Bartleby (2001)

It sucked. The end.

Tropic Thunder (2008)

Tugg Speedman (Ben Stiller) is an actor who's star is waning. After a series of Scorcher films, he's looking to become a bankable actor once again. Kirk Lazurus (impeccable Robert Downey, Jr.) is an Australian born actor who embraces each role, immersing himself in the character. Alpha Chino (Brandon T. Jackson) is a rapper looking for a role on the big screen. Jeff Portnoy (Jack Black), star of the Fatties franchise just wants to be taken seriously and Kevin Sandusky is a young, up-and-coming star that just wants to score it big with the chicks.

Led by director Damien Cockburn (Steve Coogan), the five actors are hoping to make it big with Tropic Thunder, a dramatization of a Vietnam War memoir written by Four Leaf Tayback (Nick Nolte).

Through a series of unlucky events, the actors find themselves in the roles of a lifetime--actually having to BE the people they are portraying in order to survive a drug kingpin.

Tropic Thunder is biting satire. The film is so wrong for so many different reasons and I loved every one of them. Stiller and Co. dare to take the film into dangerous territory and don't pull any punches. They gross out, geek out and take the 'F' bomb to new heights.

Scene after scene, Tropic Thunder brings smart humor, quick dialogue and crazy stunts that keep the action moving and the viewer revolted or distraught. There's too much to cover here. Coogan's herpes commercial was laugh-out loud. Simple Jack--what the hell?! Les Grossman. Half-squat. Lance. Downey Jr. easily has some of the best dialogue of the film, but that doesn't detract from Stiller, Black, or the myriad of supporting cast members. Cody?! Where the $%#&! did this guy come from?!

Perverse and profane, Tropic Thunder is a refreshing, smart comedy. Stiller has returned to form and it is glorious! In essence, Ben Stiller has kicked Apatow's ass with this one.

12.14.08 Postscript: Tropic Thunder is still funny with its gratuitous language and non-stop insults (of just about everyone/thing). NOT for the easily offended, Tropic Thunder is easily one of the best films of 2008,

Green Street Hooligans (2006)

After taking the fall for his wealthy roommate, wrongfully expelled Harvard journalism student, Matt Buckner (Elijah Wood) flees to England to stay with his sister, Shannon (Claire Forlani). Once there, Matt is reluctantly befriended by his brother in law's brother Pete Dunham (Charlie Hunnam). Thanks to the charismatic Pete, Matt is introduced to football (soccer) and the 'firms' who are known for their violence against rival teams' fans. Matt soon discovers hooliganism. He has been taken into the Green Street Elite. The 'firm' of West Hampton United Football Club. In GSE, Matt experiences a brotherhood, a connection he obviously had been craving. As the plot unfolds (sorry, I'm giving nothing away) Matt learns a lot that summer about friendship, loyalty, life and death.

Green Street Hooligans is the directorial debut of Lexi Alexander. What a debut it is! With a superb cast lead by Wood and Hunnam, Alexander brings to life the insanity known as football from across the pond. Wood is surprisingly strong and convincing as the passive Matt who, under Pete's tutelage grows not only in fierceness, but confidence. Hunnam is amazing as the cocky, confident Pete who struggles with the leadership expectations from his mates.

The exterior of the film portrays the raw, gritty and bloody violent world of hooligans who support their club with their minds, passion, fists and hearts. Thanks to brilliant character development the viewer is convinced that that West Hampton football is all that's worth living and dying for. As the film advances, the viewer discovers the interior goes much deeper than this. People can learn to grow with each other and give their lives for something that would seem ridiculous yet means everything to them. In this seemingly secret world of extreme violence and mob mentality it's captivating to see the bonds of friendship develop while the moral becomes clear: always stand your ground and fight for what your heart truly believes in. Ironically, a gang of football hooligans seems the the best way to portray this.

The amazing soundtrack elevates Green Street Hooligans to yet another level of intensity. The cinematography is mesmerizing with shots so tight during fight scenes, you'll find yourself ducking. While, I had a bit of trouble with the heavy cockney accents, it's nothing that turning on the subtitles didn't fix. Another word of warning, language is explicit.

This is another great film that would have easily ended in my top ten of 2005. Green Street Hooligans elevates itself from the typical 'fight' movie to an intense, passionate drama of loyalty, trust and the sometimes brutal consequences of living close to the edge.

