Forrest Gump (1994)

Self-indulgent. Sappy. Bloated. Nostalgic. Whatever you call it, there is no denying Forrest Gump is a classic. Tom Hanks' seminal role as the simpleton easily cemented his place in cinematic history and while director Robery Zemekis took plenty of heat for his indulgent adaptation, Forrest Gump is pop-culture history.

Years later, I can easily say that Forrest Gump is a top film in my book. The film is the result of many amazing aspects that blend seamlessly. Hanks leads a stellar crew as Gump. Garry Sinise will always be Lt. Dan. Robin Penn has Gump's true love, Jenny, makes your heart ache. Penn makes you love and hate Jenny all the same. Although never a fan of Sally Field-- I just can't help myself. Even little Haley Joel Osment makes you smile. Oh, and don't forget Bubba!

Combine such a cast with solid dialogue, cinematography that is simple, but effective and a soundtrack for the ages and you have all the elements of great 20th Century story-telling.

By placing Gump in a series of pivotal events in American history, Zemekis explores crucial themes, but also allows for a gamut of human emotion-- laughter and sorrow, pain and joy, triumph and defeat-- Forrest Gump is contradiction. Through a combination of solid Southern upbringing courtesy of Mama Gump or blind luck, Forrest finds himself on the moral side of each issue.

Oscar-winner Tom Hanks is simply brilliant. He is fascinating to watch as Forrest. Playing alongside the others, he commands the screen with the complex simplicity imbued in Forrest.

Gary Sinise is amazing as Lieutenant Dan. The battle-hardened, worldly man is broken and Sinise owns it. Lt. Dan's redemption alone is worth the investment.

Forrest Gump is a film steeped in simple Americana with life-lessons we could all benefit from. It's a nostalgic, feel-good masterpiece that everyone can enjoy.

Masterpiece Theatre: Pride & Prejudice (1995)

Masterpiece Theatre has rewarded patient viewers with a three-part series of Jane Austen's masterpiece, Pride & Prejudice. This is a story I could tell by heart and while I am partial to certain adaptations of the book, I rarely ever speak ill of any of them. This adaptation stars the handsome Colin Firth as the moody Mr. Darcy and Jennifer Elhe as sharp-witted Elizabeth Bennett.

One of the most faithful versions of the book-- it's as if each character in Jane Austen's beloved novel has jumped off the page. Cousin and vicar Mr. Collins is as slimy as ever and his benefactress, Lady Catherine de Bourgh is as pompous as anyone could have imagined. Each character is larger than life and wonderfully so. Mrs. Bennett and her hysterics are annoyingly perfect. Lizzie and her sister Jane are perfect as friends and sisters.

Colin Firth is piercing as Mr. Darcy. His portrayal of the wealthy aristocrat is spot-on. From his first interaction with the 'tolerable' Lizzie to the bandying of wit at Rosings, Firth is brilliant. He can speak volumes with a glance. Most of the cast is 'dead common'-- an odd looking bunch of English actors. Ehle simply shines set among them, but doesn't quite fit my imagine of Lizzie.

This adaptation is second only to 2005's condensed version starring Keira Knightley and Matthew Macfayden whose chemistry is stunningly belied in one scene and with but a touch of the hand. You certainly can't go wrong with either.

Heavy Metal (1981)

The things you do for people you love.

What the Hades do you call this stuff?! This collection of animated stories is like a train wreck-- so horrific you can't turn away. It's just stupid!! The animation is pure 80s and ridiculously dumb. This has hordes of cult fans?! It's disgusting. Not even the solid soundtrack can save this idiotic mix of anime, aliens, some green orb called Loc-Nar and large-breasted, naked women. WTF doesn't even cover it?!

Heavy Metal begs the question: What in the Hell was going in 1981?!

The first story seems to be a complete rip of The Fifth Element, but seeing as this sh!t came first, perhaps it's the inspiration. I don't really care.

