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.

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.

Fantastic Mr. Fox (2009)

Wes Anderson's Fantastic Mr. Fox is super-fantastic!  Indulge me, dear readers.

This first animated feature from Anderson contains his trademark humor and dialogue.  The only difference is the stop-motion delivery by a myriad of woodland creatures.  If you're unfamiliar with the story, you must look elsewhere as I will only sing the praises of this adaptaion.

Using the voice talents of George Clooney (Mr. Fox), Meryl Streep (Mrs. Fox), Anderson muse Bill Murray (Badger), Jason Schwartzman (Ash Fox), Michael Gambon, Willem Dafoe, and Owen Wilson, Anderson brings these creatures to life with personalities, quirks, and insecurities.  Mr. Fox is a reformed chicken thief who gave up the life of crime when Ash was born as Mrs. Fox's request, but his natural habits get the better of him and Mr. Fox inadvertently brings the wrath of Boggis, Bunce, and Bean--three farmers--down on the whole community of badges, oppossums, mice, and more.

The adventure unfolds with gorgeous animation that captivates.  You swear the fur sways in the breeze.  Whether Mr. Fox or the home he inhabits, everything is charming to behold.  Pixar's multi-hued palatte pales in the golden rays of this creative piece.  The 'cussing' is another great, imaginative touch.  And I love Dafoe's turn as a karate-wielding rat.

As I see it, Anderson is at the top of his craft here.  He has successfully parlayed his hand into a tricky new arena and brilliantly delivered.  It's safe for the whole family, but I think the true genius of Fantastic Mr. Fox is the way Anderson winks at his adult audience with nary a derogarty remark in sight.

Brilliantly crafted, perfectly executed, Fantastic Mr. Fox is a masterpiece for a new generation!  These characters come alive and it is fantastic thing!

An Education (2009)

Jenny (Carey Mulligan) is an Oxford bound student who dreams of a sophisticated life between Latin and English studies. But after meeting David (Peter Sarsgaard), a beguiling older gentleman who lives is a cultured world, Jenny is ready to throw her dreams to the wind. With the encouragement of her father, Jack (Alfred Molina), who has fallen under David’s spell, too, Jenny is about to get an education they don’t teach in school.

An Education is an exquisite coming of age drama thanks to remarkable performances by Mulligan and Sarsgaard. Jenny’s transformation from school girl to young lady is subtle and begins with slight changes to her hair and grades. Carey Mulligan makes Jenny authentic for the time period. Walking a fine line between debonair and predator, Sarsgaard’s David is enchanting. You, the viewer, want to despise him as you know this will not end well and yet, much like Jack, you are under his spell. Alfred Molina has a brilliant turn as Jack and Emma Thompson pops up at the demanding headmistress.

Set in 1961’s London, the production is sharp with detail. Everything from mannerisms to society standards are on par. An Education is limited by its short running time, but Nick Hornby’s screenplay manages to create an enveloping atmosphere and authentic dialogue.

All’s well that ends well. An Education doesn’t. But as I see it, you won’t find a more engrossing new release than this.  Though it is wrapped up a bit too conveniently that doesn't keep An Education from striking a chord.  Beautifully rendered, this film would easily make my 'best of' list.

One Flew Over the Cuckoo's Nest (1973)

Add One Flew Over the Cuckoo’s Nest to the list of greatest movies ever. Much like The Sixth Sense and Fight Club, One Flew Over the Cuckoo’s Nest is a mind-blowing experience.

Incredible performances from Jack Nicholson, Louise Fletcher, and Will Sampson are at the center of this masterpiece. In what is essentially a film about the oppression of individualism, there are several other storylines that involve supporting characters that solidify themes of repression, careless optimism, redemption, and friendship.

Nicholson stars as R.P. McMurphy, who in an attempt to get out of a prison sentence, pleads insanity and gets sentenced to a mental institution. McMurphy’s belief that a sentence carried out in the asylum will be easier than prison. It’s not long before the McMurphy is butting heads with the institution’s wards and the iron-fisted head nurse Ratched. His defiance and optimism finds him continually at odds with Ratched much to the entertainment of his fellow patients.

Culminating to a dramatic bittersweet victory, One Flew Over the Cuckoo’s Nest is a convincing story of human emotion like no other. Every element of this film builds upon the next to create a production worthy of praise. Director Milos Forman exacting formula creates a cold feeling of isolation, despair, and hopelessness amid Nicholson’s hapless optimism.

The screenplay is top-notch. The cast of supporting characters—all patients of the ward—add unbelievable subtle nuances. Brad Dourif as Billy Bibbit, a mentally challenged stutterer, Danny DeVito as the slow and harmless Martini, Christopher Lloyd play Taber, a voluntarily institutionalized man—why, we’re just no sure. Then there’s Chief, a tall Indian man who the others call ‘deaf and dumb’ played exquisitely by Will Sampson. All of these performances are multi-faceted and beautifully executed.

