Restrepo (2010)

Journalist and author Sebastian Junger spent a year embedded with the Second Platoon in Afghanistan. Along with photographer Tim Hetherington, the duo documents the myriad of emotions from a brotherhood than most will never know. The Second Platoon is assigned to the most deadly valley in Afghani territory—the Korangal Valley. Must of the film is about soldiers fighting an enemy they can’t see, building dirt barriers, burning human excrement, and frustrated not only boredom, but the deaths of their fellow man.

What strikes me most about this film is how young these soldiers look. Amid the chaos and brutality of their mission are moments of great candor. Restrepo is violently engaging, graphically absorbing and bittersweet. The war-weary faces of these men speak volumes and Junger and Hetherington capture them wonderfully.

Regardless of your political opinions, as I see it, Restrepo is an honest look at futility—the Korangal Valley is abandoned altogether as the credits roll. You can’t help respect the raw honesty of the film, but in the same breath question why did we sacrifice young men’s lives for nothing. These boy’s—and they are just that—lives are irrevocably changed. Restrepo isn’t easy to watch for anyone with a soul.

Valentine's Day (2010)

Relationships are difficult; even more so on Valentine's Day as we see in this trite romantic comedy from director Gary Marshall.

personal commentary: 2010 Airing of Grievances

It’s December 23, 2010—Festivus.  It’s been quite a year for grievances, but I'm only calling a few of you out.  I got a lot of problems with you people! And now, you're gonna hear about it!!

Alzheimer's Disease:  Yeah!  You're setting a new Festivus record, Al--two years and counting!  I hate you and everything you stand for.  Who do you think you are?!  You are an unwavering succubus--robbing my family and leaving in your wake confusion, restless nights, pain, and suffering.  In the words of Cee-Lo Green:  F***  You!

Netflix:  You've had a banner year for profits despite numerous missteps from Reed Hastings and his minions.  But you've seemed to forget the loyal customers (5 years) who have and continue to fund your rise to fame.  You have become like a cell-phone provider--a necessary evil.  No longer an underdog, but a meteoric beast who seeks profits over website functionality, social networking, and value oriented services.  You give me pause to question whether you are socially responsible company you claim to be.  But alas!  I will continue to curse your name as I drop those little red envelopes in the mail and wish there was someone to take your place.

Label, label, label:  Democratic. Republican. Independent.  Enough with the labels!  Quick trying to simplify what is a complex.  As human beings, you and I are multi-faceted.  Labels are for soup cans, not me.

Extremist:  It’s not just another name for terrorists.  By the very definition, an extremist is one who advocates extreme dogma or views.  We are ALL extremists (see above) in some way.  Some of you call it passion or dedication.  The government calls is extremism or radial.  Recycler, vegan, tea-partier, Catholic—all require dedication in order to live under the doctrine of its respective views.  You, my friend, are an extremist.

Uni-names:  Curse you, Bennifer!  Whoever decided it was cute to mash-up names and create new monikers like the vomit inducing Brangelina should be drug out and shot.  Those who continue with dumb-ass words like 'jeggings' in 2010 should be water-boarded.  Call things what they are:  Jeans-inspired leggings or two insipid celebs shacking up!

Facebook:  Mark Zuckerberg you have essentially miked the amebic brains of millions of people.  Narcissism has reached new heights with social media.  You make the unimportant seemingly important.  You assist in perpetuating the drama we all thought we could leave behind in high school.  You are cruel.

Vampires:  The once unrequited philosophical creatures of the dark have been replaced by singular pale-faced, high fashion emo kids who are monosyllabic at best—real deep.    You have seduced a society of bored soccer moms, twits and tweeners and unfulfilled people everywhere who seek acceptance and love from the idea of you instead of loving and accepting themselves.  It’s an existential nightmare!

Rewards cards:  Damn you, merchants!  You have slightly and effectively crammed my wallet full of pieces of plastic tracking cards under the ruse of rewarding my loyal patronage.  I have nothing to show for it.  Except for more emails, text messages, and a full wallet… of colorful cards.  You have hoodwinked me by requiring a card to get a ‘lower price’ and we all know it’s not lower.  You still make 300% profit.  Only difference is, I gotta carry this damn card.

And finally, this submission from Angela:

I'm so tired of people saying "happy birthday Jesus". December 25 is NOT Jesus's birthday people! Don't get me wrong, I get it but it just sounds soooooo ignorant to me. Sure, it's the day that we OBSERVE his birthday but still…

The Men Who Stare at Goats (2009)

With a sold cast including George Clooney, Ewan McGregor, Jeff Bridges, Robert Patrick, Steven Root and Keven Spacey, why did this movie turn out so crappy?

Greenberg (2009)

Ben Stiller stars as a self-absorbed 40-something who won't play the cards life has dealt.

Alice (2009)

In this reimagining of Lewis Carroll’s classic story, Alice (Caterina Scorsone) falls into Wonderland after the Queen of Hearts (Kathy Bates) abducts her boyfriend. With help from Hatter (Andrew Lee Potts), she battles the White Rabbit—a secret society—who enslaved humans to bottle their emotions.

For the record, Alice is an adaptation made for the SyFy channel. You know exactly what you’re getting now. It’s a solid A movie—not quite the 'B' I was expecting. The costume detail and special effects are visually engaging. It all has a touch of the trendy steampunk aesthetic. The cast is solid—Tim Curry pops up again, but its Scorsone and Potts that successfully carry the film.

Darkly humorous, slightly twisted, and thoroughly modern, Alice is, as I see it, an oddly entertaining new look on the story.

As You Like It (2006)

An overwrought adaptation of Shakespeare’s tale of love and mistaken identity from director Kenneth Branagh set in feudal Japan with a bunch of British people.  Not his best work.

Feast of Love (2007)

Incredibly irritating romantic dramedy with a nice ensemble cast with Morgan Freeman and his ‘God’ personality.

Kick-Ass (2010)

After only fifteen minutes, I wanted my ass kicked for wasting a rental.  I'm not offended by gratuitous language or brutality.  I am offended by a pointless movie plot centered around a uninspired idiot and Nicolas Cage.

I'm Still Here: The Lost Year of Joaquin Phoenix (2010)

Joaquin Phoenix has succeeded in being even more obnoxious that ever before.  I've always had a soft spot for this jerk because of his role in one of my favourite films of all times: Gladiator.  As Commodus, he was perfectly cold and calculating.  Brilliant performances in Walk the Line, Two Lovers and Return to Paradise lends me to defend his ‘obnoxious’ title.  But after this self-absorbed mess-terpiece, Joaquin is on his own.


Whether I’m Still Here is a calculated hoax or an exercise in narcissism, that’s for the viewer to decide.  As I see it, narcissism doesn’t even begin to cover it.

Countdown to Zero (2009)

I don’t know how you can watch a documentary of this magnitude and not come away affected in some manner. Although you must temper fear with logic—you must take head to the facts presented here. The danger of nuclear war being used by the unstable political leaders is a viable threat.

Countdown to Zero explores the growing list of countries that have and continue to grow their nuclear armaments. The documentary weights the potential for ‘rogue’ weapons and the hope for global attitude change and disarmament. Peppered with insights from world leaders and policy experts, the film is certainly thought provoking.

As I see it, Countdown to Zero stares directly into the crystal ball and while it doesn’t examine the potential fall-out of said disaster, it does question the world’s seemingly disinterest in who has what and why. Since the first bomb was dropped in 1945, ‘experts’ worldwide have questioned the morality and inherent danger with the medium. This documentary doesn't delve into that either.  It's purpose, I think, it simple to begin dialogue among citizens of this world.

LennonNYC (2010)

LennonNYC is a look at John Lennon at his happiest, I think, living in NYC and raising his son. John finally hits his stride in the mid-70s, coming to terms with his tumultuous early years of Beatlemania and his departure from England. Arriving in NYC, John faces deportation and harassment at the hands of the fearful Nixon administration (see The U.S. vs. John Lennon) for his activism, but he is happy. You can see that in the historical footage provided here. It’s as if John has become comfortable in being John Lennon.

This documentary contains great footage of studio sessions, personal home video, cameo concert appearances, media coverage and incredibly personal interviews by the likes of Dick Cavett, Elton John, and Yoko One. The film feels personal. The viewer sees John at vulnerable times when his early solo works aren’t well received by critics and his ‘Lost Weekend’ in L.A. Footage and interview highlights from his son Sean are precious.

As I see it, LennonNYC is a must see for fans of the icon.  It is Lennon at his happiest.  It's comforting to know that this troubled genius found peace before death.

Lennon Naked (2010)

Christopher Eccleston (28 Days Later, G.I. Joe: The Rise of Cobra) stars as the enigmatic and de facto leader of The Beatles in this BBC biopic, which examines some of the more complicated relationships of Lennon’s life. Set in the late 1960s—at the height of Beatlemania, Lennon overwhelmed by the demands of fame and seemingly melts down. In his confusion he lashes out in bitterness towards those closest to him. He discovers Yoko, divorces Cynthia and his band mates.

Lennon Naked takes artistic license at times—I’m sure to evoke a more sentimental tone, but the viewer can’t help but take away how innocently troubled he was. This film’s major focus it the pained, troubled, frightened Lennon and highlights just how alone he was at what should be remembered as his most triumphant times.

As I see it, Eccleston gives a laboured performance heavy on the acerbic and self-absorbed. Lennon Naked is a one-sided view of a multi-faceted icon. Fans with a critical eye can appreciate what the film tries to do.

The September Issue (2008)

The inspiration behind The Devil Wears Prada comes to life in this revealing documentary. Iconic fashionista and Vogue editor Anna Wintour is profiled here in The September Issue. The September issue of Vogue is the pinnacle of the fashion print industry. The demanding 9-month long creative process is shown here following the influential director and her creative director Grace Coddington as they attend fashion week abroad, lead insane staff meetings, and endless photo shoots.

The September Issue pulls back the veil ever so slightly on the illusive Wintour The so-called Ice Queen allows the camera untold intimacy as the viewer learns what drives the demanding perfectionist.  Behind that severe haircut and smileless demeanor is an enviable focused business woman. It is captivating to see how she works among the industry—her name causes designer and stylist alike to tremble with fear. Tempering Wintour is Coddington—an experience no-nonsense creative woman who will fight to end to get her creative vision to print. Personalities clash, but in the end only one woman will win.

