The Searchers (1956)

When Ethan Edwards (John Wayne) loses his entire family at the hands of Comanche Indians, Ethan begins the search for his only surviving niece, Debbie (Natalie Wood). Don't ask me what else happens...he eventually finds her, but by then Debbie is one of them. Emote, emote, roll eyes, and scene.

Continuing my journey through Spielberg's rentals, I wondered what he's thinking with this selection. Often hailed as a masterpiece, The Searchers is a beautiful film with great cinematography. Technicolor is amazing! But...and this is a big one... the story doesn't hold up.

John Wayne is perfectly cantankerous as Uncle Ethan, but this is not his best performance. The myriad of supporting characters with similar subplots compete with Wayne's Ethan. Everything is diluted {sometimes non-sensical} and that causes the film to be insufferable long and disinteresting.

As I see it, this movie is lost on me. The Searchers is an essential classic in the western genre if you mind Speilberg and other industry greats. I, however, respectfully disagree and submit that the 'character studies' that are so often heralded are actually Bonanza rejects.

Last of the Dogmen (1995)

Big game tracker and unconvincing alcoholic Lewis Gates (Tom Berenger) is hired by town sheriff Deegan (Kurtwood Smith) to track down escaped convicts in the Montana wilderness. When he discovers the bodies and an arrow shaft, he enlists the help of Native American anthropologist Lillian Sloan (Barbara Hershey). Together they uncover the truth behind a centuries old Cheyenne tribe and the legend of the Dogmen.

Last of the Dogmen is a melodramatic piece that best belongs on television. Despite the best efforts of Berenger, Smith, and Hershey, the film blows. No wonder director Tab Murphy has no other films to his name.

The story aims for depth of character but everything here is so half-assed and predictable--it quickly becomes rote. It's the C-listers version of Jeremiah Johnson with Robert Redford. {Now, THAT was a good movie.}

I truly can't decide what's worse. The overbearing score, the dog and inane character development, or the utter lack of cohesive story. There are attempts at interesting subplots, but nothing is more than face value.

As I see it, Last of the Dogmen is unfulfilling--a waste of time. This investment doesn't yield good returns. Avoid.

Just for Tom: No stars

This Film is Not Yet Rated (2006)

This eye-opening documentary explores the ultra-secretive Motion Picture Association of America and its blatant duplicity in the way it rates films. Kirby Dick helms this investigation of the last vestige of censorship in America. While one should expect bias, his questioning of inconsistent practices by the MPAA leads to incredible revelations and even more mind-boggling questions.

Let's be honest. Does anyone actually use the ratings systems in place to determine whether or not to see a film? I don't. It's recoms through friends, review by other critics, the Internet and other media. That being said, I've often wondered by a movie like the mainstream Sin City with its non-stop beheadings and dismembermentsrates an 'R' while more art house/independent film like Lust, Caution gets 'slapped' with an NC-17.

The hypocrisy of it all is exposed through interviews with directors (Kevin James, John Waters, Darren Aronofsky, Trey Parker) actors, critics, and other industry execs. With snarky humor and tenacity, Dick sets out to get answers to his relevant questions

It's shocking to uncover the homo/heterophobia that prevails. Comparing the European and American expressions of sex is interesting and ultimately serves to expose the overt censorship of the MPAA. Violence, language, sex, race...Dick spends time on each exposing the untold double standard and the conflict of interest that fast tracks some and kills others.

As I see it, This Film is Not Yet Rated is an interesting and underrated documentary. Cinephiles and the ACLU alike should be up in arms. Censorship is alive and thriving!

Just for Tom: 3 stars

Partly Cloudy (2009)

For those that don't know... storks deliver infants of all sorts and {new to me} apparently clouds make them. That is the premise of Pixar's new animated short found on the front end of Up.

