Kramer vs Kramer (1979)

Young, career-driven Ted Kramer (Dustin Hoffman) finds the momentum knocked out of him when he finds out that his wife, Joanna (Meryl Streep) is leaving him and their 6-year-old son Billy (Justin Henry). Losing his new promotion and ultimately his job, Ted tries to balance work and fatherhood. Frustration and anger soon turn to joy as Ted discovers he loves being a full-time parent despite the occasionally mishap. Ted and Billy slowly setting into routine. Then Joanna reappears to claim the boy.

Kramer Vs Kramer is a poignant movie. Without taking sides, the human drama unfolds with honest emotion and repercussions. The performances from Hoffman and Streep drive this film beautifully. Hoffman is amazing to watch. The physical and emotional struggle that Ted goes through is remarkable and Hoffman makes every moment. Streep imbues Joanna, I think, with the emotion of any woman who has discovered she's lost her identity. Justin Henry is equally impressive playing Billy as frustrated and impertinent as his young mind struggles to deal with abandonment.

As the legal battle over Billy begins, the film takes on a whole other tone but still maintains an observers role only. Therein lies the films beauty. Both parties, led by juggernaut lawyers who warn 'this will get ugly' become observers in their own lives as they watch lawyers attack with vicious intent. In words unsaid and glances shared, Hoffman and Streep speak volumes.

Kramer vs Kramer rings with an authenticity that's not often found in Hollywood drama. Ground-breaking for its time, Kramer vs Kramer is one of the few films worthy of their Oscars.

Indiana Jones and the Kingdom of the Crystal Skull (2008)

Indiana Jones and the Kingdom of the Crystal Skull is to the Indy series as the Star Wars Prequels are to the original series--it neither adds anything nor does it take away... much. Fan of Dr. Jones will inevitably find something to love about it. I, myself, as casual fan find the Kingdom of the Crystal Skull to be so concentrated between nuking the fridge, alien skulls, man-eating ants, and pompadour wearing flying monkeys that it quickly became eye-roll inducing.

Indiana Jones and the Kingdom of the Crystal Skull is a ridiculous adventure that someone out there enjoys. The spirit of Indy seemed stripped away. In its place was blatant (and stupid) mass marketing without the swagger. The pathetic attempts at jokes about Indy's age were sad. at best. Shia Labeouf's role is a character I wouldn't mind exploring further. Using the Russians was an awesome and underutilized idea.

Unless you are a devoted fan of the series, stay away. Even then, I would have a hard time recommending this to you. See it if you must; but I told you so.

Step Brothers (2008)

Brennan Huff (Will Ferrell) and Dale Doback (John C. Reilly) are two grown men still living at home with their single parents. When Brennan's mom (Mary Steenburgen) meets Dale's dad (Richard Jenkins) and the rest, as they is history, the stepbrothers constant competition and jealousy strain the newlywed's relationship. An unlikely truce begins when they discover equal hatred for Brennan's overachieving little 'bro' Derek and the two become inseparable. In desperation, Dale's dad delivers an ultimatum: they've got one month to get a job and grow up.

Step Brothers is a never-ending joke that stops being funny shortly after it's told. Ferrell and Reilly are funny; their chemistry together even funnier, but this film is dull. Gratuitous language and meanness pervade what could have been. Don't get me wrong, they are funny--what's not funny about a 40-year old clinging to under-roos, grilled cheeses, and tree houses--but this gets old fast.

National Lampoon's Christmas Vacation (1989)

Taking an exagerated page from my own family, Clark (Chevy Chase), Ellen (Beverly D'Angelo), Russ (Johnny Galecki) and Audrey (Juliette Lewis) Griswold prepare for the holiday onslaught of food anf family. Big eyed and more excited that little Russ, Clark pulls out all the stops for the Griswold Christmas Extravganza! Good intentions spiral into holiday mishaps and downright disasters making for good fun to be had by all.

National Lampoon's Christmas Vacation is a Christmas classic in my book. Over-the-top, hysterically funny, what makes it special is it's so gosh darn relatable. The Griswold's Christmas is filled with tradition; isn't everyone's?! Clark's excitment for the holiday is infectious and not even his crazy cousin Eddie (Randy Quaid), the squirrel infested tree, or the chic neighbors next door can quell his Christmas spirit.

National Lampoon's Christmas Vacation is as festive as your Aunt Betty's holiday sweaters only WAY more fun (and less embarrasing). Fill the moose punch cups because "We're gonna press on, and we're gonna have the hap, hap, happiest Christmas since Bing Crosby tap-danced with Danny fucking Kaye. And when Santa squeezes his fat white ass down that chimney tonight, he's gonna find the jolliest bunch of assholes this side of the nuthouse."

Stomp Live (2008)

Stomp Live captures the stunning stage musical beautifully. A fan since the 2000 performance at TPAC, the artistry and athleticism of the Stomp performers is legendary. This DVD (along with surround sound) recreates the intimacy of a live performance with the the footage of a front row seat.

Stomp is a fascinating production that combines rhythm, humor, and unreal discipline to create music. Brooms, pipes, trash pails, water jugs, sand--it all takes on new life and sound with the manipulation of the cast. The cast members obviously enjoy themselves. Their wordless chemistry with the audience in England's Bright Dome is fun. This banging on random pots takes on new meaning with the cadence of hubcaps and trashcans ringing in brilliant cacophony.

This DVD combined some performances from the show I remember--especially the Zippo lighters--and some new to me. The kitchen sinks were hysterical and downright cool, but the newspaper bit takes the performers at their best. Behind the scenes footage brings additional flare as does the interiew with the creates.

Stomp Live is hand down better than the '97 HBO special Stomp Out Loud. Unlike any musical you've seen, Stomp Live is a riot.

The X-Files: I Want To Believe (2008)

As a fan of the long-lived series, I couldn't wait to get my hands on the new movie from Chris Carter. Years after the series had ended, longer still since David Duchovny left, I was eager to see two things: How would the film stand up and how awesome could it be?

X: I Want to Believe is pitch-perfect. The film plays just like a classic episode of the series and fits beautifully. It works as a solid sci-fi movie for casual fans and as a big screen addition to the cult favorite. That said, X: I Want to Believe doesn't have the spectacular special effects, groundbreaking discoveries, or much that furthers any of the story lines from the series or the 1998 film other than 'will Scully and Mulder ever get together?!'.

Duchovny and Gillian Anderson have exceptional chemistry onscreen years later. They are a perfect partnership and this movie makes me miss them something awful. As Mulder, Duchovny uses his deadpan humor and boyish optimism we remember as foil to Scully's scientific matter-of-factness. Supporting cast members include Billy Connelly, Amanda Peet, and Mitch Pileggi. Unfortunately, Director Skinner takes a complete back seat to everything else.

Chris Carter's all too heavy hand is present so it all feels good--familiar. Well told, nicely executed, the film is solid thriller. Still, the X-Phile in me wanted more. More alien abductions, conspiracies, crop circles, and Donnie Faster.

The X-Files: I Want to Believe is a must see for fans of the best sci-fi series ever. It's not everything we've been waiting for, but it'll do.

A Christmas Carol (1999)

This made- for-TV adaptation of the Charles Dicken's classic novel stars Patrick Stewart as Ebenezer Scrooge. It blows.

Elf (2003)

Each year, Elf makes my list of must-see holiday films. It's quickly becoming a new classic. One you just can't help loving year after year.

Will Ferrell stars as Buddy, a human, raised (by Bob Newhart) in the North Pole as a toy-making elf. The trouble is, he's no good at it. Confronted with the truth, Buddy decides to travel to Manhattan to find his real dad (James Caan)

Directed by Jon Favreau, Elf is a holiday riot. It doesn't ask much from it's audience. The cast goes for the gusto with Ferrell leading the way. Buddy is this innocent man/boy discovering the evils of the real world, but he's so innocently clueless--it's hysterical. Ferrell plays him straight with delightful physical comedy and random joyous dialogue. Zooey Dechanel plays Buddy's love interest. Their courtship is sweet without being cloying. Caan is perfectly hateful. Ed Asner plays Santa {that's weird}.

Don't be a cotton-headed ninny-muggins. Take Elf for what it is--holiday fun--and you'll enjoy every minute {and won't mind feeling incredibly goofy while doing so.}

White Christmas (1954)

Back then women were women, men were men and everyone was glamorous. White Christmas is a holiday classic in every sense of the word. Starring pop crooner Bing Crosby and Danny Kaye as war buddies who fall for a sisters played by Rosemary Clooney and Vera Ellen. Throw in an aging war hero and their genuine efforts to show they care and you've got yourself a movie!

White Christmas is a simple enough plot, but thanks to gorgeous set dressings and fabulous costumes, the film simply sparkles. Each musical number gives opportunity for our cast to step, tap, and sing their way into our hearts.

Growing up, I could never decided which sister was more beautiful. Judy (Ellen) or Betty (Clooney). Today, my money's on Clooney. Her number, 'Love, You Done Me Wrong' is classic vamp. Danny Kaye as Phil Davis is so fun to watch. His physical comedy and stellar dancing are perfect. Each musical number is a treat.

From Crosby's cardigan-wearing-pipe-smoking Bob Wallace to the odd-ball supporting characters {mutual, I'm sure!}, White Christmas is purely sentimental and delightful this time of year.

Hancock (2008)

Hancock (Will Smith) is a true antithesis to the superhero moniker. Sullen, cynical, alcoholic, Hancock's attitude has placed him on the outs with Los Angelenos. Fed up with his expensive, but life-saving antics, the city government calls for his head. Enter PR expert, Ray Embrey (Jason Bateman). With a plan to repair his superhero image, Hancock struggles to stick with his new sense of purpose.

Peter Berg's action comedy, much like Hancock, struggles with it's identity. Berg tries hard to elevate the mediocre screenplay and succeeds in only making it semi-respectable with the help of a starry cast.