As I see it, The September Issue is a fascinating look at the fashion industry.  If you are even remotely interested in the industry you will not be disappointed here.

No Impact Man: A Documentary (2009)

I can’t help but feel the intentions of writer Colin Beavan were sincere, but this documentary is nothing by a whiny video diary from Colin and his wife, Michelle.

The experiment: A yearlong crusade to make little to no net impact on the environment. His intentions are noble. Eating local, organically grown food, shopping intelligently to generate no trash except for compost, and using no carbon-fueled transportation. The crusade soon becomes a war for body and mind for the entire family. And by the fifth day of hearing Michelle want coffee or a chocolate bar or lugging packages, etc… you, the viewer, are disheartened.

The film is admirable, but as I see it, No Impact Man misses the mark. A balance could have been struck here and a better documentary could have been created.

Man on the Moon (2000)

Jim Carrey stars as Andy Kaufman in the biopic that I found obnoxious—not because Carrey is awful. I just have no appreciation for the source material.

Good Hair (2009)

I don’t know the true impetus for wanting to see Chris Rock’s documentary about hair. But I was intrigued enough to queue it up.

Rock visits beauty salons, conventions, science labs, and even other countries to examine the industry that is a black woman’s hair. So much of a woman’s identity can be found in her relationship with her hair—no matter her skin color. The focus here is the extraordinary measure that black woman take to obtain the luxurious locks found on European women.

In an interview with Salt-n-Pepa, we discover the reason behind Pepa’s unlikely hair-do of the 80s—the result of a relaxer accident. Yikes! You can’t help but come away from Rock’s and others honest observations on the ridiculousness behind it all.

As I see it, Good Hair is an interesting social commentary and speaks to a true obsession with humor and candor. Ultimately, good hair is in the eye of the beholder—or rather the scalp of the wearer.

Cold Souls (2008)

Paul Giamatti stars as himself—as an actor who is so overwhelmed by anxiety—he has his soul removed and placed into cold storage. Then is gets lost.  So Paul has some serious soul-searching to do.  Literally.

This existential dark comedy is heavy on irony. You’re either going to like this movie and appreciate Paul’s execution. Or you are going to hate it—just like Eternal Sunshine of the Spotless Mind. You know who you are.

As I see it, Cold Souls lacked the whimsy and emotion of Eternal Sunshine.  Giamatti is good here, but just not interesting enough for me.

The Wolfman (2010)

For Lawrence Talbot (Benicio del Toro) his life ended the night his mother died. Sent to an insane asylum as a boy, shortly thereafter by his father (Sir Anthony Hopkins), Lawrence leaves the institution a bitter man. When news of his brother’s mauled body reaches him, Lawrence returns to England to find his brother’s killer. When he himself is attacked, Lawrence discovers an insatiable blood lust and an unlikely lineage.

This Gothic reinterpretation of the 1940’s horror classic is more atmospheric than anything. Gloomy, eerie, and foggy—it looks amazing. The special effects are solid. The transformation from man to wolf and back again for Benicio del Toro is seamless. The scares are authentic. The cast is above average and includes Emily Blunt and Hugo Weaving. Danny Elfman’s score is perfectly brooding. It's just somewhere along the way, the plot got shelved.

Del Toro parlays his broken man turned hairy beast into solid, albeit one-sided role. Hopkins is, as always, fascinating, but too obvious. Emily Blunt is stiff. All do well considering the under whelming dialogue. It’s awful. The director fails to build any semblance of emotionality amid the stop and go pacing and with poor story elements, well, it just kills it.

As I see it, The Wolfman is a decent film. It’s visually engaging. But unless you project the original storyline on it, The Wolfman is only as good as its scares.

Time After Time (1979)

Jack the Ripper (David Warner) has escaped Scotland Yard and found his way to the 1970s to continue in his heinous killing using H.G. Wells’ (Malcolm McDowell) time machine. H.G. is determined to set things right again and travels to California in pursuit. Along the way, he meets Amy (Mary Steenburgen), a lonely bank employee. Fascinated by this man with impeccable manners, Amy forms a quick attachment to H.G. who is disappointed that the 20th Century is not the Utopia he hoped.  The unlikely duo partners to hunt down Jack.  Along the way, H.G. and Amy share their worlds.

Time After Time is a great bit of sci-fi adventure. Limited only by the technology available, the film is smart with its cat and mouse play. More interesting is McDowell’s portrayal of writer and scientific wonder H.G. Wells. McDowell is convincing as 19th Century gentleman and scholar. David Warner is equally good as the ambivalent surgeon turned evil incarnate.

All historical inaccuracies aside, Time After Time is a lively thriller. The added subplot of Wells’ assimilation into the 20th Century and whether he would have been pleased or disappointed—here he struggles with the overwhelming violence reported on television—by what he sees gives the viewer something to think about. One of my sci-fi favorites!

Plaguers (2008)

Plaguers wouldn't make the cut on Mystery Science Theatre: 3000. 

Seriously.

Mike Birbiglia: What I Should Have Said was Nothing: Tales from My Secret Public Journal (2008)

I discovered Mike Birbiglia after hearing an interview by Terry Gross on Fresh Air to promote his new book Sleepwalk with Me.  Intrigued enough by his book, I queued this Comedy Central special.  Although this set is likely old news to most; for me, this set is freshly hysterical without the seemingly required foul language.  His approach to comedy is endearing without being obnoxious.

Lord, Save Us from Your Followers (2008)

In this thought-provoking documentary, Dan Merchant takes the Jesus fish to the next level. He wears a jumpsuit plastered with conservative and liberal bumper stickers. Through a man-on-the-street perspective, he examines the cultural divide between ring-wing conservative and socialist leftists.

If Merchant accomplishes anything here in Lord, Protect Us from Your Followers, he succeeds in asking Christians to examine themselves. “You call yourself a Christian, but can you call yourself Christ-like?” he asks where faith and culture collide.

Why do Christians spew such hate and rhetoric? Why do they seem so close-minded? And yet, the leftists mirror their actions and come across as the saner of the two.

As I see it and regardless of where you are on the ideological spectrum, this documentary will challenge not only your faith, but also your actions.

The Stepford Wives (1975) (2004)

The original film starring Katherine Ross as Joanna Eberhart is a complete atmospheric creep-out. Joanna and her husband Walter (Peter Masterson) leave the hustle and bustle of NYC for the peace and quiet of Stepford, Connecticut. Soon after arriving to Stepford, Joanna notices not only a change in her husband, but odd behaviour from its residents. The tension builds as Joanna and her new friend Bobbie (Paula Prentiss) dig deeper into the lives of the neighborhood ladies who seem content with household chores. As the truth is revealed, the viewer alongside Joanna is dying to escape the horror.

In stark contrast is the 2004 remake starring Nicole Kidman and Matthew Broderick. Kidman is pitch perfect as a Stepford wife. Glen Close is equally cold and vacant. But sadly the remake misses its mark. Somewhere between cleverly campy and thrillingly creepy is this waste of time.

As I see it, the original is well-executed psychological thriller. It’s remake is mess-terpiece.

The Ramen Girl (2008)

Eating ramen is more interesting than this dramedy starring the odd waif Brittany Murphy.

White Heat (1949)

Sadistic gangster Cody Jarrett (James Cagney) loves only one woman—his mother. Jarrett is a high-strung, volatile man who leads his gang of ruthless thieves by fear. When he cops to a lesser crime and gets sent up the river, a power struggle for the gang begins. Mom takes control only to be double crossed by Big Ed and Cody’s wife. When Cody hears his mom took it in the back, Cody stages a prison break to get revenge.

White Heat is an incredible character study. Cagney’s Jarrett oozes a demented lust. Ma Jarrett (Margaret Wycherly) is equally fascinating as she manipulates her son and his gang to keep his trust. Virginia Mayo at Jarrett’s two-faced broad is typical of the genre.

As I see it, White Heat is a brilliantly executed drama deserving of its accolades. With its dirty-double crossing and incestuous excess, White Heat has become the standard for an entire genre thanks to Cagney’s remarkable performance.

MacGruber (2010)

I don’t know what I was expecting from the SNL sketch turned feature film—but it had Val Kilmer in it. Surely, he wouldn’t attach his name to a dud. I was wrong—so very wrong.

MacGruber (Will Forte) is an inept and accident-prone special ops agent called back into action to eliminate arch-nemesis and former college buddy, Dieter Von Cunth (Val Kilmer). Also enlisted in this crude charade: Kristen Wiig, Ryan Phillippe, and Powers Booth.

As I see it, MacGruber is all shades of wrong. It’s unfunny and uninspired. It’s a never-ending stream of f-bombs, elementary dialogue, and gay sex jokes. Yeah…that’s real original.

House of Wax (2005)

I'm not a huge fan of the hack 'n' slash genre of horror.  I prefer a finer more nuanced movie; then again, a good scare is aways fun.

There is absolutely NO resemblance to the eerie 1953 classic except the name. The newest iteration dumps the old plot and characters in favor of a gory romp starring hot (DUH!), ill-fated teen who take a shortcut to a football game and due to some incredibly stupid decisions end up in the company of some overly life-like wax sculptures.

House of Wax is a movie about twins. Good ones. Bad ones. Normal, well-adjusted ones. Abnormal, mal-adjusted ones. Carly (Elisha Cuthbert) and Nick (Chad Michael Murray) are the good ones trying to outwit and survive the freakshow that is Bo and Vincent (Brian Van Holt). Meanwhile all the friends played by Paris Hilton, Jared Padalecki, Jon Abrahams, and Robert Richard meet their maker at the hand of a twin.

Speaking of gruesome, each of these murders are disgusting and quite frankly, disturbing. It's all compounded by the casual nature in which these acts are committed. As with most slasher movies, this film lies on the shallow side of things. Don't go for plot depth or character development. Keep it all in perspective and go. Go for the superglued lips. Go for the finger nipped by wire cutters. Go for the dead animal carcasses. Go for the hot wax sprayed on a still alive person. Go for a pole through the head. Go for the decapitation. Go for the scissors, er... go for the sheer diabolical killing scenes.