Partly Cloudy, with its effects only sounds, is cute and clever. We have a myriad of happy 'births' across the clouds with beaming storks all too happy to deliver. The partnership between cloud and stork is one of happiness and joy. One dark and lonely cloud, it seems, is responsible for the making of any number of particularly dangerous infants. Baby eels, rams, porcupines, sharks, and alligators makes one stork's job extremely hazardous.

As I see it, Partly Cloudy is an enjoyable short with the perfect blend of humor and sweetness that makes a great addition to the canon of Pixar.

Just for Tom: 2½ stars

Up (2009)

Widowed curmudgeon Carl Fredrickson has dreamed of traveling the world. When his beloved wife Ellie died, Carl (voiced by Ed Asner) all but gave up the dream that he shared with her. Fate lures him into an unbelievable adventure as Carl sets out to realize Ellie's wish. As he floats away, Carl discovers an annoying 8-year old Wilderness Explorer, Russell, has tagged along in an effort to help old people.

Pixar's latest offering, Up, is a tender, but thrilling story of love and rough terrain. It's heartwarming story that allows Pixar genius to shine through.

The story is endearing--had me weeping in the theatre in the first five minutes--and despite themes of death, loss, obsession, and disappointment, the film celebrates all the good. Christopher Plummer is the voice of baddie and fellow explorer, Charles Muntz.   Muntz, the character is a huge letdown.  He is disappointing as is his army of talking dogs. Doug--the good dog--is the Jar-Jar Binks of the film.

Pixar is known for the souls in their movies and Up is imbued with the best.  It joins the ranks of WALL*E, Finding Nemo, and The Incredibles for its spirit.
Visually, Up is beautiful to behold--the balloons especially. Their jewel tones are so vivid and life-like. Watch closely and you see how smartly they are utilized--physically and symbolically. Subtle homages to pop culture makes for a great treasure hunt.

As I see it, Up is technically perfect. All elements of effective animation are here. It's the weak story and lack of character development that are HUGE disappointments. Up isn't an entire waste of time--it's pretty to look at, but ultimately, the film is overinflated.


Postscript 12.26.09  Perhaps one of the truest stories of the year, the crew at Pixar has successfully created a film that appeals to all ages and culls the best elements of ever movie genre.  It has the depth of the finest dramas, the humor of the oddest indies, the silliness of the classic children's movies, the technicality of the most intricate sci-fi.  I was wrong.  But... I still think that Muntz and Doug are the films weakest points.  They still irritate me.

Something Wicked This Way Comes (1983)

Dark's Pandemonium Carnival has come to a small town with the proprietor, Mr. Dark (Jonathan Pryce) promising to make the town folk's dreams come true. Inquisitive young boys Will and Jim (Vidal Peterson and Shawn Carson) quickly discover that the price is much to high after school teacher, Miss. Foley, dies. With the help of Will's father, the boys fight to rid the town of the pandemonium threatening to destroy them all.

Perfectly macabre and altogether creepy, Something Wicked This Way Comes maintains its horror despite sometimes dated special effects. Author Ray Bradbury wrote the screenplay; he's maintained some of the best features of the book as this Disney feature comes to life. Hardly for the family, the film is oddly atmospheric and gloomy. But there is this surreal factor that is fascinating.

Johnathan Pryce is spine-tingling evil. With soul-piercing eyes, his Mr. Dark makes me cower. A young Pam Grier stars has his evil mistress. Jason Robards plays Will's father. The two young actors really leave much to be desired when it comes to skills. Fortunately, director Jack Clayton weaves a creepy story that distracts from them. James Horner's score also does wonders to create a memorable film.

Something Wicked This Way Comes is one I'd like to see remade--especially in the days of CGI. In the hands of a gifted director, a remake would be genius. As it stands, the film is equal parts Charlie and the Chocolate Factory and Arachnophobia.

