WALL STREET: MONEY NEVER SLEEPS

Photos courtesy of 20th Century Fox


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

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

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


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

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

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

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

Grade: D+

THE TOWN

Photos courtesy of Warner Bros.


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

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

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

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

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

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

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

Grade: B+

SCOTT PILGRIM VS. THE WORLD

Photos courtesy of Universal Pictures

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

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

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

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

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

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

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

Grade: C

THE AMERICAN

Photos provided by Focus Features

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

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

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

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

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

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

Grade: B-

LOST: Season Six

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

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

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

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

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

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

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

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

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

Grade: B+

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

WINTER'S BONE

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

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

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

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

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

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

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

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

Grade: B+

DINNER FOR SCHMUCKS

Photos courtesy of Paramount Pictures

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

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

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

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

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

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

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

Grade: C+

INCEPTION

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

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

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

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

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

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

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

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

Grade: A

TOY STORY III

Photos courtesy of Walt Disney Pictures

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

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

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

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

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

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

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

Grade: B+

KNIGHT AND DAY

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

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

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

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

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

Grade: C

Paul's 2010 Fearless Oscar Predictions

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

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

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

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

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

TAKEN

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

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

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

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

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

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

Grade: B

LAST CHANCE HARVEY

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

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

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

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

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

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

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

Grade: B

TRANSPORTER 3

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

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

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

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

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

Grade: C+

The Better-Late-Than-Never Oscar Picks

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REVOLUTIONARY ROAD

Photos courtesy of Paramount Vantage

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

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

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

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

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

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

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

Grade: C-

DEFIANCE

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

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

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

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

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

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

Grade: C

SLUMDOG MILLIONAIRE

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+