The animation is about the only think I don't take issue with. It was the 80s. I equate animation of this type to many of my favorite cartoons of the decade. My biggest issue here is the lack of intelligence. There is nothing of substance here; must one be 'on a substance' to enjoy this?! Heavy Metal reeks of lameness.

I am not this film's demographic. Thank God. As I See It, Heavy Metal is a complete waste of celluloid that deserves to be forgotten.

The Brave One (2007)

Erica Bane (Jodie Foster) is a radio talk show host in New York City. Safe in her happy life, she's engaged to a handsome doctor (Naveen Andrews) with a rising radio show. The most difficult decision in her world right now-- is orange and cream a good color for wedding invitations? Her world shatters after a run-in with punks in Central Park that leaves Erica battered and bloody and her fiance dead.

Three weeks later, Erica comes out of a coma with emotional scars like no other. Her once bubbling city has now become dark and hostile with danger lurking in every shadow and in every face. Detectives are failing to locate her beloveds killer and Erica is overcome with fear. She decides a gun is in order.

Witnessing a domestic dispute that results in the man gunning down his wife, Erica first recoils from the violence, but the pain from her own experiences muffle any fear and she guns down the man. The experience scares Erica, but leaves her feeling strangely dignified.

Erica's decent into an avenging angel is slow and steady. The emotional road is even more so.

The Brave One is an ineffective, if more psychological drama than vengence-fueled, flick. As Bane, Foster's decent into fear and madness is believable, but along the way she becomes disinterested in the character. Writhing with insincere emotional depth, Foster's attempt is hardly engaging. Even her cigarette smoking is bland and contrived. Terrence Howard is fascinating to watch no matter the role. Despite so little to work with, he does manage to create a character worth exploring. Andrews appears for some 20 minutes, but his contribution is nil.

While I can appreciate director Neil Jordan's take on the 'revenge film' and his attempt to examine the psychology and the consequences of becoming judge, jury and executioner, The Brave One rings hollow. There is no emotional connection with any of the main characters, nor are the plots explored deeply enough to create a solid experience. The poor symbolism found in the dog jumps the shark for me. The Brave One seems to be the victim of poor editing and an even worse script. The film fails to make Erica Bane believable and when by chance, they stumble upon something good, Jordon fails to follow through.

As I see it, The Brave One is an empty victory. It is the result of a poorly communicated good idea. The result? The Brave One is neither god-awful nor inspiring. It seems destined for a network Sunday Cinema feature.

Sunshine (2007)

2057 finds the Sun dying and the Earth slowing being plunged into a solar winter. On board the Icarus II is a select group of astronauts charged with the mission to recharge the sun by delivering the payload- an atomic bomb the size of Manhattan. Leading the crew is stoic Captain Kaneda (Hiroyuki Sanada) who defers to the cool and collected physicist Capa (Cillian Murphy)-- the only member who can actually drop the bomb they're carrying-- meaning he's the only one not expendable. Mace (Chris Evans) the ship's engineer is as volatile as Capa is cool. Piloting the mission is Cassie (Rose Byrne). Searle (Cliff Curtis) is the resident psychologist charged with keeping the crew sane during its years long journey to the sun. Trey (Benedict Wong), the emotionally unstable cook is proof Searle isn't doing his job. Corazon (Michelle Yeoh) the gardener is charged with keeping the O2 levels in check and Harvey (Troy Garity), the power-tripping comms officer just gets in the way.

Sunshine opens with the crew of eight realizing they have reached the dead zone weeks ahead of schedule. No longer able to communicate with Earth drives home the seriousness of the mission. Observe the divide among the crew. After 16 months in space nerves are frayed, but everyone can understands the mission. After reaching Mercury, the crew begins receiving transmissions from the failed Icarus I. Now the air is tinged with paranoia.

It seems director Danny Boyle has set out to do what he did for zombies, only this time to science fiction. Boyle and screenwriter Alex Garland have created a highly plausible scenario immersed in disaster and philosophical dilemma.