Just for Tom: 2½ stars

Hail the King of Pop

Disbelief, shock, and sadness has befallen us all as news of tortured genius {only in my opinion, mind you} Michael Jackson's passing has come forward. An innovator and ICON, Michael Jackson's influence in music history is undeniable.

My colleague, JoCo, told me--it was around 4p. I didn't believe it; he's a joker. I had heard earlier in the afternoon that he was rushed to the hospital, but dead?! Not MJ--not Michael. I hit the web immediately--screw renewals--and was stunned at the news. The tears welled... it wasn't until the drive home that the emotions took over. As I turned Alfred towards home, the familiar refrain of Billie Jean greeted me... I couldn't help it.

I join fellow Jackson fans--those who stood tall while Jackson's personal life disintegrated around him--in mourning the loss of a genius that shaped music as we know it.

Emotions are running deep. Words don't come. The sorrow--it's surreal. As detached as I am, this seems personal. Thanks Snoova.

One thing is certain... that choir is sounding awesome right about now.

Postscript 06.26.09 This exchange took place at the Firm:

Me: Wondering… if you feel/felt the same way I do… “as if a thousand voices cried out all at once” But if joy could come out of this… the radio is suddenly awesome. There’s a beat in my step as MJ’s voice rolls through my head. I’m sad, but joyous. Weird.

OM: I feel sad, but more for the fact that my generation can’t appreciate the artist that was Michael Jackson. I am of a generation that was only exposed to his music during mediocre talent shows and covers (Smooth Criminal anyone?). I grew up with a Michael Jackson that was a “child molesting monster”, the man who wore a mask everywhere and dangled babies over balconies. One of my earliest memories is him marrying Lisa Marie Presley. How sad is that? I should have been born in a different time…

Ondskan (2003)

For years Erik Ponti (Andreas Wilson) has endured the after dinner beatings at the hands of his sadistic stepfather. When he is expelled from high school for fighting, Erik's mother sends him to the renowned Stjärsnberg Academy. Erik soon discovers that many of the students face extreme hazing at the hands of the school's older students. Troubled by the violence, Erik is determined not fight, but rather stand true.

Ondskan (translated simply as Evil) is a Swedish import that seemingly like most European imports, manages to present an oft told story in a fresh new light. Under the direction of Mikael Hafstrom (Derailed), Evil is an atmospheric tale of violence rendered, both psychological and physical. Throw in a battle of the classes and you have an ugly tale of two cities.

Lead Andreas Wilson is engaging--think a rugged Tatum Channing. Wilson is conflicted as Erik, a young boy continuing the cycle of violence he has always known. But you can see the transformation in the actor when Erik decides to break the cycle. He is fierce, but compassionate when confronted. Hendrick Lundstrom plays Pierre Tanguy, Erik's sole friend at the academy. Lunstrom is top-notch in the supporting role. Gustaf Skarsgard's Otto Silverhielm is Hitler to Wilson's Ghandi. Skarsgard is bone-chillingly sadistic as Silverhielm who's blood lust has no end.

As I see it, Evil is an interesting examination of adolescent cruelty/coming of age and despite the somewhat fairy-tale ending, the film leaves an impression. Unheralded intensity and grim brutality give the film an unlikely edge, but its the performances that make Ondskan really worth watching.

Dr. Horrible's Sing-Along Blog (2008)

Aspiring super villain Dr. Horrible (Neil Patrick Harris) video blogs about his attempts to join the ELE (Evil League of Evil), woo his secret crush, Penny (Felicia Day) and defeating his archenemy Captain Hammer (Nathan Fillion). Trust me when I say... Don't believe I've had this much fun all year.

Dr. Horrible's Sing-Along Blog comes from the mind of Joss Whedon and while I am familiar with his nerd king status, this is my true first exposure to it. {Already queued Buffy.} Conceived during the writer's strike and originally airing online, this musical comedy is equal parts hysterical and smart thanks to a brilliant cast and top-notch dialogue/song.