Chloe (2009)

After she suspects her professor husband (Liam Neeson) of cheating, doctor Catherine Stewart (Julianne Moore) hires call girl Chloe (Amanda Seyfried) to test his faithfulness. Increasingly colorful details begin to intensify all of Catherine’s relationships and ultimately put her family in unexpected danger.

Chloe is an unsuspecting psychological drama that works only because director Atom Egoyan is behind it. In the hands of anyone else, I doubt its success. The casting is top-notch. Amanda Seyfried is surprisingly adept as the title character. She is remarkably authentic despite her unusual beauty. Seyfried parlays Chloe into sexy, ruthless young woman. Liam Neeson and Julianne Moore are fantastical as a six-figure power couple. You want them to succeed, but are secretly jealous of their success.

The film is a sleek and sensual mirage. Egoyan plays the elements creating a world that seduces the viewer, too. From the super modern lines of the residence to the warm glow of the park greenhouse, each element creates an atmosphere reflective of the character onscreen.

As I see it, the startling finish elevates Chloe from average to memorable. But if the film has one flaw, it’s also the ending. The climax, though rushed, is still brilliantly executed. It’s a shame that the ending is so abrupt.

Iron Man 2 (2010)

Tony Stark (Robert Downey Jr.) now has a monopoly on world peace. Too bad the government, his peers, and some evil Russian dude want in.

There’s a lot going on in the sequel to last year’s blockbuster. Back is director Jon Favreau, Robert Downey Jr., Paul Bettany, and Gwyneth Paltrow. Back is the glam, the attitude, and the special effects. Adding to the fray is a who’s who of cool actors including Don Cheadle (OK, he’s not really all that cool), Samuel L. Jackson, Scarlett Johansson, Michey Rourke, Sam Rockwell, and John Slattery.

Iron Man 2 is pure popcorn—loud, funny, thoughtless—entertainment. The soundtrack is cool. Stark’s Malibu cliff-side lair is awesome as are all of his toys, friends, enemies, etc.  The film is a solid sequel and everything you'd want in a summer blockbuster.

Girly (1970)

Mumsy, Nanny (Pat Heywood), Girly (Vanessa Howard), and Sonny are a perfect family—a perfectly evil family who lure unsuspecting men into their expansive mansion for role-playing games. Refuse to play by the rules and the new playmates are quickly dispatched to ‘play with the angels’. When Girly and Sonny’s newest friend (Michael Bryant) decides to play by his own rules, the entire household becomes topsy-turvy.

This oddly grisly cult film from the 70s is just weird. Like a train wreck, you can’t look away. Girly isn’t particularly gory despite horrific deaths—it’s the incestuously creepy relationships of the ‘perfect family’ and their Stepford Wives ways that freak this viewer out. Mumsy is clearly the head of the house with her weirdly little ticks. Nanny is obediently subservient. One gets the sense that she’s more than a nanny. Girly is this stunningly beautiful woman who lives in baby-doll gowns and schoolgirl uniforms with pouty lips and heaving chest. Sonny is cruel hateful boy despite his years. Both children sleep in cribs. This perfect family adheres to a whole other set of psychopathic values.

As I see it, Girly--perhaps better known by it’s UK title: Mumsy, Nanny, Sonny, and Girly--is perfectly ghastly. Reminiscent of Whatever Happened to Baby Jane, the film is a must for any horror-film fan.

House of 9 (2005)

This low-budget and ultimately forgettable imitation of Saw stars Dennis Hopper as a Catholic priest.

The Trouble with Harry (1955)

The trouble with Harry is he’s dead and nobody in the small town knows what to do with his body. Capt. Wiles (Edmund Gwenn) thinks he killed him while out shooting rabbits. Miss Gravely (Mildred Natwick) knows she did it, but Harry shouldn’t have grabbed her. Jennifer Rogers (Shirley MacLaine) thinks she did it and Sam Marlowe (John Forsythe) didn’t but wishes he did.

This macabre murder mystery comes from director Alfred Hitchcock. Making The Trouble with Harry worth the trouble, is the gallows humor and the ‘will they or won’t they’ suspense from the ensemble cast. Poor Harry is buried and dug up over the course of a day in this nice little tourist town.

The production is, of course, top-notch. Hitchcock’s direction is unparalleled. He frames Harry’s death with autumn in Vermont making quite the juxtaposition. The Technicolor is brilliant making the scene oddly morbid. Unexpected shots, gory details and comedic timing to die for enhance superb performances by John Forsythe and Edmund Gwen.

As I see it, The Trouble with Harry is a clever unstated comedy—sadly, it’s probably lost on modern film fans. That’s too bad, because this is one of Hitchcock’s most twisted.

That Thing You Do (1996)

This film is as bland as the title suggests.

Old School (2003)

I'm wishing for 90 minutes of my life back right now.

Letters to Juliet (2010)

Letters to Juliet is a sufficient romantic comedy complete with the prerequisites sans vapidity:

• Dashing male interest (Christopher Egan)who is misunderstood as a jerk, but is actually a socially-aware and kind-hearted sap
• Oddly-beautiful single girl (Amanda Seyfried) who has it all, but is dissatisfied with career thereby causing her to reconsider her young life's work
• Loser boyfriend who under appreciates said single girl (played by Gael Garcia Bernal)
• Astute mentor (Vanessa Redgrave) who is able to dispense wise words over a glass of wine while mentally calculating how to hook up her single girl pal with a charming suitor
• a soul-searching journey (across Italy) on behalf of someone else (see mentor) but ultimately reaping rewards alongside said person (see oddly-beautiful single girl)
• 'warm glow'
• one 'look up at the stars at night and ponder' sequence
• mild innuendo
• easy physical comedy
• soft scoring

Letters to Juliet is an easily enjoyable film for the romantic.  Vanessa Redgrave steals the show as Claire, but kudos to Amanda Seyfried who holds her own.

The Rocky Horror Picture Show (1975)

How about you pretend not to read this and I'll pretend I didn't see it.  DEAR GOD!  MY EYES!!  OH!!  MY EYES!!

British Favourites: Being Human (2008-??)

The British do it better.



A vampire, a werewolf, and a ghost rent a flat.  No, its not the beginning of a joke.  But it is the premise for another stellar BBC production.  And while the description alone would lead the viewer to think comedy, Being Human is so much more.

Mitchell, the vampire and his werewolf buddy, George rent a flat haunted by a ghost names Annie.  The odd trio help each other survive being immortal in a mortal world.  Mitchell is on the wagon--swearing off human blood.  George refers to his mutation as his 'time of the month'.  Annie is trying to figure out why she can't pass on.

The combination of dry humor, dramatic spells, modern dialogue, special effects, and overall brilliant execution makes being human an incredible show.  The chemistry between the ensemble is spot-on creating supernatural authenticity.  It's smart, funny, and so very British.

Being Human is another great example of quality programming that very few of us will get to see.  I'm jealous of our friends across the pond. What a shame that our nation's collective IQ doesn't support such awesome productions here.  The debut season is available on DVD from Netflix and Amazon.  Season Two drops next week.

George A. Romero's Survival of the Dead (2009)

I’ve started to think that George A. Romero should retire. Night of the Living Dead is the pinnacle of zed films. Standing alongside is Dawn of the Dead. I will always love Romero for his contribution to pop culture. But stop; please stop.

In what is essentially the undead-hating Hatfields versus the cure-seeking McCoys, Survival of the Dead is an unmitigated disaster. Look, I gave Romero a pass with Diary of the Dead. It has solid social commentary amid a few good frights and laughs. This film has nothing. Even the zombies are bored.

Survival of the Dead asks the question: Can the dead and undead co-exist? Decades of zed-films give us the answer: HELL NO! Romero’s attempt here is uninspired. It’s also unfunny, ungory, and as I see it, unworthy of your time.

The Book of Eli (2010)

In a post-apocalyptic world, Eli (Denzel Washington) travels West determined to deliver a sacred book that will save the world. In his travels, he meets many wanderers. When he stumbles upon a ramshackle town run by Carnegie (Gary Oldman)—a man obsessed with finding the book Eli is protecting.

The Book of Eli is part Mad Max with its gritty, steam-punk feel and part The Matrix with its tight action sequences and mythology. Though the film has as much plot as the two of them combined, I have a feeling you’re either going to love this film or hate it.

The cinematography is amazing. Shots are brilliantly framed, creating untold angles and interest. The play of negative spaces does more to convey bleakness than ever before. The dialogue of the film is limited, so directors Allen and Albert Hughes depend on the atmosphere to create hopelessness and boy, do they succeed. It’s deceptively simple.

As I see it, The Book of Eli is a fine waste of time. The cast is just interesting enough, but it’s really the adept hand of the Hughes brothers that makes this film thought-provoking.

Masterpiece Theatre: Poirot: Murder on the Orient Express (2010)

Hercule Poirot is seen here in his finest hour in Murder on the Orient Express.  The prim Belgium detective is a passenger on the Orient Express bound for London when a murder occurs aboard the train.  Sifting through a litany of suspects, Poirot is puzzled with the evidence leads to more than one suspect.  Can it be true?

Let me say it again: David Suchet makes this detective.  I will never be able to imagine Poirot any other way.  Though the episode is darker and more ominous that we've come to expect, the production is thrilling in part to Suchet's emobodiment of the characters.  Supported by other fine BRitish actors, the production is brilliantly executed.  As with all BBC productions, no expense seems to be spared.

Fans of the detective will no doubt enjoy!

Up in the Air (2009)

Writer/director Jason Reitman’s Up in the Air is a nice movie; too bad it’s boring. And that’s a shame. There’s a great cast led by George Clooney with some obscure favorites like Vera Farmiga, Anna Kendrick, J.K. Simmons, Jason Bateman, Danny McBride and my new, new favorite: Zach Galifianakis. But this movie felt as cold as the airport terminals it was filmed in. No chemistry, no inspiration, no anything.

I miss the wit and humor of Reitman’s earliest work, Thank You for Not Smoking. Just like Juno, the charm of Up in the Air is lost on me.

Dorian Gray (2009)

This retelling of Oscar Wilde’s novel The Picture of Dorian Gray is a far more visceral experience than you’d expect. It’s an assault on the senses. Lavish, lurid, breath-taking, and sometimes shocking, this is a new look at an old Dorian.