The Invasion (2007)

The Invasion was destined to fail horribly. You can't remake one of the best 1950's B&W sci-fi thrillers and not fail. Still, I was willing to give it chance. I mean this is Nicole Kidman we're talking about. Daniel Craig even gets a pass because he's the new Bond. This, however, is decent.

Carol Bennell (Kidman) is a Washington psychologist who discovers an microbial-alien invasion after a US Space Shuttle plummets to Earth. As patients begin claiming 'my husband is not my husband' and a series of odd events, Carol begins to investigate. Enter the dashing Pediatric doctor, Ben (Craig). The two begin exploring the chain of events and discover the horrible secret being kept by the CDC and that her son, Oliver, may be the cure.

The Invasion is more political than apocalyptic, but that doesn't keep it from being entertaining. Using just a small portion of the original premise, director Oliver Hirschbiegel (Downfall) still manages to create thrilling paranoia.

Kidman is piercing as mom Carol. She is solid and worth watching. Unfortunately, none of the other characters get anywhere. Even Daniel Craig is mere footnote.

A myriad of little things keeps The Invasion from being truly successful. Goofs are apparent and plots holes are large. Uneven character development and strained dialogue are tough to overcome. Midway, the director senses his mistakes and lets the movie just fizzle out.

For what it is, an average sci-fi thriller, The Invasion isn't bad.

Life After People (2008)

This documentary produced in partnership between The History Channel and ILM asks a simple question. What would happen if all the people disappeared? Instead of examining why we all disappeared, this doc wonders what happens after.

Obviously this film is a bit morose, but it is masterfully done. Life After People gathers expects from a variety of fields and the professionals don't waste time. They explain likely outcomes in their fields with a refreshing matter of fact-ness. There is no morality to it. The engineers exact how this concrete structure would meet it's demise. This botanist explains how this plant would grow here. From animal hierarchy and migration to microbial instability, Life After People cool and rather frank about it all.

With the timeline beginning in the first 24 hours of human evaporation, subtle changes start. Five days, ten day, 15 days, It's thought-provoking and sometimes depressing.

Industrial Light + Magic provides the amazing, yet repetitious CGI that show the world's most iconic landmarks reduced to corroded skeletons, glorious piles of rubbish and nature taking back it's earth.

You can't sit for 94 minutes and not learn something. The examination of Hoover Dam was interesting--as was the engineer's breakdown of the Golden Gate Bridge. I also learned that I should make it my life's mission NEVER to ride in New York's subways. {It's a personal thing.}

Life After People is ultimately all conjecture. Still is it a fascinating examination of how everything is indeed connected and dependant on each other. It's a humbling experience.

Additionally, the bonus features found on the disc are thoroughly depressing. The feature examine different aspects of the program further and skims the surface of what could have annihilated us all. Thought-provoking indeed.

The Dark Knight (2008)

Writer-Director Christopher Nolan has created an amazing follow-up to 2005's Batman Begins. Returning with a stellar cast including Christian Bale, Gary Oldman. Michael Caine, and Morgan Freeman, Nolen also taps Heath Ledger, Aaron Eckhard and Maggie Gyllenhall.

Without giving away crucial details, The Dark Knight picks up with Batman (Bale) teaming up with Lt. Gordan (Oldman) to dismantle Gotham City's criminal underbelly. A crusading young D.A., Harvey Dent (Eckhart) wants to assist the two and bring Gotham's crime scene to an end. But when the Joker (Ledger), a psychotic new villain decides to bring anarchy and mayhem, Gotham's heroes may have just met their match.

After viewing The Dark Knight, the film's staying power at the box office is evident. Chris and John have written a brilliant story beyond explosions and mayhem. The dialogue is as much an essential part of the film as are the characters.

The performances across the board are top-notch. Bale is stout. He embodies Bruce Wayne well, but once he dons the bat suit, he morphs into something completely different. He plays Wayne with two personalities: rich and bemused, menaced and annoyed. It's amazing to see. Caine and Freeman play powerful supporting characters. Oldman is subtly brilliant. Maggie Gyllenhaal is a a beautiful and engaging replacement for Katie Holmes.

Heath Ledger. His performance as Joker is commanding. Further enhanced by his death, I know, but the Joker more than surpasses Nicholson's turn. Nicholson's was macabre. Ledger's Joker is brimming with menace. Ledger's Joker is madness and evil incarnate. Nefarious comes to mind.