The ensemble cast is stellar. Cillian Murphy with those deep blue eyes is as enigmatic and ambivalent as ever. Believable as a physicist, Murphy's performance fantastic. Competing with Murpy for control of the film is Chris Evans. Evans is captivating as the hot-headed Mace who the audience will find redeeming qualities. Rose Byrne gets the opportunity to cry those doe-eyes, but there is a lot of wasted potential in many of them.

The film works because is goes beyond your average sci-fi. Although I've read comparisons to Event Horizon which I haven't seen, Sunshine does fall within the realm of 2001: A Space Odyssey. As the Icarus crew gets closer to the Sun, the debate of faith and science becomes more apparent but never pretentious. Rendezvousing with the derelict Icarus I complicates matters more than anyone could have imagined.

Sunshine is superbly rendered even when at it's melodramatic best. The Sun has never been more beautiful or dangerous. Visually, the film is stunning; the play of light and dark is artful. Boyle's imagery is breath-taking. The score is haunting, yet hopeful. Sunshine, however, is not without its faults. Plots holes are wide; but Boyle's cinematography and CG make them hardly worth mulling over.

Sunshine takes an unusual turn disseminating into a highly-effectual horror film in the last 20 minutes. Purposeful or not, the film's turn is unexpected, but strangely fun.

As I see it, interpretation will ultimately decide Sunshine's fate. Boyle's work is polarizing and this offering fits perfectly in that description. Whatever your opinion, Sunshine is undeniably stunning.

Step Up (2006)

Boy (Channing Tatum) is great street dancer. Girl (Jenna Dewan) is ballerina with attitude. Street meets gifted. Their worlds clash. Overcome obstacles. They dance together. The end.

Teen movies of the nature are typically predictable, but some, like Save the Last Dance manage to rise about mediocrity to be solid examples of the genre. Step Up wallows in the gutters of the clichéd. Director Anne Fletcher's lack of experience is blatant in this amateurish display. She would have the audience believe true tension exists between the mumbling spazbot Tatum and the uninspired Dewan. Please. Tatum would be better served to take elocution. Dewan needs some age.

The dancing sequences are energetic and repetitive. Dewan's 'senior piece' is a reshuffling of movement from the opening sequence. Even the (questionably) truly inspired scene in the restaurant comes across as like a High School Musical on the Streets. Sad.

Step Up doesn't require much of its audience-- a brain dead body will suffice.

Across the Universe (2007)

I've made no secret of my love for this film. Completely unique and unlike anything you've ever seen before Julie Taymor's creation is visually stunning. Set in the turbulent decade of the 1960s, Across the Universe is a beautiful love story. Dockworker Jude (Jim Sturgess) leaves Liverpool to find his estranged father only to be swept up by the winds of change. Jude meets Max and soon falls in love with Max's sister Lucy (Evan Rachel Wood)- a sheltered girl who becomes enamoured of the anti-war movement. As tensions mount, Max is drafted and friends choose sides, their love is tested.

Unlike any musical you've ever seen or heard. This is not your grandmother's Sound of Music. It's a psychedelic trip to the greatest music ever. Director Taymor's vision is remarkable. Replacing lines with songs from the Beatle's extensive catalogue of hits creates amazing dialogue.

Visually, the film is a delight. The color and texture jumping off the screen is a film experience.
The nods found throughout the film are just as fun. When the cast isn't saluting the Beatles and their songs, they are dropping references to other personalities of the era like CCR, Jimi Hendrix and Angela Davis. Die-hard Beatles fans will catch the more obscure nods placed throughout the film.

Jim Sturgess is Jude, the Liverpudlian. His voice is real and contains an emotional range the carries the film from the opening bars of 'Girl'. Evan Rachel Wood is angelic in her vocals. Joe Anderson as Max surmounts the toughest of ranges in 'Mother Superior/Happiness is a Warm Gun'. Sexy Sadie (Dana Fuchs) is just brilliant-- that voice is that decade. If only woman could sing like that now. Martin Luther as Jojo, the Hendrix-esque soul brother is a true musician. His guitar licks make you cry.