The film’s one success is owed to impeccable performances by Colin Firth and Ben Barnes (Prince Caspian). As Gray, Barnes is perfectly naïve; his decent in hedonism is more direct in this version, but Barnes plays so nonchalant it’s captivating. As chief influencer, Lord Henry Wotton, Colin Firth is at his most devious. Wotton’s infatuation with Gray is reciprocated with disastrous results, but watching Firth and Barnes flirt is something else.

As with any interpretation, the book is merely source material. Director Oliver Parker focuses on sexual deviation as Dorian’s primary corrupter. The book was broader in pleasures, more refined and considered the ramifications of said lifestyle. The film belabours Dorian's bedroom affairs much to the discredit of the director. Sadly, the film doesn’t delve deep enough into the morality--a primary theme of the book--furthering the disappointment for this viewer. Still the brooding Gothic overtones and occasional starts may keep you intrigued.

As I see it, Dorian Gray is a picture show and a gorgeous one at that. The period settings, costumes, and cast are simply stunning. A keen eye will notice the gradation of color as Gray’s descends into debauchery. But the film lacks a key emotional element that makes the book far more interesting.

Guilty Pleasure: The Bodyguard (1992)

Uninspired clichés, bad montages, and equally bad acting does not keep me from enjoying The Bodyguard. As Frank Farmer—a former Secret Service agent who’s lost his mojo—Kevin Costner gives a bad impression of Clint Eastwood. Sullen, direct, no-nonsense, Frank spars with his new assignment: spoiled pop diva Rachel Marron (Whitney Houston). Houston can’t act, but she could sing. Her incredible vocals are showcased here alongside some really bad costume choices.

The effort to create tension between Farmer and Marron is gravely apparent. Let’s face it. Costner and Houston have about as much chemistry at Bert and Ernie. It’s a valiant, but laughable effort. True to his professional duties, he saves the day by taking the gunshot intended for his client. In a panic, she confesses her feelings. But alas, it is not to be. Stoic as ever, Frank leaves Rachel on the tarmac for the Pope. Fade to black.

The Bodyguard is rife with goofs and continuity mistakes further cementing itself as a guilty pleasure. Boom mikes pop-up everywhere. Cigarettes and dolls disappear and magically reappear. The plastic katana sword that Marron uses in the bedroom kills me. The soundtrack is all this film has going for it but in spite of it all, The Bodyguard works.

Piranha 3D (2010)

Combine the bloodshed of storming the beaches of Normandy found in Saving Private Ryan with Girls Gone Wild on location at Panama City Beach and Jurassic Park and you’ve got Piranha 3D.

Flesh bounces, jiggles, glistens, fillets, tears, and bleeds unmercifully in the abomination. Let’s just say director Alexandre Aja (The Hills Have Eyes remake, High Tension, Mirrors) goes for broke blurring the line between camp, porn, and bad taste in this rehash of Joe Dante’s 1978 cult classic.

As I see it, just know you are going to see a movie where it is appropriate to yell ‘that’s what she said’ at the screen after every sentence. You’re going for gratuitous nudity, innumerable deaths, and campy humor. You’re going to have blast despite shoddy special effects and nonexistent plot.

Following (1998)

A young writer (Jeremy Theobald) begins to follow random strangers in an attempt to develop material. Enter a local two-bit burglar (Alex Haw) who enters local flats more for the thrill than the theft. Fascinated, the writer job-shadows the burglar and quickly becomes his apprentice.

Writer/director Christopher Nolan brings us this odd B&W noir thriller. Taut, intriguing and claustrophobic Following is reminiscent of Memento without a budget. Nolan must invent that which he cannot afford and it serves the viewer well.  Observatoin is key as Nolan heaps layer after layer of detail upon the senses.  As the layers unfold their secrets, a seediness arises that makes you feel like a voyeur in this blighted London neighborhood. The tension rises to the breaking point with the last ten minutes exploding your mind.

As I see it, Following is a rather auspicious debut from Nolan.  The film is a tight, low-budget masterpiece and a must-see for fans of this director.

Hannie Caulder (1971)

At some point in this western starring a stunning Raquel Welch, Christopher Lee, Ernest Borgnine, Jack Elam, and Robert Culp, it was discovered the budget ran out.  How else can I explain this hodge-podge of events and abrupt ending?!

Dry, dusty hills of Mexico are the backdrop of piddly robbers, over-qualified gunslingers, and Raquel Welch. It was neat to see a youngish Lee.  As I see it, Hannie Caulder is a niche film and not a very good one at that.

Inception (2010)

To review Inception spoils Inception. Suffice to say that writer/director Christopher Nolan has created a thrilling philosophical work. 

Memento remains my favorite from Nolan—it’s the emotional payoff. But this is a close second.

The Other Guys (2010)

Terry ‘The Yankee Clipper’ Hoitz (Mark Walberg) and Allen ‘Paper B!tch’ Gamble (Will Ferrell) play third fiddle to fellow NYC cops and heroes Highsmith (Samuel L. Jackson) and Danson (Dwayne Johnson). When the dynamic duo of H&D meets their unlikely demise, the desk jockeys finally get their chance.

And that, dear readers, is all you’re going to get. Suffice to say the pithy dialogue, voice-over by actor/rapper/bad-a$$ Ice-T and brilliant casting that includes smoking-hot Eva Mendes, Michael Keaton, Steve Coogan, and Ray Stevenson and with cameos by Brooke Shields and Spike Lee create a summer-must see.

A surprisingly relevant, socio-economic commentary—only if you want to look closely—The Other Guys is a finely executed action-packed comedy. The film’s success is in its delivery. The onscreen chemistry between Ferrell and Walberg is top-notch. With both playing straight, the film contains less sight gags than you’ve come to expect from McKay’s productions. The cop clichés don’t hinder the film. Ferrell and Co. use 'em and blow 'em away.

As I see it, The Other Guys is smart rapid-fire comedy. Every element is on par delivering another level of hilariousness. The soundtrack is incredible. Ultimately, it’s the pairing of Ferrell and Walberg that makes it work.

Masterpiece Theatre: Poirot: Appointment with Death (2008)

Belgian sleuth Hercule Poirot (David Suchet) is vacationing in Syria when he joins a party at the archaeological dig in for the skull of St. John the Baptist. When Lady Boyton is murdered, Poirot finds himself surrounded by family members with motives.

Suchet embodies Christie’s intrepid detective nicely. While I can’t speak to the faithfulness of the novels, Suchet’s Poirot is everything I imagine him to be. His accent is unforgiving as is his penchant for impeccable grooming.

The supporting cast in this episode include people ‘you know you know’, but can’t put a name with. Who played Evy’s brother in The Mummy? John Hannah! He moonlights here as an enigmatic rogue. Christina Cole—a BBC production staple—plays an eager your doctor trying to catch the eye of the younger Boynton lads. And Tim Curry!! Thick, aged, and delightfully eccentric, Curry appears as the obsessed archeologist Lord Boynton.

As I see it, Appointment with Death is as lavish a production as you've come to expect. Every detail is as refined as Poirot’s moustache. The episode is a surprisingly taut thriller that will have you guessing right up to the end. Fans of the Belgian will not be disappointed.

The Lovely Bones (2009)

When 14-year-old Susie Salmon (Saoirse Ronan) is murdered by a local pervert (Stanley Tucci), she watches her family as they deal with her tragic demise. Dad (Mark Walberg) seeks vengeance. Mom (Rachel Weisz) seeks healing. Her murderer is looking to strike again.

Told from the perspective of the deceased, The Lovely Bones is adapted from the best-selling book. Under the direction of Peter Jackson, the film is an unusual blend of elements.  It's brilliantly cast. Mark Walberg is remarkable as the tormented father. Susan Sarandon as the chain-smoking grandmother adds some levity. Rachel Weisz is sorely underused.   But Saoirse is phenomenal. Ultimately, it is her performance that you should see.

Here’s where it gets tricky. The CGI is amazing. It blends seamlessly throughout the film. But I think Jackson gets wrapped up executing an ‘epic’ and fails the film. He fails miserably. The nature of the film calls for an emotionality that never comes. The Lovely Bones loses itself in fantastical sequences where our doomed Suzie wanes philosophical.

I won’t go so far as to say I feel cheated by the film’s elusive climax. But it will be polarizing. As I see it, The Lovely Bones is a valiant effort by Jackson. But the film is unbalanced--too much CGI, not enough depth.  Sadly he misses the mark with this adaptation.

Invictus (2009)

February 10, 1992 and the apartheid comes to an end with Nelson Mandela elected to the presidency. In his search to unite the people of South Africa, Mandela (Morgan Freeman) turns to the leader of the country’s rugby team—Francois Pienaar (Matt Damon). Challenged by Mandela to help him unite their country, Pienaar sets out to win the 1995 World Cup.

Director Clint Eastwood brings real-life events to the big screen. Adapted from a memoir, Eastwood locks in two fine performances from Morgan Freeman and Matt Damon. Without these two, Invictus would be another formulaic feel-good drama.

Freeman makes Mandela—of whom I know little—interesting. The very embodiment of ‘being the change you want to see in the world’, as Mandela, Freeman spouts wisdom beyond his years. The film gives us an enigma. Damon owns his performance with conviction. He nails the accent and provides us with an understated, determined man in Francois Pienaar. Equally as interesting is the game of rugby. Intricate cinematography, on and off the field, along with stunning scoring by Kyle Eastwood creates a beautiful production.

As I see it, Invictus is not Eastwood’s best. But he’s a fine director and anyone investing in this drama won’t be disappointed.

The Art of the Steal (2009)

Political maneuvering from the likes Walter and Lenore Annenberg (The Philadelphia), The Pew Charitable Trust, and the City of Philadelphia conspire and succeed to dismantle one man’s humble beginnings that became a brilliant (private) collection of Post-Impressionist and Modern paintings.

I Need that Record! (2008)

The independent record store is quickly becoming an endangered species. Documentor Brendan Toller explores the demise of local stores amid the rise of music downloads, conglomerate radio, and music labels that look at the balance book not the artist development.

Toller's doc doesn't lament the record store as much as celebrate it. Amid interesting facts on the monied bean counters, candid interviews with indie store owners and fans reflect on the impact the local stores have made. Toller and his interviewees make the case for 'mom and pop' stores of all kinds. These stores are not only records, they are gathering places for like-minded, independent folks that refuse to be force fed the payola driven Autotune crap that makes it on the air waves.