Will Smith is surprisingly solid as Hancock. He imbues the character with the right blend of chagrin and self-destruction. Bateman gets a straight role and delivers. Charlize Theron stars as Embrey's wife, Mary. True eye candy, Theron's character really suffers through this one.

The special effects are decent; as are the action sequences. Ultimately, it is the story that really, really blows. The first half of the film is good fun. Smith ham's it up wonderfully. Then the wheels fall off. Berg runs short of material and starts throwing in subplots of origins, enemies, redemption, and acceptance.

If you check reality at the door, fans of the genre may enjoy Hancock. As I see it, Hancock is an unfulfilling waste of 120 minutes.

Bottle Rocket (1996)

Wannabe hoodlum Dignan (Owen Wilson) convinces his pals Bob (Robert Musgrave) and Anthony (Luke Wilson) to rob a local bookstore. The trio decides to hole up in a border-town motel, where Anthony falls for a gentle housekeeper from Paraguay while they mull over their criminal future.

The quirky debut of writer/director Wes Anderson, Bottle Rocket might be his most unfocused work, but that doesn't keep Anderson's strengths from coming through. His panache for smart dialogue, unusual stories, and off the wall characters is what makes Anderson so appealing.

Debuting Owen and Luke Wilson, it's easy to see how they've both gotten so far. Owen Wilson really hijacks the film as Dignan. His shenanigans are futile, but genuine. I don't find these characters nearly as interesting as those of The Royal Tenenbaums, but the Wilson's have enough chemistry to be fun. James Caan's out-of-nowhere performance is crazy good.

Bottle Rocket doesn't have the beautiful color saturation of The Life Aquatic or The Darjeeling Limited, but the direction and execution of the film is pitch perfect. Anderson's point of view is engaging and always interesting. The robbery of the bookstore is laugh out loud funny just because of the sheer randomness.

Bottle Rocket, like all Anderson film's, has heart. It's sincere and eccentric, but ultimately is just good subdued fun.

The Assassination of Jesse James by the Coward Robert Ford (2007)

Robert Ford (Casey Affleck) has always idolized the gun-slinger Jesse James (Brad Pitt). The 19-year old gets an opportunity to shadow his idol. Ford fawns over James, studies his existence, covets his aura, and strives to be him. His friends mock him for his hero-worship; James belittles him for it. Tension builds between the two, the journey to assassination becomes a sadistic dance between Ford and James that explodes with gut-wrenching consequences.

The Assassination of Jesse James by the Coward Robert Ford is a beautifully-wrought narrative of the legendary bandit. Writer/directer Andrew Dominik has crafted an exquisite character drama, that owes much of it's success to Pitt and Affleck.

Brad Pitt play James an vulnerable and enigmatic. Demanding and harsh with his gang yet gentle and soft-spoken with his children, Pitt is riveting. James is dark, brooding, merry, and rambunctious. Years of villainy take it's tole, aging James beyond his 40 years. As the film paces, so does James. He coils like a viper, ready to strike. In contrast, is Affleck. Ford is fresh-faced and eager. He yearns for respect, dreams of grandeur have him wanting to be part of something big, but his admiration becomes obsession. Somewhere along the way, Ford loses that pretty boy sparkle and develops a creepy neurosis Both actors render powerful performances. Supporting characters played by the likes of Sam Rockwell, Sam Shepard, and Mary Louise Parker further the story and these two characters incredibly.

The cinematography is stunning. The imagery speaks volumes with careful fades in and out, shots through rippled glass windows, distortions, and breathtaking scenic vistas. The sets and costuming truly take you back to the 1800s. There are truly too many scenes to mention, but two standout. The nighttime sequence of the train robbery in Kentucky is brilliantly executed. The light filtering through the trees, James silhouetted against the train's light, shadowed figures emerging from the steams. It's breathtaking. Equally memorable, is Ford at the well pump, water splashing into the bucket. Ford's hands cupping and splashing--the water drops stand out as individuals--Ford's obsession' clearly represented and mounting.

The screenplay is eloquent; the narration is styled like a documentary and serves to advance the film beautifully. The dialogue feels like a natural, albeit haunting chemistry between our characters. The score is evokes intoxicating emotion. We feel not only tension, but paranoia, love, sadness, fear, adoration--all the facets of a compelling story.

As the film builds to it's final deception, there is one final scene to recount. James, Ford, and his brother Charley (Rockwell) in the sitting room. James playfully rubbing Ford's shoulders as he recounts his own tale. Whipping a knife to the boy's throat as he and Charley's shared thoughts become one. This viewer explodes with a sigh, adrenaline pumping, heart pounding. That is exceptional film-making.

The Assassination of Jesse James by the Coward Robert Ford is a masterpiece. Pitt is at his finest (this portrayal of James, bumps Tyler Durdin for best performance).

Miracle on 34th Street (1947)

Whether you enjoy the B&W original or the newly colorized version {that evokes the sepia tones of yesteryear}, Miracle on 34th Street is a Christmas classic.

The story of a sensible little girl, Suzie (Natalie Wood) and her sensible mother, Doris (beautifully played by Maureen O'Hara) learn to believe. A drunk Santa in Macy's Thanksgiving Day Parade gives way to a bearded Kris Kringle (Edmund Gwenn) who plainly shares he's the Santa. As a Macy's supervisor, Doris is concerned about the mental well being of Mr. Kringle. Hilarity gives way to a heartwarming story that cynics and optimists alike can enjoy.

Either version is simply beautiful. Edmund Gwenn actually won a Best Supporting Actor for his role here. I love his version of Santa--sick of the commercialization of the holiday, merry and gentle-hearted. The 1940's era set and costuming hearken to a America at her best.

Skip the remakes! Smart, humorous dialogue, characters to relate, intriguing plot-line--I mean, imagine, Santa on trial!--makes Miracle on 34th Street a must-see during the holiday.

Bonus Feature: CD

Finally! The Killers have arrived. Having left Sam's Town, Brandon and the Boys rediscover the sound made for them. Equally thoughtful and danceable, their newest album Day & Age really is The Killer's meet Hunky Dory-era David Bowie from the opening strains of Losing Touch and definitely in Neon Tiger. The band channels Bowie and Lou Reed like you wouldn't believe. Add a touch of Robert Palmer and U2 and you've got Day and Age. The Killers are obviously in their element. Unlike Sam's Town, Brandon's vocals are ballsy here.

Human has been building tremendous buzz on the 'Net. If you've heard it, you know why. The sound is incredible. Better than Mr. Brightside, thanks to a more focused set, Human is a great first single.

Joy Ride is a disco-tinged piece that I swear includes steel drums and a sax. It bobs and beats to Flowers' vocals. Along with The World We Live In, these songs have hooks that kill. The tropic-tinged I Can't Stay is movement inducing. Unfortunately, this song will become my Achilles heel. Only I can hear my brother--the sound pop-off guy-- 'gay, gay, gay' and hitting the beat every time.

Spaceman was the second track debuted on SNL a few weeks back. Layers of synthesizers with a wicked hook, driving kick drum and quizzical lyrics makes a perfect hit.

Let's get to my early favorite--wait, I still enjoying them all, but This is Your Life is simply brash and ridiculously singable.

Saving the best for last, The Killers provide an eloquent climax with Goodnight, Travel Well. A slow brooding burn, the track becomes a beautifully arranged horn-filled send-up to loss. Flowers' vocals imbue such emotional range. It's a glorious sound.

As I see it, Day and Age is a natural evolution for The Killers. Pure pop, it's a progession filled with confidence, swagger, and lyrical nonsense.

Bonus Feature: CD

Sounds like Chris Martin and Co. had a bit more to share with their newest EP, Prospekts March. Building on the Brian Eno sound of Viva la Vida, the EP is a nice compliment. There is nothing particularly profound in the eight tracks, but that doesn't keep it from being a wonderful assault on the eardrums.

As with V la V, the EP opens with Life in Technicolor ii. This version maintains the integrity of the first, but with Martin's vocals the song feels grounded. Glass of Water brings memories of Parachutes era Yellow to the mind. The strings found on Rainy Day are beautiful, but it's seemingly oft-kilter back rhythms that screw your brain.

Perhaps the most known is the LOST+ collaboration with Jay-Z, a known supporter of the group. An interesting dynamic that works well. The song is untouched, per se, with Jay-Z laying down a quick rap slight.

Prospekts March is a nice finish to Coldplay 2008. Now, if only their current tour would make a stop...

Dr. Seuss' How the Grinch Stole Chrismas (1966)

This animated classic never fails to warm the soul. The original collaboration between animation innovator Chuck Jones and literary genius Theodor Geisel brings to life Dr. Seuss' world beautifully.

How the Grinch Stole Christmas is the epitome of classic. The animation is pure Jones and wonderfully rendered. Mt. Crumpit and Whoville are exactly as they should be. Max and Cindy Lou are delightful, but it's the narration by the legendary Boris Karloff that gives the film it's life. In his rich baritone, the film jumps off the screen. The inflection and warmth of two oh so distinct voices is so engaging. Then there's the score. Delightfully silly, incredibly memorable and perfectly singable. Every word perfect.

Avoid all imitators; they fall painfully short. See Dr. Seuss' How the Grinch Stole Christmas. See this one! This film is Christmas.

The Karate Kid (1984)

I had the opportunity to watch this gem for the first time in years. It's just as awesome as I remember it. There's something about the heart-warming story that transcends the pure 80s shtick.

Decades later, The Karate Kid remains the classic underdog story. Ralph Macchio as the eager Jersey boy suffering from culture shock on the West Coast. Compounding the situation is the school bully--with a black belt in karate--who discovers Daniel and just won't stop. Macchio plays Daniel-san wonderfully, imbuing the scrawny teenager with that awkward innocence of first love and belonging. Noriyuki Morita as handyman Kesuke Miyagi is equally engaging. Mr. Miyagi is somewhat cliched, but he plays to strengths as he agrees to train Daniel to face his fear.