If I had one beef, it would be with Bono as Dr. Robert. Although he gets some of the film's best spoken word, Bono is larger than life and does not fall under the spell of the film. He takes this viewer completely out of the scene. Eddie Izzard, Joe Cocker, and Salma Hayek each claim a large cameo role. The true cameo goes to an elusive Beatle.

Julie Taymor has created something uniquely different, fashioned from the past but embracing the future. Across the Universe is apolitical. Rather, I think Julie Taymor asks the audience to consider the passion of the decade and wonder where is it now.

Across the Universe is not what anyone could have expected. It's a vision unlike anything and sure to be polarizing because of it. Those willing to take the trip will be rewarded beyond their wildest imagination.

The Cutting Edge (1992)

Kate Moseley (Moira Kelly) is the proverbial ice queen. The sheltered and spoiled pairs figure skater goes through male partners like most people change socks. After another disappointing showing at the Calgary Olympics, she is resigned to never achieving the coveted gold medal. For hockey phenom Doug Dorsey (D.B. Sweeney) the Calgary Olympics were supposed to bring gold and a chance to play professional hockey, instead, after a vicious loss to Germany, he will never play again He too, is resigned to never tasting his dreams. When these two opposites attract, look out! Their competitive edge drives each other to push harder and harder. As their attraction grows, so does their skills on the ice.

Years ago, this was my favorite movie. It was the perfect love story in my preteens. I can remember yelling 'toe pick' at my little brother when he took a fall and finding out the real meaning of 'orgasmic' after using it inappropriately, being reprimanded and made to look it up in the dictionary. Years later, The Cutting Edge is still a pretty solid, if by the book, romance.

The chemistry on and off the ice from Kelly and Sweeney is great. Without that, The Cutting Edge would have no edge at all. The intensity of competition between the two leads is palpable and the viewer is easily engaged. The verbal sparring adds a cute sarcastic element that's all the more enjoyable because of the tension between them.

The cinematography is nice. Upon it's original release how were we to know they weren't actually skating?! Oh and every ice skating fan worth their medal know the Olympics doesn't use theatrical lighting or spotlights in competition. Despite the now obvious cuts to professionals and head shots only, The Cutting Edge blends the real and fake beautifully.

The Cutting Edge is genuinely entertaining. It's a solid film with a remarkable ability to be even more charming at the next viewing thanks to brilliant performances from Kelly and Sweeney.

Sicko (2007)

Regardless of your feelings towards the polarizing filmmaker Michael Moore, Sicko deserves your attention. Examining America's privatized health care systems, Moore exposes the corruption in our government where health care lobbyists outnumber senators four to one. Our America allows hospitals to dump patients on the curb when they can't pay their medical bills. Our America celebrates the heroes of 9/11 and then turns it's back when them when health issues arise. Our America makes a man choose between paying $12,000 to reattach his ringer finger and $60,000 to reattach his index finger. Our America lets citizens die because they can't afford a life-saving treatment.

By comparing the American health care system to that of France, Canada, Great Britain and Cuba, Moore exposes an appalling lack of care and an even worse case of not caring. Moore portrays universal health care as a Utopian system devoid of flaws. Citizens of these nations are provided with quality health care free of charge and while Moore neglects in examining how systems of this kind are supported save for a short digression into taxes, he does make a solid case.

Taking 9/11 rescue workers to Cuba for health care treatment may be viewed as an over-the-top stunt, but separate the propaganda from fact and you examine the fundamentals of humanity. These workers rife with undiagnosed health issues are welcomed by the Cuban health care system. After a short intake interview consisting two questions, your name and birth date, the workers are treated with a battery of tests and examinations with no regard for payment. The caliber of care was embarrassing. These heroes that were worshipped by their own countrymen years ago are now seeking treatment from a country that, according to our government, is evil.