The film doesn’t make a villain of downloads, $10 CDs or the people that buy them. Instead the finger is clearly given to the music industry suits, their poor management and inability to react to ever changing demand. Toller pinpoints the demise of record stores to the Telecommunications Act of 1996 signed by President Clinton that helped create the monopolies the act was supposed to prevent. Death to Clear Channel!

As I see it, I Need that Record! is an interesting, if meager look at an ugly industry. If anything, the film should spur you to support small, local talent and industry.

Guilty Pleasure: Anchorman: The Legend of Ron Burgundy (2004)

Anchorman is a delicious farce of a male-dominated era that I have no excuse for enjoying, but I do. To my embarrassment, Anchorman quotes find their way into my daily life. How does such a retarded film bring me such joy? It's the flute.

Will Ferrell goes for the gusto as big-shot news anchor Ron Burgundy. The insulting verbal sparring between Burgundy and aspiring lead anchorwoman Veronica Corningstone (Christina Applegate) kills. So does rock flute, loud noises and Sex Panther cologne. Ferrell's antics as Burgundy are supported by skirt-chasing adulators played by Steve Carell, Paul Rudd, and the often misaligned David Koechner. A must see is the cameo-filled gang fight with Tim Robbins as public television anchor, Ben Stiller as the Spanish channel anchor, and Luke Wilson.

The comedy is obvious—often obnoxious—but it's just so gloriously cheesy. Carrell’s dumb as a rock weatherman is priceless, but Paul Rudd’s ‘musking up’ is hysterical. You get everything in this production: side-splitting dialogue, slapstick humor, sight gags, and offensive sexist comments.

As I see it, Anchorman is a totally guilty pleasure. It’s so dumb. And I like it.

Bonus Feature: Book

From the author of The Year of Living Biblically, comes The Know-it-All. It’s the other way ‘round actually. The Know-it-All came first. It’s one man’s humble quest to read the entire Encyclopedia Britannica. Which begs the question… why? Author A.J. Jacobs explains quite honestly “I used to be smart.”

With that, he sets out to read 32 seemingly endless tomes of knowledge. Some interesting: You only need three rambunctious people to legally qualify as a riot. Some not: Scrabble is also available in Braille.

And while I can’t this is an always enjoyable read—it’s exhaustive—Jacobs’ acerbic wit is ready when you need it most. Amid is retelling of EB entries, are personal stories of meeting Alex Trebek, the quest to be a Mensa member, appearing on Who Wants to be a Millionaire?, and his wife’s infertility. Occasionally, both the author and reader will stumble upon something truly extraordinary (origin of bedlam or the misguided determination of the freezing point). But Jacobs’ really hits his stride in the mini-diatribes on things like the wisdom of Ecclesiastes, Goethe (who he says makes Leonard di Vinci “look like a lazy bum”) and vexillology.

The Know-it-All is surprisingly honest. Jacobs’ personal reflections are real, sometimes profound, but always true. An amusing, well-crafted read.

The Runaways (2010)

The Runways is a tightly wound, low slung biopic that charts the epic rise of 1970s all-girl rock band. Let me tell you this… you will not find finer performances by Dakota Fanning as Currie or Kristen Stewart as Joan Jett.

Fanning and Stewart both have a devil-may-care bad-a$$ness, but it is far from clichéd. As Currie, Fanning strikes an indifference to the world around her to prevent the hurt that is ever near. Her pairing with Joan takes her away from an alcoholic father, a self-absorbed mother, and a dear sister. When we meet Joan, she is shopping in the men’s section and demanding that the music instructor teach her ‘Smoke on the Water’.  To which he replies "girls don't play electric guitars."

Paired up by legendary music producer, i.e., weirdo Kim Fowley (Michael Shannon) the two quickly become friends, joining forces as the meteoric rise to international fame brings the excesses of rock ‘n’ roll to their door.

If the film has one caveat it’s the running time. Not nearly long enough to explore this amazing group. Then again, only fans of the era and/or group would want to watch 2+ hours of this stuff. Sadly, the other two band members are relegated to footnotes. Drummer Sandy West (Stella Maeve) gets a mention when she and Joan first meet and actually start the band. And Lita Ford (Scout Taylor-Compton) is eye candy.  Currie gets the only family background as the film is based on her memoir.

As I see it, The Runaways is a visceral film. It’s gritty, excessive, dramatic, and beautifully surreal. But only the performances by Fanning and Stewart elevate the film from being average.

Rushmore (1998) // The Royal Tenenbaums (2001)

Wes Anderson is easily one of my favorite directors.  His unexpected views are always a delight.  Each of his films are a personal favorite.  Here are only two. 

Rushmore (1998)
Max Fischer (Jason Schwartzmann) is a sophomore at Rushmore Academy. Preferring to engage in extracurricular activities, Max finds himself on academic probation. Rushmore is threatening to fail him. Max befriends the father of his fellow students, Herman Blume (Bill Murray) and an odd relationship begins. Being expelled from Rushmore doesn’t keep Max from falling in love with his former teacher, Ms. Cross (Olivia Williams). It’s unfortunate, because Herman does too.

The understated performances make this movie. Schwartzmann and Murray play against each other wonderfully. They are essentially the same character at a different stage in life. Max is a naïve, overachieving and often pompous young man while Herman is a wealthy pompous old fart—both are looking for validation and their place in the world. Engaged in tug-of-war for the same woman’s heart, Schwartzmann and Murray’s roles are simultaneously odd, fun, and delightfully nuanced.

Writer/director Wes Anderson has created a beautiful film with understanding and sympathy for the adolescent—albeit characterized—experience. Every element of the film falls into place creating an intricate weave of cinematography, dialogue, settings, and score. It’s quite an experience.

This was the second of Anderson’s films for me. I watched Rushmore only after falling in love with The Royal Tenenbaums.  The Tenenbaums were most first exposure to Wes.  For that reason, this film is my favorite.

***

The Royal Tenenbaums (2001)

The Tenenbaums are unlike any family you’ll ever know and this is their dysfunctional story.

Alec Baldwin narrates the story of Royal Tenenbaum (Gene Hackman). Royal and his wife Etheline (Angelica Huston) have three children: Chas, Ritchie, and Margot. Royal's lack of interest in his children is the cause of his separation from Ethel. He leaves; as the years pass the children have become prodigies under their mother’s guidance.

Many years later and after hearing the Tenenbaum accountant is moving in on his wife, Royal feigns terminal cancer in effort to regain all that he has lost.

The diagnosis of cancer helps bring the errant former prodigies home. Chas (Ben Stiller) started buying real estate in his early teens and had a preternatural understanding of international finance. Now, a widower, he is struggling to come to grips with the loss of his wife in a tragic plane crash. Chas has become a safety freak and returns to the Tenenbaum family with his two boys in tow after deciding their apartment needs additional sprinklers and security. Ritchie (Luke Wilson) was a tennis phenom at an early age. After losing a game, Ritchie inexplicably leaves the game. He spends his days on a boat wandering on the high seas (for no apparent reason) until the news reaches him. Margot—she’s adopted—was a brilliant playwright and a smoker at twelve. She returns to the family home upon hearing of Ritchie’s arrival.

Oh… it gets better my dear friends. The colorful supporting cast includes Owen Wilson, Danny Glover, and Anderson muse, Bill Murray in memorable roles.

The Royal Tenenbaums is extremely well played. Writer/director Wes Anderson’s screenplay is top-notch—subtly outrageous and quirky. Physical comedy, agile dialogue, and brilliant chemistry are just the beginning. Add an unusually eye-catching production including oddly framed chapter introductions and assaulting opening credits, and plotlines advancing to the tunes of The Beatles, Bob Dylan, The Clash, The Velvet Underground, and The Rolling Stone… well, we got emotional resonance, too.

As I see it, Anderson essentially let’s Hackman and his cohorts run (cleverly) amok. But amid all the seeming chaos is the realization that family—no matter the dysfunction—is what life is all about.

The Young Victoria (2009)

The beginning of one of the greatest love stories is told here in The Young Victoria. Victoria (Emily Blunt) ascends to the British throne at the early age of 18 fighting after a brief fight against regency. The young monarch confides to her young German suitor Prince Albert (Rupert Friend) that she feels a bit like a chess piece. His response “Then you had better master the rules of the game until you play it better than they can” pierces through the noise of her courtiers and handlers who are out to manipulate the young girl. Victoria sets her mind to rule not only the throne, but her court.

Chronicling the early life of Queen Victoria, the film is a stunning period piece thanks to brilliant execution by Blunt and Friend. The pair, surrounded by opulent costumes and settings, is given every tool to shine and they do. Blunt and Friend lose themselves in their historic roles with amazing chemistry and passion.

The supporting cast of courtesans, politicians, and players include a spot-on Jim Broadbent as King William who is prone to emotional outbursts. Paul Bettany as the charming Lord Melbourne, Mark Strong as the conniving Sir John Conroy, and Miranda Richardson as the Victoria’s mother, the Duchess of Kent all impart strong will to pivotal roles that wish to bend Victoria’s ear.

The lush drama unfolds, focusing on the relationship between Victoria and Albert which evolves subtly. Their love cuts through the power plays and manipulations. She needs him, more than Albert needs her. And yet, from the moment the two pawns meet it is apparent this is a relationship to build a monarchy on. But the two are determined to play by their own rules. As Victoria learns to trust him more, she becomes a stronger woman, finding success on the throne as well.

Though I can’t speak to historical accuracy, I don’t believe that is the film’s intent. Rather, The Young Victoria is a condensed look into the early years of a beautiful love story.  The film's one downsides is its running time.  As a fan of this genre, we are given only a parts of the story to advance the plot.  But with this many interesting characters, I wanted more intrigue, villainy, and usurpation.  Victoria's one good outburst—she mistakes stubbornness for strength—is worth seeing for Blunt's remarkable execution.

Falling short of grandiose, the film is content to be human and poignant. But as I see it, the sumptuous production that is The Young Victoria is nothing without the powerful performances from Emily Blunt and Rupert Friend. A must-see for fans of historical drama!