The Karate Kid is easy to love. Sure the movie is formulaic; the dialogue is the definition of cheesy, and well, let's face it, the 80s ring true in both settings, and soundtrack. Still, the film rises above it all thanks to genuine performances.

Bonus Feature: link

It's not often that I find something so riveting out in the world wide web. In this day and age, out time is too fleeting--too precious. We are bombarded each day with images that give us no cause to pause. I found this site by chance; but time stopped for me here.

Riveting is too simple a word for it. Haunting is equally true. These images are captivating.

http://www.opacity.us/

24: Redemption (2008)

The clock is ticking...

This 2 hour event bridges the gap from season six to season seven (premiering January 11, 2009) for the Fox juggernaut 24. The best drama on network television {imho} teases unmercifully with Redemption.

Setting the story for the upcoming season, Bauer (Keifer Sutherland) is found in Sangala, Africa. On the lam from a U.S. government subpoena, Bauer is hiding out/supporting fellow former ops solider turned human rights worker Carl (28 Weeks Later's Robert Carlyle). Steeped in the current African conflict, the story is equally sad and righteous.

The pacing is direct; characters are quickly judged at face value. No worries! No spoilers here! The body count starts from the opening minutes.

The U.S. is transitioning governments from President Noah Daniels' (Powers Boothe) administration to President Elect Allison Tayler {how American} (Cherry Jones). Jon Voight's menacing mug pops up quickly as does Peter MacNichol (CBS' Numb3rs).

The story's set; Jack Bauer is pissed {for more that one reason}. The world needs saving and only one man can do it again. Jack's back.

Laugh at me.

Ahem. OK, this is embarrassing, but 'show code' insists that I share. You can laugh; I did--once I got over how utterly stupid I felt. Actually, I'm not over it. I shake my head with shame.
Just got this. Today. Like five hours ago. Seriously. Growing up, my grandparents had a round yellow magnet with 'tuit' on it. It was always on the refrigerator, might still be. The refrigerators have changed, perhaps. That doesn't negate the fact that I JUST GOT THIS!! HELL-O!! God, I feel stupid. Maybe I was blonde in another life...

Neil Young: Heart of Gold (2006)

Jonathan Demme directs a intimate concert with Neil Young in Nashville in this 2006 release. Recorded during a two night concert at the Ryman Auditorium and just before Young's surgery for a brain aneurysm at Vanderbilt Hospital, Heart of Gold is as good as it gets.

Young may have slowed down a bit, but this Canadian continues to create relevant sound; his 2006 album Prairie Wind doesn't rock as hard, but the footage is beautiful. Demme knows his subject well and captures Young at his peak. The film is gently paced--almost meditative. Demme has captured his subject well and under his direction, the Young is his most complex. The editing is seamless; visually, the film is slightly haunting.

Neil Young plays the entire album, intersperses a few hits and some obscure classics. The chemistry between him and the stellar group of musicians onstage (among them Emmy Lou Harris, his wife Pegi, The Nashville String Machine and Fisk Jubilee Singers)-it's wonderful to behold.

Heart of Gold is definitely for a niche audience. Still I would hate to think that anyone would miss out on one of the ICONS. For fans of Neil Young and/or Jonathan Demme, this shouldn't be missed.

The Big Bang Theory: Season One (2007)

This CBS sitcom is perhaps the most underrated show on television. The premise centers around four uber-nerds: Sheldon, Leonard, Raj, and Howard. These socially inept geniuses befriend a gorgeous, albeit naive Midwestern girl named Penny. True hilarity ensures. Each character has a trademark tic that shines through each episode.

Leonard the most 'normal' of the nerds wants to be 'average' normal and spends most of his time either trying to woo Penny or calming Sheldon. Sheldon, Leonard's roommate, is the most socially retarded and spends most of his time exasperated at the simplest of things he doesn't understand. Sheldon can easily disseminate quantum physics, but can't delineate restaurant dining. Raj, of Indian decent, has a pathological fear of beautiful women. Around Penny he is silent. Wolowitz (Howard) is a Jewish wannabe lady killer. Together, the four spend Wednesdays playing Halo, speak Klingon, engage in Superman movie marathons, and lay down string theory. Oh, Penny works at The Cheesecake Factory.

Each episode contains above average comedy that typically allows Sheldon (Jim Parsons) to kill. His straight-faced, exasperated, know-it-all tone is pitch perfect. {Look for Sheldon as the Doppler Effect for Halloween} Wolowitz (Simon Helberg) and Raj (Kunal Nayyar) deliver some of the best physical comedy to come to network television in ages.

The Big Bang Theory is the latest in geek chic. Witty and genuine, the show deserves a look and listen. As season two continues, the writers and cast stick with the fresh formula and plenty of laugh-out-loud moments.

The Foot Fist Way (2008)

The Foot Fist Way is reminiscent of Napoleon Dynamite with it's indie feel, but that's where the similarities end. After 30 minutes of foul-mouthed meanness, I couldn't take it any longer.

The film stars Danny McBride (the dynamite expert in Tropic Thunder) as a small-town tae kwon do instructor. When Mr. Simmons discovers his wife's infidelities, the pompous twit freaks out. That's as far as I got.

Don't ask me what happens, I don't care. Maybe like Napoleon Dynamite, the movie requires a couple of viewings. I don't get it; nor do I want to.

Pirates Who Don't Do Anything: A VeggieTales Movie (2008)

Larry the Cucumber, Mr. Lunt, and Pa Grape star in the latest feature from Big Idea. As lowly busboys at the Pieces of Ate Dinner Theatre, the trio finally get a chance to be heroes when they are sent back in time. The boys face pirates, rock monsters, and laziness in order to rescue the royal family.

In their trademark style, Big Idea wrap important lessons in animated stories starring vegetable. Always age appropriate, the only thing parents might need to worry about is killer cheese curls. Adults may find the story surprisingly flat. The typical pandering to adults hardly rises above a chuckle.

Watch past the credits for the highlight: Larry, Mr. Lunt and Pa Grape with their interpretation of The B-52's classic, Rock Lobster.

Pirates Who Don't Do Anything would be an entertaining addition to a 3-year old's collection. For my money, see Jonah instead.

Star Wars: The Clone Wars (2008)

This average animated adventure is in a word: tedious. Clocking in at 93 minutes, the adventure centers around Count Dooku's plot to kidnap Jabba the Hutt's son and blame the Republic for it, in order to gain Hutt's allegiance in the Outer Rim. Sound exciting? It's not.

The {for lack of a better word} manga-ey animation ranges from wooden to average. The galaxy and fight sequences are solid; it's the the characters that suffer. The dialogue is mind-numbingly boring. The film introduces a few new characters among Anakin, Obi-Wan, R2D2, Yoda, Mace Windu, etc.. Anakin is given a Padawan during the course of the story. A youngling named Ahsoka. What an annoying twerp! General Grievous is sadly absent, but we do meet Sith baddie Ventriss.

The Force is not with this one. There is no need to watch this.

Autumn Sabbatical Ramblings

Can't imagine a better way to observe Veteran's Day than by writing about two 'old' things I've fallen in love with...

Pipes: Wait, wait! I know tobacco is not good for you, but pipes are cool. I'm sure my feelings derive from childhood memories. Have you notice some of the young gents today? Notice them smoking pipes? It's oddly sexy, lung cancer be damned. {You can laugh now.} People who smoke pipes carry themselves in a different manner--and not in a Fred Rogers cardigan sort of way, neither.

Hot Water Bottle: This is an essential old people item. I mean this is what you find next to the Vick's Vap-o-rub, and Fixodent. Let me tell you. When you're sick, it's like blessings from heaven. Now, I'm talking the old, extinct kind of water bottle made from actual tree rubber. It's that funky red-orange color with the stopper. Since I've been sick, I don't sleep without it. Fill it up with near boiling water, place in small of back, or just cuddle with it. Sweet Lord.

Rockin' old school...that's just how I roll...

Autumn Sabbatical Ramblings

I don't like to use the term 'vacation'. To me, it implies the beach or at least going out of town. Yeah, I'm not likely to do either of those. Instead, I choose sabbatical--a period of rest.

My soundtrack selection for tonight's post, RHCP '06 release Stadium Arcadium. It's all good and I don't just mean Dani California {which I kill as Toasty Frijoles}.

The first day of rest was just that. The antibiotics, besides causing loose stools {wait, is that a TMI?} has caused an overall feeling of lethargy. I stayed in most of the day. Enjoyed a movie, painted Rimmel's 'Manic' on my fingernails, went Krogering, and spent some time with my little brother at Burger King. {For the record there's not a f'ing Starbucks here and it was his pick.}

Bet we were a sight. He in his post-welding day uniform of wrinkle utility khaki pants, an orange hoodie {that I suspect was really orange at one time}, and a mucky white tee--all with the trademark flash burn singes. And me?! Yeah, is my weak-eyed, rasping phone-sex voice bringing pale back ensemble. It was wonderful to talk to him over sips of Sprite {for me} and Diet Coke {him}.

I was up to 2.30 this morning reading Forever Odd by Dean Koontz. Wow. The first book was sweet and innocent; the second takes on a completely different, diabolical tone. Odd Thomas is losing his innocence. It's funny. I can count on one hand the literary characters that have had true impact on my life. {I shan't reveal them; to do so, would feel like exposing the most private of my thoughts.} Odd Thomas, however, is becoming one. Koontz writes so thoughtfully. To make parallels to a fictional character {especially this one} is ludicrous; but I can't help it. That it what makes it riveting. {God, that sounds melodramatic.}

Tuesday, my plans for the week begin in earnest. They are simple, just to explore and enjoy the moments. There is such intensity in my spirit that true relaxation doesn't come easy. Perhaps it's a restlessness. Loneliness? Sadness?