Neil Patrick Harris is pure genius. Harris is bitingly smart and horribly inadequate. Harris is adept in both his physical comedy and song. Combined with dialogue this awesome, Dr. Horrible is my new favorite. Felicia Day's Penny has a Pam {see The Office} vibe about her with sweet charm and cute hopefulness about her. Nathan Fillion is pitch-perfect as the overly cocky and good looking hero.

Captain Hammer successfully interferes with Dr. Horrible's attempts at winning Penny and taking over the world, but thanks to that Ph.D. in horribleness, Dr. Horrible is never at a loss for a plan!

Writer/director Whedon has created a quirky romantic musical that concludes in three phenomenal acts. Each titled act includes engaging musical numbers, witty and sometimes dark dialogue, and incredible comedy. It's tough to find this much awesome in one place!

The dialogue is infinitely quotable with lines like "Oh, look at my wrist, I have to go" and I don't have time for a grudge match with every poser in a parka!"

As I see it, Dr. Horrible's Sing-Along Blog isn't for everyone--but it's certainly for me!

Captains Courageous (1937)

Another of Steven Spielberg's fav five. The second on his list is a tale of adventure and morality that recalls a period where good is always the first choice and bad is the result of poor parenting. Based on Rudyard Kipling's novel of the same name, the film has timeless appeal.

Harvey Cheyne (Freddie Bartholomew) is an arrogant little rich boy who has been neglected by his tycoon father. Known to blackmail those who have what he wants and bribe his teachers, Harvey is insufferable. When he falls over the railing of an ocean liner, he's picked up by an old salty dog, Manuel (Spencer Tracy) and taken about a fishing boat. Shocked that this crew of men doesn't care that his father has money, Harvey learns he's just signed on for a three month tour and Captain Disko (Lionel Barrymore) demands the boy earn his keep. Under Manuel's careful eye, Harvey is about to learn many of life's lessons at sea.

Captains Courageous is a beautifully rendered film that doesn't count on fancy editing and CG to create the experience. Pure story and heartfelt performances by Tracy and young Bartholomew make this a worthwhile experience. Spencer Tracy is top-notch as the Porteguese sailor with his hurly-gurly. With an unheard of accent, Tracy imbues a tough, hard-working man with a respect for honest labor and right. The film, however, belongs to the young lead. Freddie Bartholomew casts a broad net of emotion without ever feeling disengenious or cloying. Bartholomew creates Harvey as a boy that requires your sympathy, not your anger. By the film's end, Harvey has come full circle as a spoiled brat to a rugged young man who idolizes Manuel. Lionel Barrymore is our moral compass of the tale; he's top-notch as the weathered captain. Also of note is Melvyn Douglas, the boy's tycoon father. In a few short scenes, he displays the qualities of a concerned father nicely.

Director Victor Fleming better known for Gone with the Wind and The Wizard of Oz, is subtle with his camera. The time spent at sea is well constructed with a hearty epic feel. The boat is crusty and small, but alive with warmth and camraderie. The cinematography behind it all frames the emotioal parallels wonderfully.

As I see it, Captains Courageous is a masterful film that displays the character that this world needs now more than ever. It's certainly an uplifting film that modern cinema would be wise to model.

Duel (1971)

A harried businessman (Dennis Weaver) is trying to make an appointment on time. Rushing along on an isolated highway, he passes a smog-addled semi-truck. That maneuver changes everything and a seemingly innocuous interaction becomes a dangerous game of road rage with a menacing big rig.

Duel is the television debut of one Steven Spielberg. I'll be honest. That was my only reason for seeing this. Obviously, this young man has talent. Despite its age, Duel is a remarkably well executed film--even it it was made for TV.

The screenplay, by Richard Matheson, is deceptively simple. But under Spielberg's direction, Duel is a vehicle of palpable tension and suspense. Ultimately, it's the tight editing and complete lack of back story... it's all so seemingly random. Combined with a lack of true dialogue save for Weaver's inner monologue and you all the makings of a fear-inducing masterpiece.