The Visitor (2007)

Professor Walter Vale (Richard Jenkins) has been on autopilot since his wife’s death. Walter exists; but nothing more. Returning to his New York apartment after an extended absence, he is surprised to find an immigrant couple squatting in his home. Tarek and Zainab interest him. Whether out of pity or boredom, Walter allows the couple to stay while he attends his required convention. Walter forges an unlikely friendship with Tarek, enchanted by his passion for life. But when Tarek is profiled and thrown into a detention center, Walter finds a passion unlike no other.

The Visitor is an unassuming independent film that you will either love or hate. Braving a very polarizing topic—illegal immigration—director Thomas McCarthy examines the relationship of Walter and Tarek without taking sides. Bravo McCarthy for achieving so much depth and emotion from the screenplay in 98 minutes.  The film takes sides, but Walter is there as the devil's advocate.

Richard Jenkins is phenomenal. His Walter Vale is an overwhelmingly sad man, but subtly so. He finds joy in nothing until Tarek and his African drum enter his life. Walter's evolution is beautiful thanks to this performance.

The bittersweet inevitability of The Visitor is the film’s crux. The viewer expects it, but any other resolution would cheapen the experience. As I see it, The Visitor is a quiet film that will ultimately call the viewer’s feeling will be called into question. Your response to that will determine the success of this film.

The Road (2009)

Beautifully hopeless post-apocalyptic road trip movie starring Viggo Mortenson as Father and unknown youngster Kodi Smit-McPhee as Son; failing health, cannibalistic survivors, and the end of the world threaten their walk to the east coast.

Entre les Murs (2008)

If you have the patience to put up with this French docu-drama, released in the U.S. as The Class, then you will be forever grateful for our public schools.

The Box (2009)

Spazzy melodramatic chemistry-free crap-fest starring Cameron Diaz with a feathered hairdo and the dude that Rachel McAdams dumped in The Notebook—James Marsden

Johnny Got His Gun (1971)

'Powerful antiwar' film—at least that’s what they say.  What I stayed around for a crazy mess.

When You're Strange: A Film about The Doors (2009) // The Doors (1991)

Followers of the Lizard King will revel in the original footage found in the newest documentary of the Doors.  When You're Strange director Tom DiCillo looks into the iconic American band exposing new insights, debunking myths, and examining what made them tick all with Johnny Depp’s narration. He is able to quantify why I find so very fascinating. It goes beyond the poet shaman, it is their music—the mystic, melodic sound courtesy of flamenco, blues, and jazz influences. The beat held by Ray Manzarek’s piano bass and his signature Vox organ create the ground for John Densmore’s blues drumming that weaves in and out among Robby Krieger’s finger-styled lead and rhythm flamenco guitar.

Jim Morrison was a broken genius who numbed in pain with drugs and alcohol. His persona became larger than life. That is more than apparent with the footage included here dated from 1966-1971. What is more tragic is how obviously frustrated Densmore, Manzark, and Krieger are; yet they take no action, going so far as to play right on through Morrison’s alcohol induced haze.

DiCillo gets it right where Oliver Stone gets it wrong…

Val Kilmer’s performance as Morrison is unwavering and eerie. The subtle nuances—the shift in his gaze, the near pirouette of his stance, the way he holds his mouth—it’s uncanny. But that is where it ends. Kilmer (and the audience for that matter) is in for one never-ending drag. The transcendent elements are there, as are important period elements, but Stone’s biopic is self-indulgent. The film is essentially one long trip, a mash-up of Morrison’s demonized life that serves no other purpose but to sensationalize.

British Favourites: Death at a Funeral (2007)

Death at a Funeral is a delightfully odd-ball black comedy.  Very much in the vein of their forefathers (Monty Python, anyone?), nothing is off-limits here.  In the wake of an American remake that is nothing but a horrible comedy with black people, I feel compelled.

The British do it better.

 Fans of dark British humor and odd comedy will enjoy this rather peculiar movie. David (Matthew Macfayden) is nervous about his father's funeral wake. He is delivering the eulogy even though his brother, Robert (Rupert Graves) is a famous writer. But when a strange midget (Peter Dinklage) appears and threatens to expose the recently deceased patriarch's extramarital gay affairs lest David and Robert pay him off, the brothers take matters in their own hands.

Frank Oz directs this madcap piece filled with a virtual no-name {to me anyways} and mostly British cast. Led by Macfayden {Pride & Prejudice} like you've never seen, Death at a Funeral is an insane romp. The far-fetched plot is a perfect medium for some great individual performances. Alan Tudyk (A Knight's Tale, 3:10 to Yuma, Dodgeball) as the boyfriend who is unknowingly macked-out on acid, gets a perfect opportunity to shine and steals the show. Macfayden is a straight-laced foil to his co-stars. Graves, Dinklage, Kris Marshall, Andy Nyman, Daisy Donovan, and Jane Asher {Paul McCartney's one-time girl friend} all have moments that induce side-splitting laughter.

Family relations are always complex. Sibling rivalry is just the beginning in this British farce where family turmoil ultimately threatens to overshadow the funeral. Despite it all, a heartfelt eulogy is delivered.

Death at a Funeral is NOT for everyone. If you like your humor quick, dry, un-PC, and British, then this is for you. From the moment the wrong body is delivered to the front door, Death at a Funeral is a spot-on comedy.

You've Got Mail (1998)

Funny, I don’t remember You’ve Got Mail being this sentimental. It’s disgusting really, but somehow, I always manage to fall in love with Joe Fox (Tom Hanks) in the end.

12 years later and You’ve Got Mail continues to be the standard by which romantic comedies are measured. Rom-coms have evolved—rightly so—and this one is dated. The iconic, now archaic ‘you’ve got mail’ and dial-up modem is a trip.

As I see it, You’ve Got Mail is a decent romantic comedy (I like Kate & Leopold better) that begs one question years later. Whatever happened to Meg Ryan?!

Nine Dead (2009)

Completely reminiscent of Unknown (which is WAY better—that doesn’t say much), Nine Dead is a mediocre drama that only succeeds in being stereotypical. Spend your time on something better. Like Memento.

Whip It (2009)

Amazingly strong and surprisingly good story of a teen (Ellen Page) coming of age in small Texas town. Bucking her mom’s obsession with beauty pageants, Bliss finds bliss in roller derby. Marcia Gay Harden as the religious/straight-laced Mom and Daniel Stern are brilliant casting. But Kristen Wiig and Juliette Lewis threaten to steal the show. Drew Barrymore’s directorial debut is smart, sweet, quirky fun

Bonus Feature: Book

This book is one man's love affair, ie, obsession with American's game.  H3ll no, it's not soccer!  Baseball.

Watching Baseball Smarter is for fans of game no matter their 'watching' level.  Here you will find the fundamentals and the obscure.  The written and the unwritten rules of baseball.

Uber-fan Zack Hample writes with obvious affection, but no such much about his love of the game, but what causes that love--the facts and the fiction behind it all.   Delving into stats, positions, baserunning, and fielding, Hample writes conversationally discussing the same things you and I would during the 7th inning stretch.  It's a good mix of the esoteric and the tangible.  I do wish his chapter on stadiums was more in-depth, but you can't win them all.

Pointing out random things to know and notice, Hample makes the game approachable for the beginner while simultaneously knocking the stadium snob down a notch.  A great summer read.

Bonus Feature: link

For those who find me to be too often superfluous in my reviews, this site is for you.  I'm jealous it's such an ascerbic, simple place.  Only wish there was more reviews.

Mean Girls (2004)

After watching this vapid and overly-inflated story, I am left with two questions: 1) What the heck happened to Lindsay Lohan?! It’s a shame such potential is being squandered. 2) Who’s responsible for Rachel McAdams’ bad dye job? Seriously.

As I see it, there are better movies with the same message (and more inspired casting) out there.

Pirate Radio (2009)

One awesome looking film with an equally awesome soundtrack, just don't go looking for a plot.

The A-Team (2010)

If The A-Team were any other movie, I doubt I would feel this strongly.  But the following is a commentary/review on the remake of a beloved series from my childhood.  Forgive me for sounding old.

“In 1972 a crack commando unit was sent to prison by a military court for a crime they didn't commit. These men promptly escaped from a maximum-security stockade to the Los Angeles underground. Today, still wanted by the government, they survive as soldiers of fortune. If you have a problem, if no one else can help, and if you can find them, maybe you can hire the A-Team.”

With the smashing of B.A.’s beloved van in the first 15 minutes, it becomes evident that director Joe Carnahan doesn’t know what the hell he’s doing. Keeping only the bare bones of the 80s series, he quickly disposes of all that elements that made The A-Team great.

The heart and soul was, of course, the team. Casting the likes of Bradley Cooper, Sharlto Copley, and an MMA fighter alongside the great Liam Neeson was a daring move. It should have worked.  It kind of does.  Ultimately, the cast doesn’t have much to work with—it’s all smoke and mirrors—and while I do realize that the series itself was only a series of well-placed jeep explosions and awesome montages, this A-Team lacks soul.

Col. John ‘Hannibal’ Smith is, at his very core, a charismatic, resourceful no-nonsense leader. Hannibal is all about the jazz and Liam Neeson, sadly, is not. He’s an amazing actor, but his cigar skills and the delivery of a key line are sorely lacking. Additionally, the very nature of defaulting to Face (Bradley Cooper) is insulting to this great leader.

Carnahan seems to have forgotten that Templeton Peck’s nickname is FACE. Note to Bradley Cooper’s abs: quit trying to compete. Cooper makes a beautiful, believable, right-hand conman with a smile that kills.

B.A. Baracus is the epitome of bad-assery. It’s B.A.—not Bosco. NO ONE calls him Bosco. Props for creating the background on B.A.’s fear of flying, but the props are quickly recalled after playing the ‘hocus-pocus’ card. Seriously?! B.A. deserved better. Ultimate fighter Quinton ‘Rampage’ Jackson holds his own—but isn’t quite sullen, or good-hearted enough. This character is SORELY misconstrued.

H.M. ‘Howling Mad’ Murdoch is one crazy sonofabitch and District 9's Sharlto Copley is, in a word, f^cking brilliant. {Sorry, two words.} He embodies the crazed pilot with a lust for life and fearlessness of death. His superior flying skills and unquestionable devotion to the insane make Murdoch the film’s saving grace. Copley is spot-on and with a true homage to the original, the film includes a puppet interaction with BA and a perfect imitation of Mel Gibson in ‘Braveheart’—complete with stick horse. Copley even gets to throw down some incredible voice work. Kudos!!