If you see a stranger with 'manic' on her hands and intensity in her eyes, say 'hello', would you?

Run, Fat Boy, Run (2007)

Dennis (Simon Pegg) is a failure; he's a quitter. He's never finished anything in his life and now, five years after leaving his pregnant girlfriend, Libby (Thandie Newton), he is filled with regret. With the help of his best mate,Gordon (Dylan Moran) {must see: the BBC series Black Books} Dennis finally admits it. When the new boyfriend Whit (Hank Azaria) moves in on Libby, Dennis decides to prove to her that he has changed. Too bad for him, he's decided to illustrate is point with a 26 mile marathon in three weeks, no less. With the help of Gordon and his Indian widower landlord, Dennis might just succeed at putting his pint-and-cig diet to rest and get the girl.

Run, Fat Boy, Run is an uplifting, albeit predictable, underdog story that delivers thanks to fun-loving cast, sight gags, and smart dialogue. Making his directorial debut is David Schwimmer. <------ Not my favorite, but this works.

The film leans heavily on it's cast. Simon Pegg in a semi-serious role as a dad is spot-on. The dialogue plays to his comedic strengths, but even in moments of seriousness, Pegg nails it. Dylan Moran is hysterical as always and alongside Pegg, the two creates a hilarious chemistry. Newton is cute; Azaria is perfectly smarmy. The young lad cast as Dennis' son is adorable.

Let me be clear. I would watch Pegg watching paint dry and it would be funny to me. Pegg's body of work: Shawn of the Dead, Hot Fuzz, Spaced--it all plays to Pegg's impeccable comedic skills. Run, Fat Boy, Run is no different.

Iron Man (2008)

Everything changes for Tony Stark (Robert Downey, Jr.) playboy heir to weapons manufacturer Stark Industries, after his engineered escape from kidnappers. Returning to wealth and privilege, Tony can't shake seeing his weapons used for death and destruction. Now determined to make a difference, Tony takes his inspiration from the iron shield that helped him escape.

Look, you don't need another rehashing of the plot. There is reason Iron Man ruled the summer at the box office. Behold its perfection. From the opening credits, it's clear to see that director Jon Favreau (Elf, The Break-Up) loves this story.

Iron Man is pure escapism in stunning fashion. Much like the body suit, the movie is seamless in every way. The plot is coherent, moving at a fast clip to build back story and get to business. The settings are beautiful. Equally lavish and ridiculous, Stark is surrounded by beauty. Speaking of beauty, the CG is seamless. If you get your eyes off a gorgeous cast, you still wouldn't notice the CG.

Robert Downey, Jr. is riveting. Downey's embodiment of redeemed bad boy Stark is multi-faceted and engaging. Downey simply sparkles. Gwyneth Paltrow as Pepper Potts is stunning. Terrance Howard and Jeff Bridges bridge additional depth and substance to the film, but Favreau never reaches to far. He allows the cast to shine with a well-written screenplay that keeps the camp to minimum.

Iron Man is simply fantastic! The film is a perfectly executed; it is a much heralded {and welcomed} addition to the superhero canon.

The Incredible Hulk (2008)

Two words: Edward Norton. He was my only reason for seeing this one. As superhero movies go, The Incredible Hulk is a decent addition. Norton is Bruce Banner, the fugitive gamma-rayed scientist that turns green when angry. Norton is solidly cast against William Hurt, Liv Tyler, and Tim Roth.

The story is solid without too many WTF?! moments. Banner is simply looking for a cure knowing that what lurks within is power too dangerous for anyone to have. Norton humanizes Banner well. The back story is quickly set through the opening credits, but I did want to see more of the origin. Norton is fascinating to watch, even here.

The CG is nicely and believably constructed. Although the Hulk antithesis, played in the flesh by Tim Roth, with it's dinosauric bony protuberances was more God of War than true villain.

The Incredible Hulk saves itself from mediocrity thanks to Norton and a surprise cameo by Robert Downey Jr. as Tony Stark. Guess I'll queue Iron Man up.

The Hunger (1983)

Naming an 80's vampire flick usually results in one answer: The Lost Boys. The Hunger is often overlooked cult gem that's, shall we say, for adults.

Sensual and seductive, The Hunger stars Cathering Deneauve as Miriam Blaylock, an elegant, beautiful woman who shares her luxurious lifestyle with her husband John (David Bowie). Miriam is immortal--a vampire. John is not; life immortal for him is a curse. 300 years later and aging rapidly, John is cursed. Aware of the flaw in the human existence, Miriam sets her sights on a new lover, a promising Dr. Sarah Roberts (Susan Sarandon).

Surprisingly, Tony Scott is at the helm of this 80's piece and boy does it scream 80's. Thankfully, the story rises above it's dated settings and is quite riveting. The film is beautifully shot, almost ethereal. Scott creates a dream-like setting.

French actress Deneauve is stunning. She's elegant beyond words. Bowie is a nice compliment. Susan Sarandon with that awful 80's shag is sufficient; but there's a nagging feeling that her character could have been so much more with the right actress.

Still the film is solely Scott's vision and it is a stunning one. The use of color and the sumptuous classical score that oddly enough begins with Bauhaus' famous song "Bela Lugosi is Dead". The Gothic feel of the film is pitch-perfect, but it's the camera that elevates a dragging plot into something sublime.

The Hunger is a beautifully stylized film that's completely underrated. Bloody, erotic, haunting and cool, this film is a credit to the genre. It's truly a shame it's not better known.

All Together Now: A Documentary Film (2008)

This Best Buy exclusive is a behind the scenes documentary that showcases the creation of Cirque Du Soleil's LOVE show. While I'm disappointed that there is not more footage of the actual show, the documentary is still amazing. Of course, the soundtrack is brilliant. It's remarkable the craftsmanship and respect that the creators of Cirque have. How George Harrison befriended the creators is addressed--that's pretty cool. They met over a love of motorcar racing.

During the course of the film, we meet the cast of the show as their learn parts, see the creators interpret and then try to obtain approval from the remaining Beatles, Olivia Harrison and Yoko Ono Lennon. It's a beautiful, stressful time for all.

For me, the real gem is Sir George Martin and his son dissecting the reworking of the Beatles' master recordings.

If anything, All Together Now will have you thankful that the Beatles and their respective spouses, friends, etc, have maintained such control over the band's legacy. It makes things like this high caliber and all the more precious.

This blows.

I'm on vacation this coming week and I'm f'ing sick. I'd been fighting since this past Monday, thinking that my throat soreness was due to heavy practice with Edicius Oz. My vocals are really improving. I'd been powering through each day at the Centre until yesterday. I still feel I have alot to prove there, so I'd been refusing to acknowledge I'm ill, therein lies my folly. At the Centre--if you show weakness, the pack mentality comes out.

I worked yesterday just long enough to complete the week's tasks asked of me. I hit the clinic only to find my doctor more concerned about obtaining Barack Obama inauguration ball tickets than figuring out if I'm dying. Nice. My f'ing doctor could care less. What's more, my own mother seems annoyed. WTF?!

It's not like I'm a whiner. I'd just like a little consideration. Hell, the doc said to rest. I can't do that with a clear conscience.

And so it begins...

Election Coverage Free Zone

That's right; you won't find a thing here.

This struck me a funny. The Pope clocking in and out... gives new meaning to being on God's timetable.

Additionally, famed author Michael Crichton has lost his battle with cancer. Don't care what anyone else says, his contribution to the literary field is/was substantial--even if he didn't win a Pulitzer.

So, what's going on? Since the 31 Days ended, lots of ca-ca that keeps me from here and viewing movies. On deck for review: Run, Fat Boy, Run and The Incredible Hulk. Hate to tease, but stay tuned.

The AFF was brilliant. It's a once a year shendig at Montgomery Bell that shouldn't be missed. Rumor has it, two days are in order next year. Go Dara! Old Ceremony is my new fav. You can find them and the Americana Folk Festival on MySpace.

31 Days of Horror: Halloween (1978)

It's funny, but I can honestly say when I first saw John Carpenter's Halloween, I was disappointed. Maybe it was the hype; maybe it was the setting--whatever it was, I can now say that with each subsequent viewing I continue to discover subtle nuances that really creep me out.

Everyone knows the plot; I won't rehash it here. Instead, let us examine two key elements that makes this Halloween the classic it is.

• Pure evil. There's no better explanation. There is no why or how behind Michael Meyers. He is simply evil. The idea of sheer madness is chilling enough. Michael just wants to kill, especially Laurie. Why? We don't know. That is haunting. Such randomness is inconceivable for our logic-based existence. That alone is frightening.
• Subtlety. Carpenter is masterful at every level. He replaces blood and gore with shadow and sound. He crafts each frame with purpose and detail--sometimes the viewer's in on it; sometimes not. Each moment is more menacing than the next. The film may be low budget, but the scares a highly satisfying. Much is made of the mask and the minimalist score {both decidedly perfect}, but ever notice the lighting? Or the the body language of our protagonist? The plot is deceptively simple, but intensely creepy.

John Carpenter's Halloween joins the likes of Psycho and Night of the Living Dead as some of the most influential films of the genre. Films like Halloween never get old or boring; they becomes part of our collective conscience--they live and become the rule by which cine-piles judge all others. This film lives and breaths like no other, and it is beautiful.

31 Days of Horror: The Omen (1976)

The tricycle, strains of 'Ave Satani', the name, that kid. To this day, I don't understand how anyone could name their kid Damien--I know of two as I blog. Sorry kids, all I can think of is this eerie film from Richard Donner.

This literal spawn of Satan played by Harvey Stephens is one creepy bastard. The Omen is beautifully atmospheric. I love how this film unfolds. It's the perfect storm of direction, writing, cinematography, setting, and score.