Aaron Eckhart is a treat. He is solid as Dent and phenomenal as Two-Face. What a villain. Cillian Murphy has a cameo as Scarecrow. I can only hope for that storyline in the third film.

The Dark Knight is solidly paced and uses every second to deliver action, drama, and reflection. {Yes, thoughtful reflection, courtesy of Luscious Fox and Alfred.} The film doesn't prostelzited, but rather gives pause to consider modern-day concerns.

Gotham City and Hong Kong are beautiful under Nolan's direction. The cinematography is equally sweeping and chillingly tight. Han Zimmer's score is a masterful compliment to the film.

The Dark Knight is Nolan's masterpiece. It's a film worth getting excited about and definitely worth seeing on the big screen.

Postscript 05.11.09 ~ Nearly a year later, The Dark Knight is still exciting. Though I'd temper my adoration of Ledge--still a knock-out performance, the atmosphere of the film is amazing. It's bleak... poetic and I enjoy it whole-heartedly. Still a must-see!

Madagascar (2005)

Alex, Melman, Gloria, and Marty are the stars of New York's Central Park Zoo. The four friends, a lion, giraffe, hippo and zebra have all been raised in captivity. When they find themselves on a boat en route to Africa and wind up in Madagascar, the friends learn what the wild side is all about thanks to the local lemurs.

Madagascar is a mess! It is a kid's movie and the kids I was watching enjoyed it, but I couldn't help wanting to get them to turn this off. Madagascar is rote. There is no inspiration or character found in the film. The voice cast of Ben Stiller, David Schwimmer, Jada Pinkett-Smith and Chris Rock didn't even help this disaster. Even the animation comes across as ho-hum.

With smart animated features like Over The Hedge, The Incredibles and most recently, Wall*E, you and I can't be bothered with the ho-hum.

The end ends...

Just wanted to say thanks to everyone for your heartfelt sentiments. Here's an update.

Bob is doing great. He is back to his old self--still hasn't put on much wait, but the sparkle in his eye and the gleam of his coat has returned.

He's no longer on antibiotics. There is only a small scab marking where a gaping hole once was. He hair doesn't seem to be growing back. That has me worried. His whiskers are lopsided, too. Still, for everything he and I have gone through, we're doing great.

Bob says thanks for all the love. Me too.

The Bank Job (2008)

Small time hood Terry (Jason Statham) signs on for a robbery with once-time girlfriend Martine (Saffron Burrows). Gathering up a few extra mates, the amateurs plan the bank robbery of a lifetime. Tunnelling under a local shop, the band of thieves hit the bank's vault and unload over three million pounds of cash, jewelery, bonds, and other assorted goods pulled from hundreds of safe deposit boxes. Among those goods... damaging photographs of government and royal officials and a porn king's payroll ledger. Can the amateurs out-smart the professionals and live to tell about it?

The Bank Job is an above average heist flick based, get this, on a true story. London, Circa 1971. According to the featurette, this was one of, if not the, largest successful robberies in all of England. What is more interesting is the D-Notice accusation. The media killed this story. The files on this event were just recently declassified. Some still aren't scheduled to declassify until 2054.

Delightfully British, The Bank Job takes a step back in time to create a world of shady villains, corrupt coppers, and MI5 or is it 6 agents? "I can never tell which is which. They all use the same tailor." The film is a slow burn complete with cheeky dialogue that engages and pays off successfully.

Led by Jason Statham, the British cast is right on the money. Statham is believable as a two-bit sod just trying to make ends meet and still be able to by a pint. Burrows is delicious eye candy that packs a wallop. More intriguing is Hercule Piorot, er, David Suchet, as Lew Vogal--the porn king of 70's London. He is perfectly villainous. Richard Linton plays MI Agent Tim Everett perfectly enigmatic.

The Bank Job is a slick production but never jumps the shark. The spot-on locales, detailed settings and costuming evoke the scene perfectly. The audience quickly forgets the 'based on a true story' angle until confronted with the known aftermath as the credit begin to role.

This film meanders and twists like no other and to think it actually happened!! Keeping up with its angles made the film even more fun. Pimps, thieves, officials and royalty collide to payoff like you wouldn't believe. The Bank Job is an enthralling ride of deception, money, sex, blackmail and getaway.

So, a big bank robbery did take place on Baker Street in 1971. The culprits were never found, nor was the loot and after initial big headlines, the story disappeared from the newspapers. If the real robbery was half as exciting as The Bank Job, how cool is that.