The television series found the A-Team righting wrongs thanks to Hannibal’s plans, Face’s roguish good looks, B.A. welding skills, and Murdoch’s humor. There was undeniable chemistry between the team. In 2010, the only chemistry found here is in the explosions. Again, the boys look great—but the film isn’t cohesive.

The special effects are explosive, but unfocused allowing Carnahan to skip-out on some much needed detail. Much of the action happens—conveniently—in the dark. For you the viewer, it’s all a blur, which leads this viewer to be annoyed, frustrated and ultimately disappointed.

Jessica Biel, Patrick Wilson, and Gerald McRainey {yes, him} pop up in adequate supporting roles that allow our A-Team to build backstory and weave enough plot to fill 90 minutes.

As I see it, The A-Team is an average summer film that will entertain the ADD generation.  For those who find themselves waxing nostalgic, take heart.  Though there isn't enough cheese or jeep-explosions to fill the void that is left by the soul Carnahan rips out., Copley's performance and the hidden clips (after the credits) are worth the price of admission.

Fever Pitch (2005)

Surprisingly sweet romantic comedy (based on the book by Nick Hornby) about Ben (Jimmy Fallon) a crazed Boston Red Sox fan and his workaholic girlfriend Lindsey (Drew Barrymore) who must overcome their respective obsessions that threaten to destroy their relationship. 

The Cowboy Way (1994)

Every cowboy cliché—actually every cliché known to man—is alive and well thanks to Woody Harrelson and Jack Bauer in this "let's go to the big city and find the daughter of our murdered friend while stumbling our way into every possible scenario including, but not limited to: pricey hookers and hotels, bloodthirsty thugs, crazed cabbies, sweatshop-owning mobsters, and token black (Ernie Hudson) Central Park policemen who always wanted to be a cowboy."

Make Way for Tomorrow (1937)

Bark and his wife Lucy lose their home to foreclosure and as none of their adult children have room for both, the elderly couple separates. Adjusting to fit into these new families Bark and Lucy struggle with loneliness and acceptance in their new roles.

Though Make Way for Tomorrow debuted in the 1930s, the film has as much validity today in 2010. Truly, this film is a gut-check for the modern world. The young too easily dismiss older folks, and the old too easily dismiss the young. As Bark and Lucy cling to the hope of reuniting, their children replace the joy of having them stay with the bitterness of the inconvenience. It’s a disgusting, sobering display, but having Bark and Lucy get one last hurrah is undeniably wonderful.

As I see it, Make Way for Tomorrow is a quiet poignant B&W drama that examines the disposability of our elders. It is a masterful social commentary.

Alice in Wonderland (2010)

Forget everything you know about Alice and immerse yourself in this fantastical tale. Thanks to the ever-imaginative Tim Burton, Underland is like nothing you’ve ever seen.

19-year-old Alice (Mia Wasikowska) travels through Underland where the people and things seem strangely familiar. Along the way she find her muchness, the Mad Hatter (Johnny Depp), the Cheshire Cat, the evil Red Queen (Helena Bonham Carter) and her sister, the White Queen (Anne Hathaway).

This film has phenomenal casting. It's a hodge-podge of well-known names and their voices. Newcomer Wasikowska is pitch-perfect. She is equally child-like and womanly. Ultimately the weight of the film falls on her thin shoulders and she is superb. Christopher Lee cameos. Alan Rickman, Stephen Fry, Imedla Staunton, and Timothy Spall lend their distinct voices to inhabitants of Underland. Helena Bonham Carter is perfectly evil as the sadistic Queen and her henchman; one-eyed Stayne (Crispin Glover)—the Knave of Hearts adds just the right touch.

Johnny Depp gets his own paragraph. The Madness is spot-on; and Johnny’s mix of Scottish brogue (?) when mad is smart. His manic hair, eyeballs, and randomness threaten to over take the film at times, but his character adds wonderfulness.

The CG is a blend of steampunk and Burton’s trademarks. There’s always something interesting to look at. Whether its Hatter’s bobbin bandolier, the White Queen’s chess pieces, Absolam, or the Jabberwocky—you will be fascinated.

Burton borrows Lewis Carroll’s books and reinvents them. It’s amazing to see him build an emotional connection to an otherwise series of random events. Burton ties our characters together—enhancing them—and creates a brand new world. Danny Elfman delivers with another delightful score. He always knows where to punctuate, subtly enhancing the film.

As I see it, Tim Burton wins again. Though is canon of work is for a select few, mark Alice in Wonderland as one to see. I can’t imagine anyone being disappointed.

The Blind Side (2009)

Michael ‘Big Mike’ Oher (Quinton Aaron) is a victim of circumstances. Born into a broken home to a cokehead of a mother, Michael is a vagrant on the wrong side of the tracks at 16. Enter Leigh Anne (Sandra Bullock) and Sean Tuohy (Tim McGraw). Taken in by the affluent family, Michael is giving the keys to success and rises to the occasion with a little help from the tenacious Leigh Anne. The opportunities afforded Michael blossom as he does resulting in a family and a community benefiting.

In this cynical age, it’s hard to find a film that endears without the saccharine feel. The Blind Side is a rare example success. Sandra Bullock leads an ensemble cast that feels good. Tim McGraw, the celebrity, is lost inside his role as a supportive husband and a young Jae Head threatens a precocious overload alert.

As sports movies go, The Blind Side is predictable; but that doesn’t keep the movie from being productive. I don’t know the true story of Michael Oher, but I sincerely hope he did have a parade of college coaches visit; otherwise, this film jumps the shark at its climax. The film was more about Leigh Ann (and Sandra's exaggerated performance of her).  I wanted more about Michael.

For all my nitpicking, The Blind Side is wholesome entertainment. It is often trite, stereotypical and a little to neat, but that’s the cynic in talking. For what it is—inspirational family fare—The Blind Side is a success.

Kenny (2006)

“I don't know what all the fuss is about, it's 80% water and we've got chemicals to take care of the remaining 20” and with that Aussie Kenny Smyth (Shane Jacobson) begins a look into his world. Kenny—imagine an obese John Travolta with a lisp—takes care of business, the port-a-john kind, with an uncommon blend of heart and humor. No matter the size of the event, Kenny has the right facilities for you.

Kenny is a hilarious mockumentary that with surprising heart and a very likable star. Filled with underplayed toilet humor and filmed on location at actual events, i.e. the International Cleaners and Pumpers Convention in Nashville, Tennessee gives the film an uncanny realism. Actor Shane Jacobson owns his role with amazing authenticity and everyday humbleness.

When Kenny isn’t dealing with a ring lost down the crapper or his co-workers, he’s suffering with an ex-wife that despises him, a young son, his father who can’t cope that his son Kenny ‘delivers toilets’ and his high-class brother. Kenny soldiers on with dignity and grace; he’s a likable fellow and his life is an admirable one. He just happens to clean toilets.

As I see it, Kenny is a smart character dramedy that isn’t about crap so much as the man who must deal with it.

Special (2006)

Les Franken (Michael Rapaport) is a local meter maid who is approved to take part in clinical trials of a new antidepressant. Adverse side effects leave Les convinced that he is developing super powers. Despite his doctor’s behest that Les quit taking the medicine, Les dons superhero threads to fight the evil that maligns the world with very mixed results.

Special is an original idea lacking focus; at only 80 minutes the film is over before you really mind. Part black comedy, part social satire and kind of enjoyable Special is held together by Rapaport’s admirable performance. His portrayal of a mediocre man draws respectable sympathy from the viewer. But his drop off the deep end is befuddling. The oddball-supporting cast offers a few laughs, but in this sad tale everything seems out of place including them.

As I see it, Special isn’t worth your time unless you’re a fan of Rapaport. It’s a solidly mediocre film.

24: Series Finale (2010)

Tonight the clock stopped ticking for fans of the long lived FOX drama series 24.  While many others were distraught about a particular island, my heart was breaking as it has belonged to Jack Bauer (Keifer Sutherland) since 2001.

Chloe's (Mary Lynn Raskub) command Arlo to 'shut it down' was a fitting ending and Jack's heartfelt goodbye pierced the soul of every die-hard fan, I think.  Despite some too conveniently wrapped sub-plots, the series finale ended well.

Amid all the conspiracies, political manuvering, back-stabbing best friends, nuclear attacks, biological threats, cyber-crimes, personal losses, and a heroin addiction, Jack proved to be a man of his word.  Jack taught us all how to be better people and go without bathroom breaks.  Among the things we've learned over the past eight seasons...

1. Always bring a change of clothes and an extra gun.
2. Make friends with the nerd. They will never let you down.
3. “Damnit!” is an appropriate response in all situations.
4. No matter how long something takes, it will always be completed right after you need it.
5. Brown leather is always in season.
6. We all know a terrorist.
7. If you have to know, try torture.
8. America is more important that you or your problems.
9. To get what you want, you should do what you shouldn't.
10. A lot happens in a day.
11. Food, water, sleep, and bathroom breaks are for the weak.
12. Anger makes you lonely.
13. Suspect everyone.
14. Love is deadly.
15. Man purses are hot.
16. The Russians did it.
17. Neglecting your child is acceptable unless they are in danger.
18. Waffling = weakness.
19. Trust no one.
20. Two words: Full Immunity
21. You'll go far being sullen and sarcastic.
22. Shooting anyone in the kneecap is a reseasonable action.
23. Terrorists drive American.
24. Everyone is expendable.

The end of an era leaves me with but one question: Is Sprint really your cellphone provider?!

Chapter 27 (2007)

Even the most ardent of Lennon devotees shouldn’t bother with Chapter 27 starring an overweight Jared Leto as schizophrenic Mark David Chapman. The film focuses on the days leading up to the murder of Lennon and Chapman’s journey from weirdo to channeling Holden Caulfield. Heavy on voiceover—representative of spiraling insanity —and Catcher in the Rye references, the most fascinating bit of the film is the guy who plays Lennon. Onscreen for merely a few seconds, Mark Lindsay Chapman {yep} looks legit as the Beatle.

As I see it, Chapter 27 is a lonely drag that rewards the long-suffering viewer with pain and sadness. You know how the story ends. Avoid this bore.