As I see it, Duel serves to scare the he** out of you. It's simple, brilliant story-telling that you must see. To think, this movie heralded the genius that would bring us Jaws, Schindler's List, and Indiana Jones.

Night at the Museum (2006)

Larry Daley (Ben Stiller) is a divorced father who can't seem to win. Without a steady job and home, Larry's ex is threatening to take their young son away is he can't provide a stable home for the boy. Larry needs a job. The Museum of Natural History is looking for a night watchman and Larry seems to fit the bill. After a quick run though with Cecil (Dick Van Dyke) and Gus (Mickey Rooney), Larry's ready to go. Warned not to let anyone or thing in or out, Larry soon discovers the museum comes to life at night thanks to the tablet of Ahkmenrah.

Night at the Museum is a cheeky romp through natural history. As Larry, Stiller is the running joke throughout the film. Frenzied and chaotic, Stiller's performance is nearly overshadowed by the cavalcade of cameos. Steve Coogan as Octavius and Owen Wilson as cowboy Jedidiah have an ongoing feud for supremacy in the dioramas. Robin Williams pops up as an altogether nonsensical Teddy Roosevelt. Neanderthals, Huns, Vikings, Lewis & Clark, Sacajawea, Easter Island Heads, Christopher Columbus--they all pop in and out of the movie to provide comic relief and assist our protagonist to find the 'real bad guys'.

The film is chaotic and contains plot holes you could fly the Kitty Hawk through. Still, it's a riot with fun characters and rapid fire corny jokes. As I see it, Night at the Museum is entertaining thanks to the frenzied pace and despite its predictable twists and turns. It's an adventure for young and old.

Revolutionary Road (2008)

April and Frank Wheeler (Kate Winslett and Leonardo DiCaprio) are a young couple with the perfect life. He travels to the city each morning to a comfortable, if inane, job. She is the pinnacle of domestication. Together with two children, The Wheelers are the seeming portrait of suburban bliss. Then one day, two people wake up amid the ordinary and realize they have settled. April has aspired to the theatre. Instead, her day is filled with the chores of a housewife. On Frank's 30th birthday, she reminds him of their dream. Paris. Once again, the couple feel alive. But as they are met with skepticism from friends, an unexpected pregnancy, and Frank's own career path, underlying tensions threaten to undo everything. For April and Frank, the real question is... do they care enough to pick up the pieces?

Revolutionary Road is a devastating beautiful film that examines the banality of suburbia. Sam Mendes directs this powerful cold reality and pegs the uncomprable DiCaprio and Winslett. Their flawless chemistry onscreen is provocative. Winslett gives a performance of a lifetime as April. She is both beautiful and hopeless. DiCaprio is subtly expressive and equally captivating.

Under Mendes, every element culminates to create a multi-faceted picture. Set in the mid-50s, the production of the era is top-notch. Mendes utilizes design, score, and subtle detail to speak volumes without saying a word. These essential elements serve to underscore our couple or punctuate an emotion. Every frame is visually arresting adding weight to our downward spiral.

As I see it, Revolutionary Road is a dangerous film not for its themes, but for its finality behind the white picket fence. This film is not life-affirming; rather, Mendes offers a masterful soul-crushing drama of societal mediocrity for those brave enough to face the reflection.

Star Trek (2009)

To tell a story of this magnitude, one must begin as the beginning. As I can not do it justice, you must search elsewhere for a synopsis. Instead, let's examine what makes Star Trek an early contender for best summer blockbuster.

Wunderkind J.J. Abrams has successfully reinvented the sci-fi franchise with obvious admiration and respect for it's predecessors. Tracing the early days of the Federation, Abrams weaves a multi-faceted story that layers origins, mythology, and top-notch CGI to create a stunning film.