Mama's Boy (2007)

There is nothing new in this dramedy. Jon Heder continues in his trademark shlub. {Hope it's not by choice because his mouth breathing is borderline annoying.} Heder is Jeffery a 29 year old mama's boy who's sweet digs are threatened when mom, Jan (Diane Keaton) falls in love with motivational speaker Mert Rosenbloom (Jeff Daniels).

So there is nothing remotely new about Mama's Boy, but it still manages to grab a few laughs thanks to Anna Faris as Nora. She steals the show with her dead-pan delivery. Daniels plays his motivational speaker role for laughs. Eli Wallach, yes, the one and only Eli Wallach (1966's The Good, The Bad, and the Ugly) gets a bit part as Jeffery's book-store employer/owner {and is amazing!!}

The larping scenes were ridiculous and Nora's turn at the mike was great, but the story is predictable.

Mama's Boy (see also The Benchwarmers) is average forgettable comedy with a tight soundtrack and Heder in some awesome threads.

Into the Wild (2007)

The life of Christopher McCandless is forever immortalized by John Krakauer's powerful book, Into the Wild. After Sean Penn optioned it for a motion picture, McCandless might forever be known as the most self-destructive man ever.

Into the Wild is the story of the fortuned, young McCandless who inexplicably gives his trust fund to charity to transform himself into Alexander Supertramp and follow fate into Alaska. It's his disgust with society that drives him from humanity.

In both mediums, what strikes me is McCandless' self-destruction. I can related to him on different levels, but at some point his passion becomes almost hysteria. Here is the smart, promising trust-fund baby that has the world at his feet and yet, to him, it is all a farce. Within his family life lies an undercurrent of deceit. Writer/director Sean Penn rightly examines this because it shapes Chris so much. the family life and I think therein lies much of Chris' disgust. Still, there were so many other people who loved him as himself.

His journey to Alaska actually takes him first to the Midwest and then to Mexico. In all these little towns in between, Chris meets people of all kinds. Some transient, others not. It's these people that try to save Chris from himself. These are relationships to cherish and he can't even see it!! To use the cliche, Chris can't see the forest for the trees. To this viewer, it is madly frustrating and sad at the same time.

The casting is brilliant. Emile Hirsch plays McCandless and he channels the person I've read about. It's a beautiful character study. Christ is driven, industrious, athletic, cocky, naive, and smitten by the works of Tolstoy, Byron, and Thoreau. Hirsh makes the descent slowly. Kudos to him for embodying such a multi-faceted character.

Supporting Hirsch is a line-up of amazing character. Catherine Keener, Hal Holbrook, Vince Vaughn, Jena Malone, William Hurt and Marcia Gay Harden are equally remarkable as they ebb and flow from McCandless' life. Keener is perfect as a hippie transient. Vaughn's turn as a Midwest farmer, Wayne Westerberg, is perfect as well. The book expands more on their relationship. Wayne influenced this clueless kid more than anyone, I think.

Wow. I suppose death is inevitable when one takes off to the wilderness unprepared. Still, I had hope the movie would end different. The grandfatherly Ron Franz (Holbrook) truly loved this boy--even wanted to adopt Chris, but acquiesced as Chris goes, 'when I get back from Alaska, we'll see.' I wanted Chris to come back for him alone.

Penn unfolds the story of McCandless with heart and principle--much like McCandless. The film feels like a travel documentary with a lead weight. Beautiful montages of endless mountains, roads, earth and skies belie the weightiness of McCandless' choices. Penn uses the scenery and Chris' own words to further the story within its time frame. The setting gives way to McCandless' slowly emaciating body and Penn turns to his words convey the weight of the world.

Into the Wild is an overwhelming story that pierces the heart. Weeping as Chris meets his demise, out of sheer foolishness, I was overwhelmed. How do you stop a man seemingly hellbent on self-destruction? This film is an arduous journey, but one all the better for making.

I think Chris was right. Happiness is only real when shared.

Titans Win!

In the ten years the Titans have been a part of Tennessee, I've yet to see a game. Until tonight. Excuse me for being a wee bit giddy, but you haven't experienced a game until you see it like this.

2008 Preseason Game 2 against the Oakland Raiders--from the skybox, no less. Can you imagine? I don't have to; I've been there.

