The Toy Stories (1995) (1999) (2010)

It’s hard to imagine that back in 1995 Disney and Pixar knew they were creating a new classic. Fifteen years later and we have a trio of amazing stories filled with genuine heart and authentic characters that everyone (with a soul) connects with. The main characters just happen to be toys and the story very personal.

In the first story, we meet our toys. ‘Old faithful’ a cowboy known as Woody (Tom Hanks) feels threatened when his boy Andy gets space ranger Buzz Lightyear (Tim Allen). Intimidated and insecure, Woody takes an immediate dislike to the bells and whistles of Buzz. The film excels on many different levels. But for a babysitting junior high-schooler (me) watching it with her charges, it was funny to them and heartwarming for me. In retrospect, there was and still is an immediate connection to your childhood and those toys you held most dear. The ones that had a special place on the bed when you were told to clean up while the rest when in the box.

Toy Story 2 rolled out in 1999. Skeptical of the sequel—I didn’t see this film until 2000—I shrugged it off as a ‘Disney Pixar money grab’. How very wrong. Again, I was amazed at how emotionally connected I was to this story of toys director by John Lasseter. At 20, you’re not quite old enough for nostalgia, but toys are clearly in the rearview mirror. Still, the storyline of Woody being a collector’s item and being held hostage by one resonated for a time when eBay was at its peak and my brother and I are visiting every Wal-Mart to complete a Star Wars figures collection.

2010 and along comes Toy Story 3. I laughed when friends mentioned ‘crying’ at the film’s climax. My nieces mentioned it being scary. Somewhere between 20 and 30, nostalgia set in. For me, Toy Story 3 is not only another adventure for Buzz, Woody, T-Rex and the Potato Heads it’s a trip down memory lane. It’s revisiting that special bond between a child and their toys. Not all of them—just the special ones. Parents and kids alike will identify with this film on some level. Maybe it's the toys, maybe it is Andy. Regardless, there is something special here, something to be treasured, and something not to be missed.

Nanny McPhee Returns (2010)

Nanny McPhee (Emma Thompson) returns in this sequel to the 2005 film. Nanny McPhee arrives to help the Green family with her special blend of magic and discipline. Mrs. Green (Maggie Gyllenhaal) is struggling to cope in her husband’s (Ewan McGregor) absence due to WWII. Not only is she left to work and save the family farm, she must also care for her three small children and their two cousins.

In theory, Nanny McPhee Returns should work. The love Emma Thompson has for this character is apparent. But unlike the original, Nanny McPhee lacks charm, spunk, and cohesion. The film had a great cast including Ralph Fiennes and Dame Maggie Smith—but this hodge-podge of scenes and poo jokes isn’t. The surrealistic atmosphere set at the height of the war effort is an odd element, but again, could have worked if the viewer wasn’t as detached as I felt.

As I see it, Nanny McPhee Returns could be entertaining for the 6-10 age group. Fans of the first best be prepared for the same great nanny is a less that great production.

Red (2010)

An altogether entertaining movie that pokes fun at itself and others. The wizened cast includes Bruce Willis, Morgan Freeman, John Malkovich, Helen Mirren, and Brian Cox as an ensemble of retired CIA operatives. When a hit is taken out on Frank Moses (Willis), he goes on the run to save his own life and that of his former team who have been classified as Retired and Extremely Dangerous.

The success of Red is in the fact the film doesn’t take itself too seriously. Willis and Co. executes a pitch perfect blend of sarcasm and humor in this shark-jumping action comedy. The cast is obviously having fun, enjoying one another’s company. Fortunately, the viewer gets to ride along. Willis is essentially playing himself, swagger and wit-filled. John Malkovich gets a great turn as the mad conspiracy theorist of the group. Helen Mirren is a great surprise and tempers the comedy with class. Also along are Ernest Borgnine and Karl Urban. (Why did his star quit shining?)

As I see it, Red is not Oscar winning material. The plot is perfectly predictable, but it doesn’t matter. Red is too good of a good time for anyone to care.

Scott Pilgrim Vs. the World (2010)

Slacker and aspiring rocker Scott Pilgrim (Michael Cera) falls in love with an Amazon.com delivery girl named Ramona (Mary Elizabeth Winstead). To win her love, he is unwittingly committed to defeating her seven evil exes in the Mortal Kombat-esque battles.

Although I’m unfamiliar with the source material of Scott Pilgrim vs. the World is doesn’t keep me from enjoying this strange little film. Hyper-kinetic, viscerally engaging, the film feels like (not speaking from experience here) like a crack addiction.

The action herein is tongue-in-cheek, steeped in pop culture, and just cool. It’s as if you and Edgar Wright have an inside joke. For those remotely interested in video games (like myself), it’s fun. For those epic gamers, I imagine there’s a whole other layer for you.

Director Edgar Wright—who hasn’t made a bad movie yet—channels Cera’s laid back demeanor and uses it alongside a great supporting cast that includes Kerian Culkin as a snarky gay roommate, Brandon Routh and Chris Evans evil-exes, Allison Pill as a bandmate and an unexpected Jason Schwartzman to create a smart romantic comedy for a younger generation. It’s like You’ve Got Mail for Generation Y.

As I see it, Scott Pilgrim Vs. the World is self-aware without being obnoxious. It’s witty and and stylized and quite possibly Michael Cera’s best to date.

Buried (2010)

Ryan Reynolds buried in a box—simple premise with mixed results. As a civilian contractor in Iraq, Paul Conroy (Reynolds) is attacked and kidnapped. He wakes up to find himself buried alive with a Zippo lighter, a Blackberry, a full flask, a couple of glow sticks, a knife and some pocket lint.