Abrams is a casting genius; you can't imagine this story without these key actors. Chris Pine stars a James Tiberius Kirk, an impetuous youth and natural leader. Pine is equal parts youthful rebellion and sheer charisma. Zachary Quinto, a logical choice for Spock, maintains the prerequisite cool attitude. But it's not just them. It's Simon Pegg as Scottie, Anton Yelchin as Chekov, and my personal favorite, Karl Urban as Dr. McCoy who nails it! The entire cast is a believable cast that seems to have a natural chemistry in the early years of the Federation.

Visually, Star Trek is impressive. Every black hole, every alternative universe is gorgeous. Abrams' penchant for detail is overwhelming (notice Kirk's costuming in comparison to the ship's crew) and beautifully rendered. The U.S.S. Enterprise has undergone quite a transformation. Gone is the clunky space ship; in its place is a sleek, minimalistic sportster of ship that moves flawlessly.

Under Abrams' direction, a solid foundation has been laid for untold stories. It's exciting to think what the future holds for the franchise with Abrams at hand.

A few key scenes demand discussion including the drop of Kirk and Sulu onto the Romulon drill. Notice the lack of sound through the few frames, then a slow build of breath into an explosive arrival on Vulcan. Awesome stuff.

Leonard Nimoy was an unexpected pleasant surprise. His interactions with Kirk on Hoth, er, the ice planet, were genuine. I can't say the same for Winona Ryder. As Spock's mother, I found her a complete distraction.

As a Star Wars fan, I often found myself making comparisons to my beloved trilogy. From the green alien, Hoth and the Tauntaun... even Spock's ship was rather unoriginal--but this is all inane nit-picking.

As I see it, Star Trek is exactly what you want this time of year. Intense action sequences, dazzling CG, crazy good performances with strong character development and just the right touch of humor--J.J. Abrams can do no wrong. Star Trek is a smart, original reboot that I hope will live long and prosper. {Sorry, couldn't help myself.}

The Court Jester (1956)

Socially inept Hubert Hawkins (Danny Kaye) assumes the role of Giacomo, the "King of Jesters, Jester of Kings" to help the rightful king of England regain his thrown.

Yes, The Court Jester is deceptively simple. However, with Danny Kaye at the helm of this classic, also starring Basil Rathbone, Angela Lansbury, and Glynis Johns, the film is perfection. The film features Kaye's trademark tongue-twisting dialogue, musical numbers, and top-notch humor.

The success of this classic film is due whole in part to the exceptional Danny Kaye. He is mesmerizing onscreen. From his `vessel with the pestle has the pellet with the poison, the chalice from the palace has the brew that is true' to his tender songs, Kaye shines. Basil Rathbone is perfectly evil in a spoof of his own Sir Guy of Gisbourne (see Errol Flynn's Robin Hood). Angela Lansbury is striking as the king's daughter.

The film is a success on every level. The script is fun and witty, the casting is pitch-perfect. Visually, The Court Jester is a real treat despite the age. Costuming and choreography remain beautifully rendered. The underlying humor that's quite smart. They slapstick never ends, but the sharp eye and ear will catch the subtle jabs and spoofs.

As I see it, The Court Jester is genuine slapstick as its finest. The film is unquestionably quotable, entertaining, and undeniably, Danny Kaye's best work. Get it, got it, good.

Shock (1946)

After witnessing the murder of a neighbor, Janet Stewart (Anabel Shaw) falls into catatonic state. Her husband Paul (Frank Latimore) turns to Dr. Richard Cross (Vincent Price) for guidance. When she come to, Janet is faced with the very man responsible for the murder. With her cries of murder go unanswered, Janet must fight to survive Dr. Cross and his demented nurse/lover.

With its melodramatic score and B&W rendering, Shock is a highly predictable, mediocre thriller that only really entertains if you're a fan of the genre. As B-movies go, Shock is a solid B-. The film doesn't have much bite despite Vincent Price and my macabre fascination of him. At only 70+ minutes, it won't waste your time, but it won't shock you either.