Arriving shortly before kick-off allowed me to take in the world of NFL sports. The walk across the pedestrian bridge--I've done numerous times--with hundreds of Titans fans in tow. The short walk across the west concourse to the elevators. The air was electric. The elevator up was quiet. Another short walk followed.

Stepping into the box was like entering another world. Taking in my surroundings, I was overwhelmed. There was so much to see. The view of LP Field was break-taking even with grass as dry and the field lines pale. Playing it cool, professional, I nodded greeting to my associates, grabbed a drink and mingled.

As kick-off approached, I settled in. The coin toss. Raiders lose. Tennessee receives and runs back for 22 yards. So it begins.

The first and second quarters were tame. Six plays, I think. Numerous incompletes, but Oakland gets on the board in the first quarter. Tennessee answers in the second.

Back to the box, food and alcohol continue to flow. It's rather low-key. Some of us have turned to watch Michael Phelps continue his dominance in Beijing.

There is so much to see from up here. My eyes leave to came to watch Fisher and the bench. The kickers are working it out, lineman are on ellipticals, a couple more are joshing. The dynamics are interesting. Turn to the Refs and you see a further dynamic.

Entranced by the rhythm of the field, it's difficult not to get caught up in the pulse. I don't follow professional sports, per se. I even half-heartedly play in the fantasy leagues. I just don't find it interesting. This, however, has my undivided attention.

The company inside the box was lacking, unfortunately. I haven't meshed with my fellow associates yet. Sometimes, I think, I don't care to. A few begin to bail early in the third quarter. Their loss.

The games comes down to the last two minutes. The Titans push down the field. Martin's pass deep left is incomplete. Short right, incomplete. With 1:15 left on the clock, Martin is sacked. Timeout. One last push to the goal gives Tennessee 26 yards. With :02 left on the clock, Vaughn steps out for a 33 yard field goal. It's good.

The remaining crowd erupts. Cue fireworks.

A few pictures are snapped before leaving. It's like there is an need to validate our time there. It was an awesome experience. Some lessons learned:

1. The Titans have a potent running game.
2. It's infinately more fun to watch people drink.
3. Chicken tenders give grown-ups a reason to act like kids.

Preseason Game 2 against the Oakland Raiders. Yeah, it was wicked cool.

Unknown (2006)

Five men wake up in locked chemical warehouse. Battered, bruised, shot and shocked, the five known by their respective apparel or bodily injury, Jean Jacket, Broken Nose, Bound Man, Rancher Shirt and Handcuffed Man are forced to determine who's good and who's bad in order to survive.

The ensemble cast of Unknown should have been enough to build on the above premise. Try as they might, Jim Caviezel, Greg Kinnear, Barry Pepper, Peter Stormare, and Joe Pantoliano can't do anything with this mess. Director Simon Brand tries for Memento with a touch of Saw only to come up with nothing.

The screenplay is the demise. On paper, I can imagine a taunt thriller that twists and turns, creating an engaging whodunnit. Unknown is dim and dirty, but doesn't contain any bite. Through flashbacks our characters try to develop. There is no group dynamic or palatable tension. There is nothing for the audience to build on, no clues to collect or story to surmise. It's just plot holes glaring back at us. This movie is clumsy at best.

As I see it, Unknown is better left unknown.

P.S. I Love You (2007)

I just finished crying my eyeballs out. Whew!! Now, my eyes are all puffy and I feel like I've been punched in the chest.

P.S. I Love You has got to be THE gut-wrencher of 2007. Wow. Hillary Swank stars as Holly--a young widow coping with the loss of her husband Gerry (Gerard Butler). In death, as in life, Gerry reaches out to care for Holly as she learns to live and love again.

The cast is a hodge-podge of names. Joining Swank and Butler is Lisa Kudrow, Gina Gershon, Kathy Bates and Harry Connick Jr. Swank has never been a favorite of mine. Even in Million Dollar Baby she's askew. Here she is no different. She's wooden in her delivery. It's the supporting cast that really works. Gerard Butler is exceptional; he gets to use his accent to create a wonderful husband who dies in his prime. Bates is solid as Holly's mom. Adventure ensues once you involve best friends played by Kudrow and Gershon. Harry Connick Jr plays Daniel for laughs and so well, too. His performance is fun and surprisingly he and Swank have good onscreen chemistry.

P.S. I Love You is more than a romantic comedy. Love isn't all rainbows and sunshine, but when you love someone, you do what it takes. Although it's all wrapped up, complete with a little bow, in 120 minutes, P.S. I Love You still manages to be real and engaging. Thankfully, Gerry's letters and 'touches' never get creepy. Even as the subject matter turns dramatic, the film never loses it's heart.