Gregory Peck is exceptional to watch as the father of said spawn, he is terse, unapologetic until the truth is exposed. The escalating horror is written all over his face. But let's talk about the gem of a boy Stephens--where is he now?! As the little Anti-Christ, his glance sends chills up my spine. He plays so innocent, but speaks volumes with slight action. It's remarkable. Lee Remick plays the tragically duped wife nicely.

Between the nanny and that damn tricycle, The Omen is more than enough to scare me. Donner keeps the film tight and moody. The Gothic feel is cold and bespeaks the underlying evil. I've read "extreme dread" as a description for this film--that is so true. Yeah, don't forget the priest's demise. The score by Jerry Goldsmith seals the deal.

As I see it, The Omen ranks alongside Rosemary's Baby as benchmarks for the creepy genre. I love never seeing anything tangible--that's when the ultimate fear takes over.

31 Days of Horror: The Ghost and Mr. Chicken (1966)

Didn't expect this one, did you?

The Ghost and Mr. Chicken doesn't offer intense scares or gory delights. No, The Ghost and Mr. Chicken is pure small-town Americana brought to you by Don Knotts.

Flighty Luther Heggs (Knotts) aims to be a reporter for his small town newspaper, the Rachel Courier Express. When the editor offers the break of a life time, Luther's in... until his finds out he has to spend the night at the Simmons mansion. 20 years ago, the home was the site of a now famous murder-suicide. As the anniversary draws near and the family heir, Nick Simmons returns to destroy the mansion, this is Luther's only chance. What ensues is the stuff of good movies.

The Ghost and Mr. Chicken hinges on Don Knotts and his trademark physical comedy. His nervous disposition, eye movements and propensity for chest-enhancing is goofy, but so much fun to watch. The dialogue and Knott's delivery is a riot.

The sincerity of the entire cast, the beautiful production, and the crazy ominous soundtrack help create a wonderful film. The Ghost and Mr. Chicken is a family-oriented movie with a few stringed scares and plenty of laughs.

31 Days of Horror: The Evil Dead (1981)

Inventive writer/director Sam Raimi does it right with The Evil Dead. Set in the backwoods of Tennessee {probably near my house}, five college students head to this hills to spend the weekend. Oopsy! They discover a book, the Morturom Demonto {HELL-o Death!!} and inadvertently release unspeakable evil that unleashes intense, graphic, bloody sequences of death.

Raimi crafts hell in The Evil Dead. Demented and brutal, the film is a nonstop gory treat. Much as been made of Raimi's low budget here, but the movie is perfect. Raimi creates a gripping atmosphere of unseen demented evil that is unrelenting. He is masterful behind the lens; no frame is wasted. Additionally, the score is pitch-perfect.

Scene after scene delivers a sickening feeling--there are entirely too many to share {nor could I live with myself for sharing} . The pencil through the ankle is more than cringe-worthy. Impalements, dismembering, possessions, tree assault, hysteria... The Evil Dead violates all sense of decency. Still, for the genre, this is classic.

The cast is par for B-movie acting. Legendary Bruce Campbell doesn't disappoint. As Ash, he is neither annoyingly heroic or stupid. And his final scene here is amazing.

For me, The Evil Dead still requires a bit of courage--I don't ever seem to watch is alone. Not for the weak of stomach, The Evil Dead is an excellent blend of gruesome elements {don't forget the score} that create the perfect scare.

31 Days of Horror: Se7en (1995)

As the serial killers go, you'd be hard pressed to find one as grim and disturbing as Se7en from director David Fincher.

Se7en has a deranged creativity about it and with such a stellar cast that includes Brad Pitt and Morgan Freeman, Fincher weaves the tale of a killer who's MO is that of the seven deadly sins. The film has an intriguing morbidity to it. Although you never actually see the killings, the aftermath is soul-sucking.

The film is gritty, cryptic and has a atmosphere as apocalyptic as it is creepy. Greed, sloth, gluttony, wrath, pride, envy and lust take on new meaning thanks to a killer utterly out of his mind. His lack of mental capacity, yet his Revelations-spouting tendencies makes the killer hopelessly menacing. This serial killer reaches new levels when he shaves off his fingertips to avoid leaving prints. That's simply messed-up.

The intense development simmers in this well written screenplay. Pitt and Freeman play the conflict nicely and deliver solid, focused performances. Kevin Spacey's turn is mind-blowing and demented. Visually, the film is flawless--the scratching opening credits are just a taste of things to come.

Se7en upped the ante in the genre. The concentrated bleakness and nihilism is overwhelming; however, you can't help be fascinated and repulsed as the story unfolds. As sick as gets, you are compelled to watch. Intense and emotionally-wrenching, Se7en lingers in mind long after the movie ends.

31 Days of Horror: Friday the 13th (1980)

As we come into the final stretch of the season {have you noticed the local 'Stuff-Marts' have already pushed the Chinese Christmas crap to the front?!}, I can finally unfold some of the cream of the crop. Don't get me wrong, each of the gems deserve a viewing {some deserve ownership}, but these are probably the ones that get the most play this time of year and rightly so.

For me, Friday the 13th evokes images like you wouldn't believe. I think my annual trips to summer camps, even now as a counselor, wouldn't be nearly as much fun with this one. There's always one night that we {the counselors} are allowed to scare the begeezus out of our young victims. No--usually it's just each other. Although my camp is nothing like Crystal Lake, can you really go camping without thinking 'this could be it'?

Jason Voorhees is one bad boogieman. Though his killing grounds are limited, it's idea that his knife-wielding self is 'out there' watching, waiting, striking. The harsh tone of the film starts quickly and sets the pace. The jinxed summer camp is just the setting for horrible deaths; it's the delivery that kills.

Friday the 13th is quite simple if you think about it. The young cast is par for the genre. The plot is spotty at times, but who cares?! It's the horrible, graphic, bloody, harsh, cold dispatching of camp counselors in woods on a stormy evening. It's a psychopath picking off horny teenagers in unexpected violent ways.

Upping the ante, is Pamela Voorhees. Jason's mother comes out of nowhere adding a mind-f^ck moment you can't believe.

Voorhees owns Krueger as far as I'm concerned. Friday the 13th is the bar for slasher flicks. It remains horror genius even after all these years.

31 Days of Horror: A Nightmare on Elm Street (1984)

Here's some horror classic for you. A Nightmare on Elm Street may seem dated now {it does to me}, Wes Craven was onto something at the time. Freddy Krueger became the stuff of nightmares and kick*$$ Halloween costumes.

Psychopath Freddy Krueger was burned alive years ago by an angry mob of parents. Then known as the Springwood Slasher, Freddy preyed on children viciously killing them with razor blades attached to his fingers. Fast forward a few years, and a couple of teens are having horrible nightmares of their own all of the same burning man with razor blades.

A Nightmare on Elm Street is a pitch-perfect fright. Writer/director Wes Craven mixes a delicious blend of gore, fear, plot and imagination to create a new take on the slasher flick. Playing on tangible fear, Krueger with his admittedly corny one-liners, manages a high body count.

The young cast plays well. Johnny Depp aside, it's Heather Langencamp as Nancy that really pulls the plot together. With Robert Englund, the two engage in a tension-filled game of cat-and-mouse. Their onscreen chemistry is amazing.

Craven paces the film exceptionally well, unfolding the story right on time. The effects are ridiculous now, but when taken in context, they're great. Glen's (Depp) death through the blood soaked bed is crazy insane. But Tina's demise is one of the film's strongest sequences. The elements in each frame are just perfectly executed.

The film is a true visceral and chilling experience. Easily deserving of it's classic status, A Nightmare on Elm Street, in essence, dares you to go to sleep.

31 Days of Horror: Jeepers Creepers 2 (2003)

Unlike it's predecessor, Jeepers Creepers 2 delivers the scares despite unfolding a typical horror story plot.

The Creeper maintains his mystique in the second film and has evolved to be a darker, more logical predator. He smells fear; preys on it, which is scary enough. It's his ability to move and appear practically out of nowhere that heightens the fear. The Creeper returns every 23 years to feed on humans--this time he's hanging out, literally, as a scarecrow to prey on this Midwestern town. Unfortunately for the championship basketball team, their bus is about to breakdown. Mmm, dinner time.

Jeepers Creepers 2 has a much darker feel than the {sadly lacking} original starring Justin Long. He returns here for a moment. What makes this movie better is the overall menacing atmosphere. The Creeper is kept behind the camera this time around making for a better bite--left to our imagination, the viewer can impose their own fears. His evolution is nicely done.

This is horror for general audiences. Our victims do stupid things, i.e., deserve to die and horribly they do. Jeepers Creepers 2 is a wicked improvement that is equally fun and frightening.

31 Days of Horror: The Tingler (1959)

Fear is an amazing thing. Fear portrayed in 1959 movie classic is called The Tingler. Starring Vincent Price as coroner/scientist Dr. Warren Chapin who discovers that a creature lives inside everyone, feeding on our fear, and controlled by our scream.

This, dear people, is B-movie surrealism--a classic in every form of the word. Price teams with William Castle (House on Haunted Hill) to bring this B&W camp-tastic treat to life.

For what it is, The Tingler is perfect. Using a mute woman to experiment on, Price is seedy, yet diabolical. He's so fun to watch as Dr. Chapin. Barbara (Judith Evelyn) is terrorized to death. Those sequences are trippy with a tinge of color and touch of creep. I love how inventive productions of this nature had to be.

Look, The Tingler is low-budget and hammy, but still provides the necessary scare. Who knows if it's still in print--my copy is VHS.

31 Days of Horror: 28 Weeks Later (2007)

Carrying over from yesterday's post, let's examine the second film. Both are equally horrific and apocalyptic in nature...

28 Weeks Later finds us without Danny Boyle. 28 Weeks Later finds the remnant of the infected being rounded up and a possible cure being completed. 28 Weeks Later and thanks to unilateral forces, London is being re-inhabited. 28 Weeks Later finds us with a high gore factor and an intense chain of events.