Last Chance Harvey (2009)

Harvey Shine (Dustin Hoffman) is a loser in life and love. The aging, struggling jingle writer is losing his job to someone younger, brighter, and technologically savvy. Oh, and he's being replaced in his daughter's London wedding ceremony by his ex-wife's new and obnoxiously successful husband (smug James Brolin). Kate Walker (Emma Thompson) is a lonely airport statistician who wishes for company other than her mother. Fate thrusts these two lonely hearts together and romance blossoms.

Stranger Than Fiction (2006) showcased remarkable chemistry between Hoffman and Thompson. In Last Chance Harvey, we get to see it all again. The film is on par (predictable) with most in the romantic comedy genre, but thanks to the aforementioned couple, we have a fresh and elegant take on 'the same old story'.

As older, quirky professionals, Hoffman and Thompson are genuine in character, look, and feel. Both obviously enjoy one another's company, but the reality of their friendship just might make it worse. Despite the cliched events that conspire to separate the two, Harvey and Kate are fated.

As I see it, Last Chance Harvey is for the romantic of any age. It's an gentle, ordinary story of humanity that's also a real treat.

Coldplay (2009)

For once, I am speechless. Thankfully, there are enough flickr contributors for your viewing pleasure. Check amsd2dth and asfrederick. They might not have been sitting with me--but they have better phones. Never has being with 15,000 people been so intimately beautiful.

The Best Years of Our Lives (1946)

Steven Spielberg mentioned this film as a favorite. The man's got good taste.

Homer (Harold Russell), Al (Fredric March), and Fred (Dana Andrews) are coming home. The three WWII veterans are returning to their small-town America ready to return to a life of normalcy. A sailor, Homer is returning to his fiance, Wilma and wonders if she will still love him after losing his hands to the war. Al went to war a banker, but came back as a soldier who's unsure of his now grown children and self-sufficient wife. Fred went from soda jerk civilian to hero Army Captain. They can't help but wonder are the best years of their lives over as the three men never could have imagined the hardships they must overcome to capture what they once had.

The Best Years of Our Lives is a beautiful drama that evokes a different time and place. The film doesn't focus on the war, but rather, the re-entry of three very different men.

The ensemble cast is remarkable. Unfortunately, I can't do them right as most are unknown to me. Each of the gentlemen explore complex, yet universal themes within their characters. Director Wyler captures these themes of wrapped in the haunted faces and experiences of our menfolk. Myrna Loy, as Al's wife, Milly, is the one known face to me. She is beautiful alongside March in a perfectly understated role.

As I see it, The Best Years of Our Lives is exceptional storytelling. The film contains an authenticity that is timeless. The score is perhaps a bit melodramatic, but the film is a success on every level.

The Tonight Show with Conan O'Brien (2009)

It's the dawning of a new era and Conan O'Brien is in the front seat of his Ford Taurus leading the way. Long the staple of my insomniac diet, O'Brien is well known, not only for his hair, but his sketch comedy and superior monologues.

Debuting on The Tonight Show this evening, O'Brien looked a wee bit uncomfortable, but with encouragement from a rowdy crowd which made him blush--as well as a pale white boy can--O'Brien delivered a solid monologue. New announcer and long time pal, Andy Ritcher was nearby for support. Max Weinberg and the newly renamed 'Tonight Show Band'--complete with LaBamba, also helped O'Brien settle in among some very swanky digs.

His sole interview, Will Ferrell, was an understated exchange, but totally my kind of funny. Musical guest, Pearl Jam was top-notch (FYI: NOT a fan). Perhaps the funniest moment for me, was the taped segment with Conan leading the Universal Studios tram tour. Circle! Circle! Circle!

While Conan and Co didn't push the limits on the first night out, take comfort. This is just the beginning.