The New York setting is beautiful as is the foray into Ireland. The mix of setting furthers the personalities of our leads. Subplots do get a little muddied, but writer/director Richard LaGravenese (The Horse Whisperer, The Bridges of Madison County) stays the course and keeps from creating melodramatic nonsense.

Examining love, loss and living, P.S. I Love You celebrates the very things that make us human.

Watching it in mixed company, I was surprised by the masculine POV. "This is more enjoyable than your typical chick flick."

Bonus Feature: CD

Months later and I'm still enamored of the Coldplay's latest Viva la Vida or Death and All His Friends.

With Viva la Vida, Chris Martin stretches beyond the piano and simple lyrics to create an expansive sound complete with orchestral arrangements. V la V is a focused effort that plays like a book, each chapter building on the next.

The instrumental opening track Life in Technicolor sets the pace with an ethereal, nouveau quality. At first listen, V la V doesn't sound like Coldplay at all, but continued exposure leads you to believe this album was the obvious next step for a band that dissects the normal to exposure the abnormal that makes it up. {Did I just blow your mind or what?}

Much has been said on the symbolism and Martin's fascination with painter and Frenchman Delacroix {?}. Regardless, people, just listen. Your ears haven't heard beauty like this.

Martin's vocals are perfect and fit well with the album's lusty approach to sound. Every note is treated as an element to blend in creating this new picture. Lovers In Japan/Reign of Love has a comforting feel that fans will appreciate. Yes allows Martin to expand his range solidly.

Viva La Vida is the first single from the album and how wonderful it is. Exploring the lyrics brings to light Martin's fascinations with symbolism. Across the Internet, fans are projecting all types of imagery. If you get a change, check out the original video for it--not the one that the suits wanted released--the other one--found only on http://www.coldplay.com/. That solves it for me. Viva La Vida is deserves its praise. Champion gets to shine here, too.

My personal favorite {and new theme song} is the decidedly darkest track. It was a long and dark December... The band rocks out on this song of heartbreak and hope. Violet Hill is both sad and hopeful. Champion, Berryman and Buckland all provide supporting vocals. Breathtaking. As the song breaks into the bridge... WOW!! The sheer simplicity is amazing.

I like to think that Strawberry Swing is a direct result of the kick-ass concert Coldplay had here in Tennessee. Perhaps the group had an epiphany amongst the ghost of Music City. The country-tinged track is strangely not out of place.

Ending where it began is Death And All His Friends.

Viva La Vida is everything I wanted it to be. You just wouldn't understand.

The Who: The Kids Are Alright (1979)

In all fairness, I'm the last one who should writing a review on this rock doc. Not being a fan of The Who--what possessed me to rent this?! Based on my previous selections {Dylan and Stones docs} Netflix recommended it.

The Kids Are Alright is less documentary and more concert footage--which is cool. It doesn't take a fan to appreciate the contributions that Roger, John, Keith and Pete have made to rock and roll. Still when I see them I think the Sex Pistols. HORRIBLE analogy, I know, but The Who ARE loud, sloppy, and obnoxious.

Concert footage seems to span decades and just underscore my last comment The group is sloppy. Their sets are chaotic at best. Keith is on one level, raging Pete Townsend on another. Entwistle is probably the most appreciated bass player ever and Roger... he just looks uncomfortable.

The Kids Are Alright surely is a must-see for Who fans because is marks a moment of rock history capturing Keith Moon's last performance before his untimely death. The songs are classic, but sadly, their greatness is lost on me.

Bonus Feature: CD

Intense and surprisingly earnest, 1991's self-titled album is the simplest of Metallica's ever-expanding discography. Hetfield and Co. have been pioneers for the heavy metal genre, but it's their most commercial project that I prefer. Instead of crunching their way through, the band channels that passion and create a set of menacing tracks that provoke a myriad of emotions.

Enter Sandman rocks with an unbelievable volatility. Throwing down riffs, Hatfield and Kevin Hammett tear it up and that's just the first track. Sad But True and Holier Than Thou are typical crunch. The melodic refrains of Hetfield on The Unforgiven is chilling. Easily my favorite track. The raw tenderness here is beautiful.

Then we have some more ass-kicking rock. Don't Tread on Me and Through the Never dial in and pound away. Yeah, I don't understand a word.