Moore's tongue-in-cheek take on the stereotypes of socialism and the Red Scare is eye opening. Despite growing up far removed from the Cold War, even I know that socialism is to be feared. *rolls eyes* I was surprised not to find Sicko rife with rhetoric and anti-American sentiment. Instead, here is a man who seems genuinely engaged in created a national dialogue and demanding change. Moore is thrusting upon the American people the ugly truth and asking 'why aren't we doing something about this?'

After viewing Sicko I can't help but wonder what does it take? Money should not equal care. Medical bills are the number one cause of bankruptcy here in America. 18,000 people die each year in America due to lack of medical treatment they can not afford. Does that not bother anyone? Why are we not demanding more from our government?

Ultimately, it is up to the people to demand change in the system. Apathy is no excuse-- only frightened, hopeless people don't vote. Frightened, uneducated people sick their heads in the sand thinking 'what can I do'. It benefits the government for it's citizens to be indebted, hopeless, uneducated people-- they don't know how to resist.

Several DVD extras provide further dialogue on the benefits and myths surrounding socialized medicine. The interview with former Labour Party MP Tom Bein should not be overlooked.

If anything, Sicko should make angry. Angry that in such a civilized nation would allow its citizen to die from lack of health care. If in that anger, you decide to take action (see H.R. 676), then maybe all is not in vain.

Starter for Ten (2007)

Brian Jackson (James McAvoy) isn't beautiful or smart. He has to work at it. 1985 finds him gaining entrance to England's prestigious Bristol University where he soon develops a crush on a girl completely out of his league. Alice Harbinson (Alice Eve) is everything Brian is not-- beautiful, smart and wealthy. His freshman year is part coming-of-age, part series of romantic gaffes as Brian begins to assert his individuality. A general knowledge god, Brian knows all the stuff you didn't bother learning and uses it to diffuse tense situations, impress peers and hopefully, get the girl.

Starter for Ten has a complex; it suffers from an identity crisis. Because director Tim Vaughan doesn't know where he's going, darling James McAvoy languishes onscreen underutilized. The whole cast suffers from lack of depth and direction. Much like the facts Brian goes about absorbing, this movie is pointless.

This clumsy romantic comedy goes nowhere. Starter for Ten does manage bits of genius thanks to clever dialogue. The classic 80s soundtrack from The Cure and Tears for Fears stabs blindly at nostalgia.

Starter for Ten is not a complete waste of 96 minutes; its just a goofy, romantic comedy no-brainer for those who remember when Kate Bush was for intellectuals.

War of the Worlds (2005)

I found myself riveted to the screen as the probing metal tendril explored the cellar. Ray (Tom Cruise), Rachel (Dakota Fanning) and Harvil (Tim Robbins) are paralyzed with fear. You can read it on their faces.

This wouldn't be the first time I've redacted a review. Upon my initial viewing of this remake of the treasured H.G. Wells book, I was disappointed. Whenever you get hype involved I think disappointment is inevitable. My original review accused the Spielberg led film of having a "total lack of developed plot." Allow me to revise that statement. War of the Worlds has plot holes the size of crators. Regardless there is something worth seeing here.

Unlike so many of the us versus them movies, War of the Worlds has the humans losing. The fear and fight for survival is palpable-- that's what's riveting. Spielberg's choice to focus on Ray and his children, Rachel and Robbie (Justin Chatwin) creates a different take on the oft-tapped apocalyptic genre. Amid spectacular explosions and general pandimonium he examines some difficult questions. What lengths would you go to in order to save your loved one? What causes some to fold and others to fight?in order to save our loved ones?

War of the Worlds is classic summer blockbuster material that aims to be so much more. I don't think the movie quite makes it to 'much more', Spielberg should be commended for a valiant effort that appeals to the movie-going masses.

Bonus Feature: Book

Rock fans and pop culture-ites alike will enjoy Chuck Klosterman's thoughts on dying in Killing Yourself To Live: 85% Of A True Story . The book follows Klosterman's travels as he retraces the steps to death taken by some of music's greatest. Over the course of twenty-one days he drove his Ford Taurus, affectionately called 'the Tauntan' from the Chelsea Hotel to the place where Kurt Cobain died. He explores the swamp that brought death to Lynyrd Skynyrd; he visits the Great White fire.