American History X (1998)

An impromptu report by Danny Vinyard (Edward Furlong) begins a look into his older brother's life as a neo-Nazi. Under the tutelage of Cameron Alexander (Stacy Keach), a young, impressionable Derek begins a transformation from honors high-school student to rage-filled skinhead. Derek brutally murders two black men after finding them breaking into his truck. In prison and separated from influences, Derek begins to question the beliefs and opinions that got him here while his name is spoken with reverence throughout Venice Beach. Three years later, emerging from prison Derek seeks to redeem himself and save his little brother from following his path.

American History X dares to ask uncomfortable questions and examine the answers with a powerful blow. Filled with passion, hate, anger, revenge, justice, redemption and legacy, the film evokes a gamut of emotion.

Edward Norton provides a SEARING and staggering performance as Derek. Norton imbues Derek with such complexity, the viewer reacts in sympathy despite his hatred and racial feelings. Norton is phenomenal and succeeds in getting his audience to consider Derek's tragic youth and upbringing before passing judgment. Here's the thing, you can't. As a viewer, I was conflicted. Derek, well-informed, makes solid arguments for his beliefs and as horrible as it sounds, most people could find a piece of themselves in Derek, if they were honest.

Supporting Norton is Edward Furlong. Just as brilliant is Furlong, as Danny wrestles with his brother's change and his own. The ever villainous Stacy Keach has shades of Jim Jones about him as he preys on impressionable youth. Avery Brooks puts in a commendable performance, but it would have been nice to see his story line further explored. Guy Torry as Lamont, Derek's friend in prison, is another solid performance that would have benefited from closer examination.

With its harsh language and imagery, American History X is not a feel-good movie. Director Tony Kaye effectively presents Derek's story through a series of potent black and white flashbacks in all ugliness. Combined with a powerful score and dialog that further accents each moment, the film succeeds in making a lasting and sometimes cringe-worthy impression.

For all of its intensity, American History X takes the simple way out. The climax is equally powerful and unfullfilling. There are no simple answers when examining social inequality or discrimination and perhaps that it why the ending is so chilling.

Hate is indeed baggage. Brutal and violent, American History X pulls no punches. Seeing the true consequences of a man's hate as it destroys everything he loves is not something easily forgotten. Edward Norton's performance is not to be missed. Make no mistake, American History X is a powerful memorable film.

The Imaginarium of Dr. Parnassus (2009)

A trip to Dr. Parnassus' Imaginarium is a guaranteed good time, but only for those willing to let go their conscience selves and in turn be enveloped by remarkable multi-faceted performances from Christopher Plummer, Tom Waits, Heath Ledger, Johnny Depp, Colin Farrell, Jude Law, and Lily Cole.

Noise (2007)

New Yorker David Owen (Tim Robbins) is a fussy old man. Desperate for peace and quiet, he turns his hatred for car alarms and their never-ending shill inward and becomes ‘The Rectifier’. Breaking into the offending cars to pop the hood and deactivate their alarms draws the attention of the mayor (William Hurt) who is determined to end this vigilante justice.

Noise is an insipid disjoined mess. That’s a shame considering the originality of the plot. The issues are threefold. The cast is content to phone-in uninspired performances. Tim Robbins with his lethargic whiny delivery comes across all wrong. He’s the neighbor everyone loves to hate. Delightful Bridget Moynahan is miscast as an uninteresting, disinterested wife. And the superb William Hurt is a total douche. It also lacks focus with a narrative that falters long before it gets started. Combined with all that is a thinly veiled socio-satirical diatribe and you’ve got a mess-terpiece.

Watching the Detectives (2007)

Vapid comedy with a psuedo warning for movie nerds.  (Live life, don't watch it.) Too bad Lucy Luo stars thereby negating any redeeming qualities.

Billy Elliot (2000)

Young Billy Elliot (Jamie Bell) secretly wants to learn ballet while his father, a striking coalminer, pays for his boxing lessons. Billy begins to take lessons on the sly. But when it’s discovered Billy is a natural talent, his father must come to turns with his boy’s dream. Caught between his disintegrating family and the memories of his mother, torn between his father’s wishes and his own, Billy comes of age with amazing results.

Set in Northern England, Billy Elliot sets the world of an 11 year old boy in the middle of the 1980’s strike creating a beautiful juxtaposition. The grittiness of the miner’s fight and Billy’s own gentle spirit compete making for compelling and symbolic film-making.  Director Stephen Daldry (The Reader) subtly crafts hope and hopelessness in every frame.

Jamie Bell leads an outstanding cast. His scenes are so powerful. As Billy, Bell is a genuine, innocent, but strong and his dancing is incredible. Supporting him is an equally strong cast including Julie Walters. But they all pale in comparison to Bell’s performance.

As I see it, Billy Elliot is an underrated masterpiece that succeeds as every element is spot-on. Writing, casting, cinematography, score—it’s all right on the mark and Jamie Bell is simply extraordinary.

The Small Back Room (1947)

A plodding, B&W, WWII psycho-thriller about a bitter man spiraling out of control that never reaches a point in which we care.

Fantastic Voyage (1966)

When a defecting Russian scientist is nearly assassinated, a secret branch of the military is called in to save him. The CMDF (Combined Miniature Deterrent Forces) send Dr. Duval (Arthur Kennedy), a top brain surgeon and his technical assistant (Raquel Welch) along with a host of others (Donald Pleasence of Halloween being one) to pilot the Proteus. The Proteus has exactly 60 minutes to navigate to the scientist’s brain, correct the injury and get-out—before the team returns to original size.

Sure it’s dated and {sometimes} nonsensical, but Fantastic Voyage is just that—fantastic. Fans of vintage sci-fi or super-hot Raquel Welch will enjoy the artistry of the human body mapped out here. The cursory blinking lights, knobs, and dials are present, but somehow the special effects of the voyage seem way better than those typical of the 60s. The body’s natural defenses—antibodies and white corpuscles become an enemy of the crew as they become entangles in the reticular fibers. Seeing the Proteus approach the heart value looks as true as what you’d see in a textbook—the value anyway. It’s obvious a lot of care was taken to represent key elements of the human body true to form.

Fantastic Voyage isn’t without some proselytizing, 60's era corn, and a predictable saboteur. But nothing keeps the film from being a fascinating time warp.  As I see it, this is one movie I’d love to see remade. Let Bruckheimer or Bay get a hold of it... just imagine. For now, enjoy the trip.

Where the Wild Things Are (2009)

Max (Max Records) is an isolated young boy who feels neglected by his single mother (Catherine Keener) and mistreated by his older sister. When it all finally blows up and Max gets his feelings hurt, he runs off and sails to where the wild things are. The wild things—large talking beasts include Carol (James Gandolfini), KW, Douglas (Chris Cooper), Judith (Catherine O’Hara), Ira (Forest Whitaker), Alexander (Paul Dano) and the Bull—crown him their king. Max’s reign includes fort building, rumpus proclamations, and dirt clods.

The story really begins when Max reaches where the wild things are. Each creature is reflective of a particular piece of Max’s character. I think, that on some level, little Max knows this—but to each viewer his own. No doubt Spike Jonze’s offering is a polarizing feature simply because of the undercurrent of existentialism.

The film is atmospheric, dark, and sometimes intense, but it’s true to form when dealing with sadness, loneliness, anger, and happiness. Little Max Records is an engaging boy that is equally annoying and empathic. You care for this boy by the end of the opening sequence, understand his lashing out, but at the same time want to condone it. Jonze and Records have nailed the child’s perspective and it is beautifully done. The beasts are equally fascinating and surprisingly come across as multi-faceted creatures that you, the viewer, ultimately care for.

As I see it, Where the Wild Things Are is a unique adaptation of the children’s classic. Jonze respects the source material, celebrates it and the emotional journey of childhood. It's a beautiful, gentle story that feels genuine.

Voyage to the Bottom of the Sea (1961)

The U.S.S. Seaview is a state of the art atomic submarine piloted by Admiral Harriman Nelson (Walter Pidgeon). Sent to destroy a ring of radioactive fire that will destroy the Earth if left alone, Adm Nelson and his team of experts including Comm. Lucius Emery (Peter Lorre), Dr. Susan Hiller (Joan Fontaine), Capt. Lee Crane (Robert Sterling), and Lts. Cathy Conners (Barbara Eden) and Danny Romano (Franklie Avalon) must battle giant squids, mine fields, saboteurs and a mutinous crew to save the world.

Voyage to the Bottom of the Sea is a grossly inaccurate scientific adventure that recalls a time before CG. The innards of the vast submarine are an array of blinking buttons, huge knobs, dials, and steering wheels that the cast convincingly sells. The film’s color palate is evident in the rainbow of ridiculously colored scuba suits. Frankie Avalon gets in a solid trumpet solo and viewers also get a great look at Barbara Eden.

As I see it, Voyage to the Bottom of the Sea is vintage sci-fi. Inaccurate hokum that entertains, strings and all!

A Nightmare on Elm Street (2010)

One, two, Freddy's coming for you...  You know the story and after seeing this re-imagining of Wes Craven’s classic, you will easily see why Freddy has stood the test of time.

Regardless of how you feel about the original, horror fans old and new will not be able to deny this 'new' Freddy. He is colder, more evil, and more soulless. You don’t root for Freddy here. You pray to God you don’t fall asleep. Therein lies the film’s success. Jackie Earle Haley as Freddy strikes the perfect chord—fear. The walk, the dialogue, the glove… he owns it all with brilliant results. Gone is the ‘juicy’ look. In its place is a scarred, vengeful disfigured face. Add to that a sexuality that was avoided in the original and you’ve got a full blown visceral fright-fest.

Elm St. hasn’t changed much. The new cast of sleep-deprived teens is solid. Director Samuel Bayer charges right into making a film that feels new, but fans will quickly spot old school homages. Classic scenes are reworked without feeling overwrought and despite some predictability, the scare is real. Blurring reality and fantasy seamlessly, the viewer is best served to stay awake as this time around it’s not so easy to tell.

The opening sequence feels rather art-house and sets the tone for waht is to come.  Bayer plays to a particular angle—what is Freddy was innocent?—thereby increasing the foreboding conclusions. The special effects gore is smart and nightmarishly bloody.

As I see it, A Nightmare on Elm Street is brilliantly executed with top-notch casting and solid dialogue. 2010 has left the ham behind and shown us a crueler, more sadistic Freddy that I, for one, hope to see more of.