Nothing Else Matters {surprise!} is another track of haunting emotion. Can this be the same band?!

This album is one of select few that continue to resonate in my life Appropriate for all seasons, Metallica is a classic album that any self-respecting rock fan should own.

I'm anxious to hear what Death Magnetic, produced by Rick Rubin, has to say.

The Saint (1997)

As a young orphaned boy, Simon Templar, honed his skills as a thief, con-man and thrill seeker. Assuming the names of obscure saint, Simon (Val Kilmer) eludes his pursuers and sells his skills to the highest of bidders. But when Russian politician, Ivan Tretiak (Rade Serbedzija) hires him to steal the formula for cold fusion, he never bet on falling in love with Emma Russell (Elizabeth Shue). Dr. Russell, the trusting Oxford scientist, has unlocked the process and is determined to bring light and heat to all of Russian for humanity's sake. Simon must then choose between the money and the girl.

In a whole filled with James Bond and Ethan Hunt, Simon Templar is practically unheard of. This 1997 movie from director Phillip Noyce (Clear and Present Danger, Patriot Games) isn't even a blip on the radar. That doesn't keep The Saint from being a memorable thrill-ride.

Val Kilmer is remarkable as the many faces of Simon Templar. He plays each role with developed, believable nuances that entertain and amaze. Elizabeth Shue is beautiful and plays the faint-proned doctor well. Their chemistry together is excellent.

The film's pacing is solid containing the keys elements of the genre. Car chase, narrow escapes, mystery, intrigue, and humor. Noyce throws in a bit of random for good measure. There is nothing deep here--good and evil are clearly defined-- except in Simon's case. He is the gorgeous enigma everyone wants a piece of.

The dialogue {and soundtrack} is perfect. The settings throughout Russia have an authentic Cold War feel as does the skill set of Simon Templar. The Saint never gets to clever or scientific. Instead, the audience gets a believable rogue to root for.

Sexy cool, The Saint is an entertaining thriller that demands a viewing by any fan of the genre.

Side bar: I've never understood why Val Kilmer gets no respect. Since his days of Top Gun, Kilmer has been a solid actor, but has never seemed to crack the leading role, I think, he deserves. Whether its as Doc Holiday in Tombstone, Gay Perry in Kiss, Kiss, Bang, Bang or Jim Morrison in The Doors, Kilmer has proven himself a versatile, albeit somewhat odd, actor.

Adventures in MySpace

Why do I feel like such a creep when on MySpace. Seriously! Poking around looking at random stranger's profiles. Is this supposed to be fun?! I don't get it. Once again, I have caved to peer pressure and kick-a$$ wi-fi. MySpace.

What the Hades is networking anyway? Think it's a dork way of saying 'I'm too lame to have a real like so let's pretend to be someone else online. Then I can meet other fake weirdos like me and we can be friends.'

Lurking last night... I found a profile with a 'Truth Box'. Excuse me?! What the hell?! Here is an anonymous box for random people to put the 'truth in'. Wait!!! Think this through people!! If it's the truth then back it up.

Oh well, I'm trying to connect or reconnect with friends through the site. I don't know how successful this is going to be, you know? I can't devote hours on end to it. As I See It is a labour of love. MySpace is a proverbial dead-goose around the neck.

And thanks, Matt!! Not every one can rock Pee-Wee.

27 Dresses (2008)

27 bridesmaid dresses later, Jane (Katherine Heigl) finds herself staring down her worst nightmare. Her younger sister Tess (Malin Akerman) announces her own wedding to George (Ed Burns), Jane's boss and the man she secretly adores. Faced with smiling along while her sister destroys everything she ever wanted, Jane faces her own fears with the help of the cynical, but charming Kevin (James Marsden).

This fluffy romantic comedy comes courtesy of Anne Fletcher, a well known Hollywood choreography and aspiring director (Step Up). 27 Dresses is all warm and fuzzy thanks to a cute cast and sweet, but predictable storyline.

All-American Katherine Heigl is adorable as Jane. She has a knack for physical comedy that's nice. James Marsden is gorgeous and under appreciated. He plays the perfect everyman. Their on-screen chemistry is cute. Ed Burns and Malin Akerman are solid supports and Judy Greer really shines as Jane's feisty best friend, Casey.

27 Dresses isn't rocket science. It's a nicely written story {with a good soundtrack} that's far from boring thanks to a believable cast.