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.