It's not often you find a sequel to be complimentary. 28 Weeks Later is a solid follow-up continuing in the same vein despite a new writer/director. Gone is the minimalist aesthetic, remaining is core story, the foreboding soundtrack, a few survivors and a new gory outbreak.

28 Weeks Later grabs you by the throat and doesn't let go. The horror rises to a new level now that the Infected have evolved. Danger isn't random anymore. The hunt, in addition to the virus, creates this eerie, tension filled story that's bound not to end well. Frantic camera movement creates another level of despair; the night vision sequence is hair-raising, but it's the opening sequence through the countryside that is the ultimate nightmare. The helicopter adds a touch of gory camp.

This film has one speed--breakneck--any viewer willing to join in, is guaranteed a delicious modernized zed-fest.

Chicago 10 (2007)

"When the people fear their government, there is tyranny; when the government fears the people, there is liberty." Thomas Jefferson

It never ceases to amaze me to what length governments will go to squash/deride/intimidate anyone who might openly dissent. The spin is both cunning and horrific. To think that our government--any administration--go and would go to any lengths is indeed frightening.

Chicago 10 is a documentary examining the trial of eight anti-war rabble-rousers after the demonstrations during the 1968 Democratic National Convention in Chicago that resulted in violence and mayhem. While there is no actual footage of the trial of the U.S. Government versus Abbie Hoffman, Thomas Foran, Bobby Seale, David Dellinger, Leonard Weinglass, William Kunstler, Rennie Davis, and Jerry Rubin.

The film is bold, engaging, and downright mind-boggling at times, especially when viewed through today's perspective. The combination of archival footage, animation, court transcripts and the modern day soundtrack creates quite a show.

Chicago 10 is an insightful reflection on a very real different time and place.

"All tyranny needs to gain a foothold is for people of good conscience to remain silent." - Thomas Jefferson

31 Days of Horror: 28 Days Later (2003)

Director Danny Boyle and writer Alex Garland (currently scribing Halo) started it all with an idea. A communicable virus that infects it's host with a vicious rage. The infected become rabid--like zombies on crack--they stop at nothing.

28 Days Later is a creative take on the zombie genre. From the desolate opening sequence to the foreboding, time-ticking score, the film is a masterpiece. Boyle breeds isolation and panic simultaneously with sweeping shots of emptiness. The rage virus becomes an incurable evil through the lens of the camera. In contrast, those shots are rabid--quick, in your face shots.

The movie is fascinating and frightening in the same breath. The gore is wonderfully rendered; as are the settings our few survivors must traverse. Our cast includes newcomer Cillian Murphy and character great Brendan Gleeson. The unknowns are spot-on in their delivery.

The aesthetic of 28 Days Later is minimal, but dramatic. The film transcends the typical feeling of the genre. "Thinking man's horror" is how I once described it. Boyle takes a risk in not marketing to general audience and boy, does he deliver. Stripped of everything that keeps us human, Boyle evokes 'Lord of the Flies'--a scary thought in and of itself.

Tense and disturbing, but brilliantly executed, 28 Days Later is a modern, elegant take on my favorite horror genre.

31 Days of Horror: Blade (1998)

Vampires and gore does not a horror movie make; but given that Blade's stylishly played hand has etched itself in my memory {and quite frankly did scare the living begeezus back in '98}, it makes my days of horror.

Let's get one thing clear. I enjoy vampire movies {and count Interview with a Vampire and Bram Stoker's Dracula among my favourites.} I do not like Wesley Snipes. To think I {almost} didn't see this movie because of him. Actually, I saw this move by proxy--someone else picked it; enough conversation.

From it's opening sequence with the techno club pulsating beneath the butcher shop for obvious reasons, Blade has one thing going--vampires are modern and sexy cool. Blade (Snipes) is an embittered half-man, half-vampire sworn to killing the species. His arch-nemesis Deacon Frost (Stephen Dorff) wants to bring about a vampire apocalypse. With the help of a Zen-master played by Kris Kristofferson, good fights evil.

Snipes is palatable here, not much in the acting arena, but with ample physicality. It's Dorff and his vampiric minions that steal the show. The embodiment of evil they creep and seduce. Think The Matrix simplified.

Though the film has more style than substance, Blade does thrill and provides adequate tension and scares. The production is highly stylized. No surprise considering director Stephen Norrington's other film, The League of Extraordinary Gentlemen. The movie doesn't stop with action and violent sequences that entice and engage.

Blade is a decent addition to the vampire genre {probably more-so the comic book one}. What elevates this good versus evil story to worthy viewing status are the visually beautiful opening and final scenes that go down equally graphic and horrifying.

30 Days of Horror: George A Romero's Night of the Living Dead (1968)

Is there really any better movie than Night of the Living Dead? Seriously?! Night of the Living Dead is everything you want in a horror movie. The original B&W classic is a simple idea perfectly executed.

Gore aficionado, writer/director George A. Romero is innovative and masterful here. From the start with Barbara and her brother visiting their mother's grave, the two are attacked by horde of zombie. The fright begins and never let's up.

So what makes Night of the Living Dead so great? Let's break it down:

• B&W cinematography ~ Screw Technicolor! What Romero does, playing up the negative spaces with grace. The unfolding cinematography without choppy edits raises the bar. He successfully builds a isolated, claustrophobic feel that terrorizes as much as the zombies.
• Effects/Gore ~ The splattering, limb gnawing, impalement, fire--it's all effective and horrifying.
• Human elements ~ First the collective strangers in the farmhouse--they have to come together for survival, but at the same time there are all these sub-sets of people. Whether divided by race, age, or an unknown suspicion, it plays on the audience's fear--acceptance.
• Social commentary ~ Night of the Living Dead works on two levels. One is simple full-on horror. But you could also take it in context of the 60s decade and Romero would seem to address political issues of the day head-on as well.
• Farmhouse ~ It becomes a character unto itself--as a barricade between the living and the dead, but it also becomes a crutch for our characters
• Cast, both dead and alive ~ Sure, they are virtual no-names. A definitive plus; however, there are genuine performances from them all. These zombies set the bar by which all others are measured. Perfection.
• Sound/Score ~ Even watching Night of the Living Dead with the sound turned off is hair-raising. The ominous score adds another haunting touch, but notice how Romero slowly removes forms of communication from the picture furthering the isolation.

Finally, the ending. Night of the Living Dead leaves you breathless from start to finish Fear and tension mounting, climaxing to an unfolding of one of the greatest mind f^cks you've ever seen--one that begs a rewind, again and again.

Night of the Living Dead is THE movie to see for any self-professing cinephile or horror fan. A low budget masterpiece, this is the movie that started it all.

31 Days of Horror: Rosemary's Baby (1968)

As psycho-supernatural thrillers go, Rosemary's Baby is tops thanks to a creepy performance by Ruth Gordon and an ethereal one by Mia Farrow. Farrow is really the one to watch. Her degradation through the 2+ hours is remarkable. This cute hopeful darling becomes a waif-like crack user thanks to the spawn of Satan.

Rosemary Woodhouse (Farrow), newlywed and wanting children has just moved into a new apartment in the infamous Bramford building. The Bramford has an unusual history of residents: cannibal killers, Satanist and witches or so says their friend Hutch (Maurice Evans) Still, the young couple thinks Manhattan is the place to be what with Guy's (John Cassvetes) promising TV career. Her neighbors, Roman and Minnie Casevet are a bit too nosy for her liking, but Guy thinks they're harmless. When Rosemary auspiciously becomes pregnant, Rosemary's health takes a turn for the worst. Surrounded by decidedly strange neighbors and odd occurrences, Rosemary's mental and physical health is in great danger.

Roman Polanski {love/hate} directs a perfectly nuanced film with great taste, beautiful detail and solid cast. Ruth Gordon annoys me; but damn, what a freak! Along with Sidney Blackmer, the two play eerie neighbors from hell. Gordon puts in an Oscar-winning performance, I believe.

Farrow makes this movie. She builds paranoia perfectly, slowly, allowing each unusual event to heighten the tension and fear. Polanski further the effect with an angelic focus on Farrow. Everything is light and airy with Rosemary around. In contrast, is the entire cast. Each character has a trail of evil and darkness. The symbolic play of light and dark is amazing.

As Rosemary becomes more and more isolated, the suspense builds. The execution is spot-on. The fear isn't tangible; but there's a consistent 'somethings-not-right' foreboding that just chills to the core. Therein lies the fun. You will watch with an expectation of things jumping out or the baby popping out of the stomach a la Aliens. No, Polanski is too good for that.

Rosemary's Baby is slow burn. It doesn't set out to scare as much as make you squirm. Even now, this movie is the ultimate creep-out.

31 Days of Horror: House on Haunted Hill (1959) (1999)

In the 1959 original of House on Haunted Hill, Vincent Price starred as an eccentric and wealthy cad who invites six strangers over for a party of lifetime offering $10,000 to whomever survives the night. The B&W film is horror classic. Beautifully rendered by director William Castle and Vincent Price, the film is still terrifying and creepy to this day.

The 1999 remake starring Geoffrey Rush as the Price-esque millionaire, Steven Price is surprisingly effective. He plays perfectly to the camp of Price right down to the mustache. Famke Janssen plays his evil wife, Evelyn. Taye Diggs, Ali Larter, Peter Gallagher and Chris Kattan are among the guests. Thankfully, we don't linger on character development--we know enough--and quickly the chills begin.

While this film deviates somewhat, the thrills are equally creepy. The home, this time, was once the Vannacutt Psychiatric Institute for the Criminally Insane and was the scene of a horrible massacre by the mental patients that included the death of Dr. Vannacutt (Jeffery Combs). Price, offers one me-llion dollars each to the survivors.