Buried is equal parts psychological thriller and sociopolitical commentary. Given the limited setting, both director Rodrigo Cortés and Reynolds have to get creative to convey claustrophobic terror with pretty good results. There are few laughable WTF moments that fully extinguish any suspense the viewer builds. But Reynolds gives a commendable performance to the end and keeps the viewer engaged despite the hiccups.

As I see it, Buried is a memorable thriller thanks to Reynolds. He continues to solidify himself as a Hollywood contender. Nerd Alert: Listen for Stephen Tobolowsky.

DeVil (2010)

A mechanic, a young lady, a security guard, an old woman and a mattress salesman step into a busy downtown elevator little do they know the devil is among them. These seemingly random people become trapped in the elevator and a grieving recovering alcoholic Detective Bowden races to save them before the devil collects them all.

Devil is a solid thriller from the mind of M. Night Shyamalan. Exploring the idea that there are no coincidences, Devil is equally riveting and horrifying. Between the flickers of light and grainy security cam footage, the group begins to turn on each other as the detective and fellow security guards look on. Directors John Erick Dowdle (Quarantine) and Drew Dowdle effectively build Shyamalan’s story with a moody score and just enough tight frames. Claustrophobia and fear mount as each one tips the scale. Adding to the suspense is the voice-over of the overtly religious Hispanic security guard. Narrating the events of the elevator based on his beliefs adds a nice touch.

As I see it, Devil is simple in its execution, but it’s the idea—bad things happen for a reason—that goes on to make it worth watching.

Freakonomics (2010)

If you’ve read the book, then you know what the movie is about.  A myriad of filmmakers bring to life chapters from the amazing book of the same name by economists Steven D. Levitt and Stephen J. Dubner.  Exploring the rampant cheating in Sumo wresting, if your name makes you more like to secure a good life, and if Roe V. Wade inadvertently created a drop in crime, the movie—as in the book—raises interesting questions.  Using statistics to prove or disprove theories, Freakonomics, the movie and the book are insightful.

Cemetery Junction (2010)

This 1970s coming of age story set in an English suburb has a trio of friends struggling to break free of their middle class backgrounds.  This labor of love from writer/directors Ricky Gervais and Stephen Merchant was just a labor for me.

Going the Distance (2010)

Just over relationships, Erin (Drew Barrymore) and Garrett (Justin Long) hook up thanks to a mutual interest in Centipede. As the summer comes to an end, so must their fling. Erin, heading back to San Francisco to finish school, leaves Garrett behind in New York. Traveling between coasts, awkward family introductions, and miscommunications are just some of the challenges that the couple must navigate to keep their relationship alive.

Beneath the film's raunchy covering is a funny look at long distance relationships.  The chemistry between Barrymore and Long is undeniable. Just as in Fever Pitch the duo is quirky cute here. The supporting cast of Christina Applegate, Jim Gaffigan, Jason Sudekis, and Ron Livingston add another level of funny. The dialogue is shallow, but quick.

As I see it, Going the Distance is a straightforward rom-com. It’s a fresh take on the original formula that guys and gals will both appreciate.

The Ricky Gervais Show: Season One (2010)

Based on the podcasts of the same name, The Ricky Gervais Show is essentially three animated characters: Gervais, Stephen Merchant, and Karl Pilkington sitting in a radio studio debating the finer points of inane topics like nudist colonies and having children.  It's actually just Gervais and Merchant making fun of stupid random stuff the Pilkington says.

Only fans of Gervais would truly enjoy the stupidity of it all.  Consider me one.  As I see it, The Ricky Gervais Show makes a better podcast that animated series, but either way you have a laugh.

Knight and Day (2010)

On a plane flight back to prepare for her sister’s wedding June (Cameron Diaz) meets the mysterious Roy (Tom Cruise). The plane isn’t off the ground before June is dragged into a crazed adventure involving thrilling car chases, dangerous gunfights, and intense confrontations. One drugged moment after another and June isn’t sure which way is up on this campaign to stay alive. Who is Roy Miller? We all want to know.

This far-fetched action comedy from director James Mongold is as mess-terpiece. With plot holes large enough for Tom Cruise’s ego, Knight and Day is just awful. It’s ‘wham-bam-thank you, mamam’ on steroids. Also along for the ride are Peter Sarsgaard, Paul Dano, Viola Davis and Maggie Grace. All these beautiful people and locations are just mucked up with useless unfunny dialogue and mindless action. The film is poorly edited to boot.  One chopped scene after another with no continuity, just one flashy grin after another.

As I see it, Knight and Day is pure popcorn entertainment—burnt. Too frantic, too flashy, too choppy. Who is Roy Miller? Trust me, you don’t care.

Eat Pray Love (2010)

After a divorce, Liz (Julia Roberts) travels the world to find herself. With stops in Italy, India and Bali, Liz finds new friends, forgiveness, confidence, food, love, acceptance, and ultimately, herself.
 
Eat Pray Love is based on the best-selling memoir of the same name. Having no exposure to the source material, I can’t speak to its faithfulness; but the film is beautiful thanks in part to Julia Roberts. The evolution of the main character makes the story interesting.  As Liz, Roberts is captivating if somewhat annoying as she wallows in self-pity. Though each stage of her travels, her character makes subtle changes.  In Italy she learns to eat again. In India, she rediscovers herself with the help of Richard Jenkins. In Bali, she finds love with Javier Bardem. I wouldn’t complain.  What really nags me is this:  with a running time of nearly three hours, the filme really should contain more substance.
 
So, as I see it… Eat Pray Love tries to be profound. It’s not, but it is inspirational on some level. The heroine carries on despite the naysayers and ultimately finds what she’s looking for. Eat Pray Love is entertaining because of it’s beauty—both texturally and visually. It’s like Sex in the City only less vapid.

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…

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.

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 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.