SLUMDOG MILLIONAIRE

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

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

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

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

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

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

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

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

Grade: A

THE CURIOUS CASE OF BENJAMIN BUTTON

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

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

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

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

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

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

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

Grade: C+

VALKYRIE

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

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

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

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

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

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

Grade: C+

FROST/NIXON

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

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

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

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

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

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

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

Grade: C

HAPPY GO-LUCKY

Photos courtesy of Miramax Films

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

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

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

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

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

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

Grade: A

QUANTUM OF SOLACE

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

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

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

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

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

Grade: C+

ZACH AND MIRI MAKE A PORNO

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

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

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

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

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

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

Grade: D+

MADAGASCAR: ESCAPE 2 AFRICA

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

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

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

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

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

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

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

Grade: C-

PRIDE AND GLORY

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

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

Grade: C

HIGH SCHOOL MUSICAL THREE : SENIOR YEAR

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

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

Grade: B-

FLASH OF GENIUS

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

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

Grade: B

BODY OF LIES

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

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

Grade: C

EAGLE EYE

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

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

Grade: C-

CHOKE

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

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

Grade: C

FROZEN RIVER

Photos courtesy of Sony Pictures Classics

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

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

Grade: B

RIGHTEOUS KILL

Photos courtesy of Overture Pictures

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

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

Grade: C+

THE HOUSE BUNNY

Photos courtesy of Sony Pictures

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

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

Grade: C

TELL NO ONE

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

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

Grade: B

TROPIC THUNDER

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

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

Grade: B-

THE WACKNESS

Photos courtesy of Sony Pictures Classics

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

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

Grade: C

THE MUMMY: TOMB OF THE DRAGON EMPEROR

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

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

Grade: D+

THE DARK KNIGHT

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

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

Grade: A

HELLBOY II: THE GOLDEN ARMY

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

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

Grade: B

HANCOCK

Photos courtesty of Sony Pictures

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

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

Grade: B-

KITT KITTREDGE: AN AMERICAN GIRL

Pictures courtesy of Picturehouse

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

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

Grade: C+