The atmosphere of the home is perfectly diabolical with enough creep and substance to keep the viewer engaged. Price's homemade plans blend seamlessly with the murderous ones of the house. Inventive deaths and odd-ball gore keep the suspense building. The score adds a surprising taut layer as well.

Though clocking in at about 90 minutes, the film looses steam toward the end with the conclusion not quite as sustaining as I'd hope. {Stay past the credits for a touch more.}

House on Haunted Hill--whether the classic or the campy tribute--is spooky good.

31 Days of Horror: Le Parfum - Histoire d'un Meurtrier (2006)

Here's a beautifully creepy one for you. Perfume: The Story of a Murderer here in the US is an equally artful and terrorizing film centered around smell

Dustin Hoffman and Alan Rickman bookend a phenomenal film with unknown {to me} Ben Whishaw as our demented serial killer. As Jean-Baptiste, he is a shudder-inducing, spine-tingling creep.

Perfume has a etherial, almost erotic, aesthetic created under the direction of Tom Tykwer. Visually arresting, the film balances gore and morbidity {that pushes the viewer's sensibilities} with a gentle and artful touch. I think Tykwer is intentionally enigmatic--it's hard to quantify, but the film works beautifully.

Our killer is a victim of circumstance and the film builds pity for him, but as his innocence gives way to madness, Perfume takes on a wholly different tone which is documented nicely. I love how the sense of smell becomes palpable, something touchable, albeit weirdly touchable. Jean-Bautiste is pitch perfect.

18th Century Europe is rich with a menacing touch of Gotham City. Strange. Additionally, the black humour is almost inappropriate, but it works.

Le Parfum - Histoire d'un Meurtrier is surreal and down right odd. Still the film provides delicious gore with a haunting story that's perfect this time of year.

31 Days of Horror: Mimic (1997)

Mimic is a greatly underrated horror flick from esteemed director Guillermo del Toro. Dank, dark, and creepy as hell , Mimic is terrifying thanks in part to the Judas Breed and del Toro's excellent execution of an original concept. Only he could be so bold.

Susan Tyler (Mira Sorvino) is an entomologist that has engineered an insect that kills the dreaded, disease carrying cockroach. Although engineered for a short life span, it looks like this man-made species has evolved and not in a good way. Now able to mimic {get it?!} human form, this uberbug preys on mankind.

Yes, is sounds lame. Let me tell you why it's not. del Toro creates an atmosphere like no other. Under his direction, the subway of New York City becomes a wretched hive of the Judas Breed {get it?!}. The film is darkly lit, so you have to watch it in near darkness to visualize anything, furthering that skin-crawling creepy as hell feel.

del Toro is masterful with special effects and design, both are wonderfully dimensional, as is the use of sound here. His propensity for symbolism and his portrayal of innocence are true to form. The working angle of the clicking spoons is riveting and truly terrifying. The film is intelligent and grotesque.

Mimic maybe considered akin to B-movie classics and that's unfortunate. I think it fell prey to inability to market such an unusual beast. Give a viewing and just see.

31 Days of Horror: Scream (1996)

Scream--it's not just a mask; it a horror original. 10+ years since it's release, Scream is a top-notch, audacious and campy romp that celebrates the genre.

The story of psycho-serial killer that returns to prey on the local {and mainly teenage} population of a quiet town almost a year after murdering Sydney's (Neve Campbell) mother. A group of 'meddling kids' and a 'hard-nosed' tabloid reporter (nicely played by Courtney Cox) decides to dig around in hopes of solving the case.

Scream is deceptively simple in structure. In essence, the film makes fun of itself, but still manages an edge of seriousness and fear that delights. The sheer randomness of the killings--every one's suspect, including the suspects--it's great. Graphic, horrible deaths loom and the viewer is riveted by the horror of it all. It's not that you don't see it coming, you just don't have time to scream.

The cast is fun and provided good performances. Campbell, Cox, Drew Barrymore, Skeet Ulrich, Matthew Lilliard, Cox, Rose McGowan, and Jamie Kennedy get amazing material to work with. Cliches are embraced, explored, and then employed. As the killer hacks and slashes in an effectively brutal manner, listening to this bunch deduce basic horror film do's and don't's and then fall for them is equally hysterical and gory.

Barrymore's short-lived {oops, did I give it away?!} performance is great. Campbell, our heroine is little ahem, emotional, but she is a solid main character. Jamie Kennedy as Randy get some of the best lines.

Wes Craven crafts an original concepts and kills it. Suspenseful and engaging, Scream is a dead-on slasher thanks to Craven's direction. His is tongue-in-cheek, yet restrained delivery as he builds to a tense conclusion is simple perfection.

Scream is {no puns here} pure popcorn; it's a brilliantly executed {sorry} horror film that delivers time and time again.

Nick and Norah's Infinite Playlist (2008)

Nick and Norah's Infinite Playlist celebrates nerdiness, mix-tapes, love, and all those quirky things that make life grand {and utterly painful}. It's a fun film that enjoys the moment even when it doesn't make sense {and I mean REALLY doesn't make sense}.

I think the demographic for this one is extremely limited, but the solid ensemble cast led by indie 'it' boy of the moment, Michael Cera, actually makes this film watchable. As Nick, Cera mopes his way through the entire 90 minutes even when happy. Norah played by Kat Denning is uniquely beautiful--hope to see more of her. Nick's queer friends Thom (Aaron Yoo) and Dev (Rafi Gavron) get the some of the best comedic and sweet dialogue.

Nick and Norah's Infinite Playlist also consists of some great indie bands of now. We Are Scientists, Vampire Weekend, and Natalie Portman ex Devandra Banhart cameos. Nestled alongside is Dusty Springfield--go figure. Kids, these days.

Nick and Norah Infinite Playlist is cute in a MySpace-y-OMG kinda way. Fun, but forgettable.

31 Days of Horror: The Shining (1980)

Stanley Kubrick's The Shining is a polarizing film. I think you either love it or hate it. Consider me in the latter. While I don't find it particularly scary {why it makes the top of 'horror' lists is beyond me}, The Shining is a beautiful piece to behold thanks to gorgeous cinematography and a remarkable performance by a young Jack Nicholson.

Again, the visual elements are remarkable. Kubrick's Steadycam creates a myriad of settings both eerie and arresting. From the winding road and the Gold Room to the wintry labyrinth, The Shining is beautifully constructed. The Outlook Hotel is stunning and Kubrick creates a complete character out of it, giving the building a haunting influence over the caretakers.

Nicholson is amazing as Jack Torrence, an aspiring writer, husband and father who succumbs to the hotel's whispers. Kubrick masterfully descends Torrence into slow insanity. Shelly Duvall is very weak here, I think. *cringes, waits for stones to fall* She is annoyance incarnate. Little Danny played by Danny Lloyd is one creepy little kid.

Using author Stephen King's source material, Kubrick weaves an undoubtedly wicked story. Fear and apprehension build from the opening moments. You feel that something's not quite right and from that moment you, the viewer, are riveted.

The film consists of many unforgettable scenes, but I'll touch on two. Jack's visit to room 237 where he meets the beautiful wife of the former caretaker Delbert Grady. As she decays in Jack's arms, there is such gut-wrenching repulsion. I love how Kubrick breed fear in the three-wheeler sequences with Danny--such simplicity.

The Shining isn't without its glaring faults. Like of many of Kubrick's film, there is a sense of randomness for me and I think many horror fans find this film deceptively plain. Look beneath the surface--you'll find nuances of fear, but as I see it, The Shining is hardly nightmare-inducing.

31 Days of Horror: Red Dragon (2002)

Brett Ratner brings yet another Thomas Harris novel to creepy life. "Meet Hannibal Lecter for the first time" is the tagline and while Dr. Lecter is certainly memorable, it is Ralph Fiennes as Francis Dolarhyde that really shines.

In Red Dragon, retired FBI Agent Will Graham (Ed Norton) must seek the aid of Dr. Lecter in order to apprehend a serial killer known as the 'Tooth Fairy' who kills every full moon. A word of caution, the last time Agent Graham worked with Dr. Lecter he barely survived.

Ratner keeps three main story lines afloat here with the help of a stellar cast (new and returning) and solid screenplay. Also on board, Danny Elfman with a gorgeous score. But let's not get ahead of ourselves. The pure evil played here by Fiennes is the skin-crawling, demented kind. Francis Dolarhyde is unassuming enough, but beneath that meek exterior is an insane demonic rage. Fiennes is spellbinding.

Red Dragon is more brutal and graphic that Silence of the Lambs or Hannibal {which I prefer didn't exist}. Ratner delves deep to flesh out horrible psychological damage in our evil. Visually arresting, Ratner layers the stories beautifully building to a damning conclusion.

Emily Watson takes a beautiful turn as Reba, Dolarhyde's love interest. This storyline is equally horrifying and suspense filled. Reba changes Dolarhyde--you sense remorse and are torn by his unspeakable acts that are a direct result of ... *sorry, no spoilers allowed!!*

Red Dragon is a well crafted brutal thriller that gives it's audience more than a high body count. Skip Hannibal and see this.

31 Days of Horror: Dellamorte Dellamore (1994)

Here's a real treat for you. Imagine George A. Romero directed spaghetti westerns. You'd get this. Dellamorte Dellamore or Cemetery Man is an Italian made zombie film that horrifies and entertains.

Rupert Everett is Francesco Dellamorte, a guardian of a cemetery in a little town in Italy. Corpses rise from the grave on the seventh day for reasons the audience is never sure why. Dellamorte must destroy them. Along with his and monosyllabic helper Naghi, Dellamorte takes a philosophical approach to his fate.

Everett is remarkable in such a darkly weird role. From the moment he steps out of the shower to answer the phone and kill a zombie with a gun shot, you realize there's more to this zed film. That is just the beginning of conversations with death, exploding heads, twisted love and madness.

