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.

Real Genius (1985)

15 year old Mitch Taylor (Gabe Jarret) has been recuited to join Prof. Hathaway’s (William Atherton) science team. Alongside fellow super genius and senior Chris Knight (Val Kilmer), Mitch is working on an advanced laser project and unknowingly creating a lethal military weapon. Besides adjusting to campus life, Mitch is also adjusting to mentor’s—Knight’s—odd behavior. When the duo discovers the truth behind the project Mitch and Chris team up for a bit of revenge.

Real Genius is totally 80s! It’s a bit corny, but between Kilmer’s comedic timing and the sharp dialogue, this one is funny.. The misfit cast is key. Knight is a genius turned stud who no longer studies. In contrast is Mitch, who does nothing but. Prof Hathaway is an egolomaniac. Add John Gries as Laslo who lives in the closet and Jordan—a never sleeping crazy girl and you’re made.

Immensely quotable, the dialogue never misses. Kilmer’s delivery is brilliant. Behind the cast and dialogue is frame after frame of craziness that demands rewatching—love the progression of recorders. Throw in some Tears for Fears and you’ve got everything you need right here.

As I see it, Real Genius is madly underrated. If you haven’t seen it, go now. "It’s a moral imperative."