Klosterman's observations are oddly perverse, but often dead-on. Pardon the pun. He writes randomly-- kinda like you and your friend on a roadtrip. You know, the kind of friend where silence is OK and as you gaze out the window you think 'It's never rainy enough' while debating the finer points of Led Zep's SOZO. While he's driving, you spend a lot of time in his brain-- a scary thought as he breaks down the "Pot/Creedence" Contingent and the "Coke/Interpol" Contingent. Regardless, he speaks truth. Allow me to quote.

"If there was ever a band doomed to die by the side of the road it was the Allman Brothers... I say this because the only think I know about the Allman Brothers Band is that they seem to die a lot. Still, they did record "Whipping Post," a song title that is ironically yelled at indie-rock concerts almost as often as "Free Bird." That counts for something."

"With the possible exception of Jim Morrison, Eric Clapton is (arguably) the most overrated rock musician of all time; he's a talented, boring guitar player, and he's a workmanlike, boring vocalist. He also has an abhorrent (and, I suppose, boring) neck beard. However, he is not terrible in totality; he did unleash one stellar album: Derek and the Dominos' 1970 LP, Layla and Other Assorted Love Songs."

The Eighth Day finds Klosterman examing ten rock 'n' roll casualties 'nobody ever talks about by probably should, as they are latently educational.' Among them: Steve Clark, the insecure lead guitarist for Def Leppard who liked to drink massive amounts of everything. "In 1991, while taking prescription painkillers for three broken ribs, Clark came home from an evening at the pub and decided to have a few nightcpas, which- according to her drinking companion, Daniel Van Alphen--ended up being a triple vodka, a gradruple vodka, and a double brandy (all comsumed in 30 minutes). This killed him. What's interesing about this episode is that Def Leppard had fired guitarist named Pete Willis in 1982 because he had a drinking problem." The lesson Klosterman goes on to tell: "We all have problems, brother."

Killing Yourself To Live examines the romance of death. Klosterman writes with respect for the deceased legends, but he often challenges the myth and romance that goes with them. It fels almost sacreligious to challnge 'facts'. His observations are sometimes profound and more times than not, I found myself nodding (and laughing) in agreement.

The book may be mildly offensive to some, but fans of all genres will agree Killing Yourself To Live is a nice addition to your music library.

Masterpiece Theatre: Miss Austen Regrets (2007)

Have you ever thought about the woman behind some of the greatest romance stories? Jane Austen is a woman of myth and legend. Was Austen's own life the source of her stories? Did Austen have her own Mr. Darcy? Was she as principled as Lizzie Bennett? Did she suffer the heartbreak of Anne Elliot?

Ths biopic of the beloved author tells the story of the Jane as a devoted aunt. Fannie (Imogen Poots), her neice and most ardent believer in Jane's literary heroines, has asked Jane to assist in determing the worth of potiential suitors. Jane (Olivia Williams), nearing forty, finds herself looking back and examining her own choices as she aids Fanny.

Can't say I've ever really thought about the author behind some of my favorite stories. Guess I was too wrapped up in romance to wonder. Miss Austen Regrets surmises Jane's final years as bittersweet ones. It is during a time when it's inappropriate for a woman of her age to be unmarried or even think about supporting herself-- much less actually writing.

The film is beautiful, but not light-hearted and gay. Williams portrays Austen as witty and clever, but extremely bitter. To think the harbinger of romance and satire would be this sour is difficult-- but who's to really say. Few of her journals would survive her untimely death due to illness, still, I prefer the Jane Austen of my imagination to this poor soul. Austen, I think, would prefer her devoted readers to know her- warts and all.

Ultimately, Miss Austen Regrets is a well made period drama. Lavish and detailed, you're enveloped in the period laughing conspiritorily with Jane.