Top-notch camera work and nicely constructed gore build on the solid foundation provided by the brilliantly written and directed screenplay. This is an eccentric, but quite effective film, Dellamorte Dellamore is part campy gore/part art house. Italian director Michele Soavi has created something fresh, macabre and surreal.

Dellamorte Dellamore may be a cinematic oddity, but it is one worth exploring.

Annie Hall (1977)

They make medication for people like Dianne Keaton and Woody Allen.

31 Days of Horror: The Silence of the Lambs (1991)

For me, there are films that I hold to be the rule by which I measure other movies. Silence of the Lambs is one of those by which I measure. This movie fascinates me like no other.

Johnathan Demme picks the story up without creating a history for our characters. In essence, Demme is asking for trust--why do we do that--when the opening sequences reflect a newbie FBI agent played by Jodie Foster with a terrible accent?

'Buffalo Bill' is genuinely creepy with his serial killing ways. The guys is skinning woman--to make a suit!! It's a solid storyline, but Hannibal Lecter and Clarice Starling's chemistry is what is so riveting. Like predator and prey, cat and mouse, master and apprentice, Dr. Lecter (stunning Anthony Hopkins) and Agent Starling engage in a battle of the minds. Through the interviews, Demme allows us to know each character and their respective ticks.

Dr. Lecter, an insane genius, is evil but not in the Michael Myers way. He is smart evil--diabolical evil, a master manipulator. Sir Anthony Hopkins is stunning in his performance. From the gleam of his eye to the tone of his voice, Hopkins can make your skin crawl. Although is hardly in the film, it is his Hannibal Lecter that is most memorable.

Jodie Foster is a surprising fit as Starling. The vulnerability and inexperience of Starling is well-played.

Ted Levine as Buffalo Bill is equally as disturbing as Lecter. The warning lights go off as soon as he opens the door. His creepy dance in the basement is truly demented.

Demme heights the tension with focus on settings and details. The pacing is perfect as he builds to memorable scenes including the peeled off face, the dead policeman/angel and Starling's one-handed grope through darkness. Further adding to atmosphere is composer Howard Shore with his exquisite soundtrack. Also of note, Dr. Lecter would be nothing without brilliant source material from author Thomas Harris.

The Silence of the Lambs is absolutely brilliant in its delivery. Beautifully wrought characters that ooze evil, eloquent dialogue, unspeakable crimes and chemistry between our leads are reasons enough to revisit Dr. Lecter.

31 Days of Horror: Jaws (1975)

Jaws may not be the first movie to cross your mind when you think 'horror'. Why not? Steven Spielberg's classic contains all the essentials: gore, tension, fear, victims, and villain. What makes it masterful is how Spielberg takes Peter Benchley's novel and creates a taunt film.

Amity Island is a nice, quiet beach community whose population swells in the summer. The Island depends on tourism for its survival. When an unlucky skinny-dipper is attacked and killed by a shark, it's enough to make Martin Brody (Roy Scheider), the new police chief, shut the reverie down. Not so fast says Mayor Larry Vaughn (Murray Hamilton) and the local officials. It's not until the creatures kills again and again, that Brody... you know the story...

Jaws is a rip-roaring time with great character development. From the shark itself to the crazy trio that goes after it, Spielberg crafts a terrorizing story. Quint (Robert Shaw) is the enigmatic, weather-beaten, crazed {possibly evil} shark hunter. Brody (Schieder) is a perfect everyman riddled with guilt over a cover-up--he doesn't want to be hero, but when put to the test, always delivers. Richard Dreyfuss as the oceanography/scientist Matt Hooper, is solid and thankfully provides periodic comic release. These three are so good in their roles it's deceptively simple.

From the moment we hear John Williams' brilliant score and see the water lap over the camera, the tension builds. Whether by choice or accident, the audience never 'sees' the shark. Instead, he is represented by objects or a lone dorsal fin. Buying in is almost too easy thanks to Spielberg and Williams. Not seeing the creature amplifies the fear.

It's obvious Spielberg knew where he was going with the story. No frame is unspent; no dialogue is wasted. This is the stuff of solid nightmares and irrational fears of water. The slow build to the final showdown between men and beast is one heart-pounding moment after another.

Jaws is a movie that transcends genres. Deserving of every accolade, Jaws is visionary story-telling that never fails to frighten.

31 Days of Horror: Psycho (1960)

Alfred Hitchcock was a masterful director. Psycho is certainly one of his defining pictures and a horror classic in its own right.

Marion Crain (Janet Leigh), fed up with the hand that life has dealt her, seizes the opportunity to abscond with $40,000 and start a new life with her lover, Sam. Only 24 hours into a 'life of crime' Marion finds out that it's not just all it's cracked up to be. A series of events during the long drive to California has left the poor girl's nerves short. Capping it off is a torrential rain storm that leads her to an derelict motel in the middle of nowhere. Before long, stealing 40 grand is the least of her problems.

Psycho is much more than the shower scene. Under Hitchcock's direction, the film elements take on a terror like no other. The first viewing is always the most memorable because the film is so unassuming-so simple. Sure, we all 'know' what happens {how can you not, in this day and age}, but it is in Hitchcock's delivery that we find brilliance.

Janet Leigh and Anthony Perkin (Bates) are pitch perfect. Perkins plays out Norman with such nonchalance, right down to the facial tics. Leigh is a nuanced charmer--beautifully mundane. When she meets her demise halfway through, you are equally terrified and sad, such a creature dies a horrible death.

The B&W aspect enhances the film amid all the 'Technicolor' of today. Hitchcock uses it to his advantage. Notice also how he manipulates camera angles and shadows to belie Bates' madness and Crain's deception. I love how he also plays out Bates' mother. And the score can't be overlooked--equally Gothic and haunting, it's a masterful compliment.

Decades later, Pyscho still charms. Without big-budget special effects or whizz-bang technical production, Psycho is flawlessly executed.

31 Days of Horror: The Masque of the Red Death (1962)

What?! Expecting another King adaptation?!

Let's be honest. The chances of you watching this movie are slim. While I like to think you, the reader, give some credence to my reviews, you won't watch this film. Too bad for you.

Without going into a dissertation on why Vincent Price is one of the best actors to grace the screen, let me tell you why The Masque of the Red Death is a classic must see.

The spelling alone should intrigue you--no, seriously, it should. Vincent Price gives a masterful performance as Prince Prospero. As villagers take refuge in Propero's castle, the diabolical prince 'invites' refugees to a masked ball only to indulge in very lethal games.

Prospero can not accept that a world filled with so much pain and evil is governed by a loving God. Cold and calculating, Price embodies satanic cruelty as he lords about smugly inflicting pain on the innocent.

Director Roger Corman achieves a pitch-perfect atmosphere of eccentricity and macabre. He builds complexity with subtle symbolism. The stunning use of color speaks for itself. Corman add layer of layer of richness to Price's bold performance. It's beautiful to behold.

This movie continues to fascinate me year after year. Building to a riveting conclusion, The Masque of the Red Death is well executed horror that you just don't find any more.

"Forgive them? If my hound bites my hand after I have fed and caressed him, should I allow him to go undisciplined?"

31 Days of Horror: Saw (2004)

Where to begin. Back in 2004, general audiences {myself included} had never seen anything like it. Saw pushes the envelope in many ways; it is an original. An efficiently crafted movie, Saw takes the viewing public places we didn't want to go. It pushes the characters {and the viewers} to face seemingly simple dilemmas with catastrophic results.

From the opening moments, you are gripped by intrigue and apprehension. Anyone who wakes up chained in an decidedly disgusting bathroom would be. Adam (Leigh Whannell) and Dr. Gordon (Cary Elwes) are abducted by a serial killer known as 'Jigsaw' and find themselves as players in his demented game.

At the risk of sounding like a broken record--how many times have I said something works on different levels?-- Saw examines fear in a fresh, captivating manner.

We have an ingenious killer who takes all the time in the world to plot the demise of his victims. An unknown killer represented by a debauched puppet. A killer that communicates with clues {obvious ones, in retrospect}. This killer brings a sick compassion to the table, allowing each victim a choice. This killer shows each victim the enemy and clearly it is us.

Elwes and Whannell are surprisingly effective in the dank prison. As each tries to rise to the occasion--out thinking or plotting--it's like a demented episode of Survivor.

I'm losing focus. Saw maintains a gritty aesthetic that serves a two-fold purpose. It highlights the raw emotion felt by characters and viewers alike, but it also becomes a character in itself. It's ridiculously simple, if you think about it.

Everything about Saw keeps us puzzled to the end. Sure Saw is riddled with gore and self-inflicted violence, but it also takes on a psychological tone that really delivers with it's ever-turning plot lines.

I've rambled on to ultimately say this: Saw is remarkable for what it is not. It doesn't settle. It treats the audience with respect--it asks more out of the viewer than most and refuses to give an inch while we cringe and groan on the edge of our seat.

The Skulls (2000)

No, it's not a horror film. It's not even a remotely thrilling one. The Skulls is rated PG-13. Even so, this film is average average. If you averaged average average, wouldn't The Skulls be below average?!

Wish I could blame it all on Paul Walker. The guy is walking average, as I see it. Have you looked at his body of work--it screams average.

The Skulls is an attempt at a thriller centered about an Ivy League secret society. Joshua Jackson is Luke McNamara, an {Yes, I rented this one because of him. Sorry.} over-achieving and poor student that sees the elite society as his ticket to Harvard Law. What he doesn't bargain on are the ramification of his membership.

It works in theory, but not onscreen. The Skulls is lame. I'm giving Jackson the benefit of the doubt {but only because of Fringe {Tuesday nights on FOX}}. I am not, however, giving it to Craig T. Nelson or Gil Grissom, er, William Peterson {with a horrid accent, to boot}.

The one saving grace, is it seems director Rob Cohen (Dragonheart, Stealth) knows writer Josh Pogue's screenplay is crap, so he rushes through it. Trust me, The Skulls is better left in the closet.