as husband and father. Giamatti, and Renee Zelwegger as Mae, provide solid supporting performances. CINDERELLA MAN is classic Hollywood filmmaking, with a wonderful cast, talented director and timeless story.

Grade: B+

CURSED

Christina Ricci finds herself in a hairy situation in Wes Craven’s CURSED. Ellie, Ricci, and her brother Jimmy are involved in a freak car accident on Hollywood’s Mullholland Drive. While tending to another of the car accident’s victims, a wolf-like animal attacks the victim and leaves his mark on both Ellie and Jimmy. The following day neither of the siblings are quite themselves, and both begin to bear certain carnal attributes.

Real B-movies are a rarity in today’s cinema, but CURSED certainly classifies as one. As much as I admired the films campy nature, its climatic missteps are too detrimental to make up for much of the film’s hokey fun. The screenplay, written by SCREAM’s Kevin Williamson, has plenty of fun with the Hollywood backdrop, but culminates with conclusions that make any of the SCREAM payoffs seem logical. Craven keeps the film moving with a couple of genuinely scary moments, on an elevator and in a room of mirrors, but doesn’t know when to say when. At only 96 minutes, CURSED feels drawn out thanks to one anti-climatic conclusion after the next. Outside of a few goofy cameos, CURSED doesn’t provide anything new.

Grade: C

BAD EDUCATION

Writer-director Pedro Almodovar brings his unique sensibilities to the silver screen again, this time with BAD EDUCATION. Almodovar favorite Gael Garcia Bernal stars as Juan, or Angel, when he is cross-dressing, an aspiring actor and screenwriter who is seeking work. Juan accidentally reunites with Enrique, an ex-boyfriend, after an interview with a small-time film executive. Enrique is the real deal maker, and is curious if Juan has continued to write screenplays. Juan allows him to read his latest, a personal tale of sexual abuse, and Enrique and Juan’s relationship becomes much more complicated.

Almodovar specializes in bizarre melodramas that are very narrow in their appeal. Outside of TALK TO HER, the scope of his dramas are limited and leave me feeling disconnected. The situations that Juan finds himself in, and his drastic actions, are alien to me in many ways. Not only can I not relate to his circumstances, but the characters emotions seem foreign to me as well. It’s a shame that Almodovar’s works leave me detached, because his aesthetic is as good as any director working today. The opening credit sequence plays as a tribute to Hitchcock, and several images of his can burn into your memory. Bernal does a nice job creating a mysterious and mischievous character, even if his actions and emotions appear unreasonable. Although BAD EDUCATION leaves a lasting impression, it’s completely isolated on an emotional level.

Grade: C

A LOT LIKE LOVE

Ashton Kutcher and Amanda Peet share an on-again, off-again romance spanning years and miles in the romantic comedy A LOT LIKE LOVE. Oliver and Emily first meet during their early twenties on a flight bound for the “Big Apple”. There’s an instant attraction between the two which leads to a one-flight stand, if you catch my drift. They bump into each other again in downtown New York, Oliver gives Emily his number and tells her to call him in seven years, once his life is successful both personally and professionally.

A LOT LIKE LOVE is a good title, because the film is a lot like love, it’s a lot like romance, it’s a lot like a comedy…but it’s none of the above. It’s a wishy-washy, half-baked relationship flick which wants to desperately be this generation’s WHEN HARRY MET SALLY. Both films’ time frame is years, not days, but Harry and Sally actually spend years not days together. The screenplay for A LOT LIKE LOVE allots only a handful of moments for Oliver and Emily, most of which are either forgettable or annoying. Although the film spans seven years, the drastic change in Emily’s attitude is a bit much to swallow. Her transformation from punk girl to upscale photographer doesn’t seem reasonable, and everything relating to her lifestyle feels off. Peet and Kutcher seem game for this type of material, making the most out of lifeless characters. A LOT LIKE LOVE is a lot like WHEN HARRY MET SALLY when it comes to story structure, but it doesn’t come close otherwise.

Grade: C-

DIARY OF A MAD BLACK WOMAN

A broken-hearted woman tries to rebound from her abusive husband in Tyler Perry’s DIARY OF A MAD BLACK WOMAN. Helen, played by Kimberly Elise, has just been kicked out of her home by her abusive, womanizing husband. Hoping to rebound from a tumultuous 18-year marriage, Helen goes to stay with her outlandish grandmother Madea, played by Tyler Perry. While she’s there, she learns more about her colorful family and meets the hunky Orlando, played by Shemar Moore.

What do you get when you mix a Lifetime melodrama with a dose of THE NUTTY PROFESSOR? The answer is one fine mess or as Tyler Perry would title it, DIARY OF A MAD BLACK WOMAN. The caricatures, not characters, play to the broadest reaches of human nature. Charles is the worst type of husband: greedy, selfish, egotistical and cruel. He brings new meaning to the word despicable, and Steve Harris brings justice to the poorly written character. Helen’s new man is the ideal: patient, giving, spiritually flawless, and just happens to look like a cross between a GQ model and a Chippendale’s dancer. The exaggerated characters stretch from one stereotype to the next, but reach a screeching halt when Madea and her crude brother Joe make their appearance. Perry wrote the screenplay, and the play it’s based on, but also stars as the bombastic, ridiculous and utterly unfunny Madea and Joe. I don’t doubt Perry’s intention of providing a religiously infused tale of perseverance and forgiveness, but the execution is thorough chaos.

Grade: D-

ENRON: THE SMARTEST GUYS IN THE ROOM

The fall of one of America’s most successful businesses is documented in ENRON: THE SMARTEST GUYS IN THE ROOM. As I’m sure you know, Enron filed for bankruptcy a few years ago, but not before the company’s executive officers withdrew millions of dollars in stock options, and left thousands of employees and stockholders penniless. This documentary tracks the rise of the business, and their fall due to accounting fraud, arrogance and a detrimental never-say-die mentality.

In many ways, the power hungry real-life characters in ENRON: THE SMARTEST GUYS IN THE ROOM resemble the same plight of STAR WAR’S Anakin Skywalker. They began with good intentions, but due to an extraordinary amount of ego and power, they convinced themselves that they would achieve their ultimate goal…at any cost. The documentary is based on the book, written by Bethany McLean and Peter Elkind, and nicely lays out the rise and fall of the company. I’m not sure how interesting the real big-wigs at Enron were, but director Alex Gibney ratchets up their personalities to construct some fairly obnoxious characters. The only recognizable flaw of the film is its poorly presented political motivations. It sinks to guilt by association, trying to implicate President Bush in the Enron scandal simply by stating he was a friend of Enron CEO Kenneth Lay. It also lays more blame on Bush for the California blackouts, than the state’s own governor at the time, Grey Davis. Despite it’s poorly executed politics, ENRON: THE SMARTEST GUYS IN THE ROOM adeptly illustrates how greed and pride can topple the most successful and intelligent individuals.

Grade: B-

Review Blitz

I'm trying to make up for lost time, so over the next few days, I'll be posting several reviews that I've given for "Now Playing". "Now Playing" is a bi-weekly film review program that I co-host and co-produce with fellow blogger Mark Pfeiffer (whose blog can be found at reeltimes.blogspot.com).

I hope you find my take on recent features to be interesting even if you don't agree. Enjoy.

Some Serious Slacking

Well, I know it's been awhile, but I have been busy watching movies, attending graduation and birthday parties, house sitting...blah, blah, blah.

I promise next week should be better on the blog.