Finally, there’s Nurse Ratched, perhaps the most evil villainess known to cinema. With one cold stare, one even-handed comment, she can stunt the most collected of men. Her cold, calculated ways are the things nightmares are made of.

One Flew Over the Cuckoo’s Nest is a stunning piece of cinematic achievement. Exceptional at every angle, this film is must-see. I cannot think of a more thought-provoking, riveting film that is so ugly and so beautiful even now.

It Might Get Loud (2008)

Watching The Edge and Jack White look on in awe as Jimmy Page lays into ‘Ramble On’ is the epitome of this documentary from Davis Guggenheim. Behold the guitar gods of rock!

Each god tells their story—in their own words—in their own guitar—each man unique in his genius and his ability to caress heavenly chords from their instruments. White’s Kat, Page’s Strat, and The Edge’s Explorer reflect the artist’s attitudes and influences. It’s fascinating as we the viewer become flies on the wall as these three reflect on their own music history. Page, the originator of sound, Edge, the consummate sonic professional, and White, the poor boy from Detroit obsessed with the sounds of yesteryear. Interspersed with visits to locations that became part of their histories, Guggenheim allows the ICONS to ramble on about techniques and creative process.

Though these musicians are very different in styles, one element unites them all: innovation. Listening to and watching this conversation is amazing. Upon arrival, one senses nervousness in the group. But director Davis Guggenheim cultivates a perfect setting—a natural habitat, if you will—that allows these boys to find their common link.

As Page explains the origins of Come with Me and the other two join, you expect to see lighting bolts. The Edge’s snippet of Stairway to Heaven is just cool as is his sound pedal board that requires a fork-lift to move. In contrast, is White’s ever present passion for pushing the edge of sound. The opening sequences of White constructing a guitar with odds and ends it brilliant. Page questioning White on his Seven Nation Army is a ‘wow’ moment—then Edge comments ‘can you show us how it goes?’. Both are in agreement. ‘That’s a great sound!’

From shop talk like what type of strings do you use to chord evolution—no part of this conversation will be inane to anyone. These boys are authentically bad-a$$. Drawing the title from The Edge’s comment during a sound check, Guggenheim just holds the camera and records the bad-a$$ summit.

Everyone is welcome to worship the Houses of the Holy. Look upon these men and celebrate all that is electrifying, loud, and right with the world and get your faces melted off. It Might Get Loud is truly a religious experience. And as I see it, the historical value of this rock gem is apparent. Go ye, therefore, and behold the jam session that unfolds as the credits roll. The Weight has never been lighter.

31 More Days of Horror: The Birds (1963)

You know the idea of it is scary as heck—birds running amok in Bodega Bay. And with Alfred Hitchcock’s demented direction and unparalleled touch The Birds is as effective now as ever.

The film begins unassumingly—much like a romantic comedy of the day. San Francisco socialite Melanie (Tippi Hedren) crosses paths with handsome bachelor attorney Mitch (Rod Taylor) and follows him back to his hometown. The wholesome village of Bodega Bay soon experiences a seemingly freak avian assault. Locals comment on the random events, but the tide has already turned into a vicious fowl uprising.

Simple in its delivery, but brutally riveting The Birds is a masterpiece of horror for many reasons. We'll look at two.

1. No score.  Most viewers don’t notice it. There is no background music to speak of resulting in a truly horrific intensity when the birds assault.
2. Editing. Again, Hitchcock shows his brilliance. Right out of the gate you are entranced by his subtle techniques. See the pet shop scene at the beginning. It’s merely a clue to what is to come.

I love how Hitchcock builds the tension with no release. You’d have to be living in a cave not to know about this movie, so you expect—going into it—the birds to attack. But you get to stew. The viewer is pushed to edge before the mayhem is unleashed.

The scene that gets me time and time again is the school yard. That sequence of quick shots floors me every time. The chill up your spine, the shortness of breath, the goosebumps—God, I love it!

The Birds is easily my favorite Hitchcock film. So much more than a creature feature, this film is worthy of an examination. See this masterpiece. You won’t be disappointed.

31 More Days of Horror: Zombieland (2009)

In a world overrun by zombies there survives a rare bunch of strangers. Columbus (Jesse Eisenberg) is a neurotic young man who lives by a set of rules to survive. Joining forces with half-cocked Tallahassee (Woody Harrelson) to fight their way to the coast, the two meet up with Little Rock (Abigail Breslin) and Wichita (Emma stone) to destroy countless undead and make it to an abandoned amusement park.

Zombieland is an unexpected horror romp with attitude. Elements combine to execute a hysterically gory good time.

Endearing characters are just the beginning. Woody Harrelson and Jesse Eisenberg make a great odd couple. With rules for survival that emphasize the need for cardio and not being a hero, Columbus is a flighty kid wanting to make it back home to Ohio. Eisenberg plays neurotic well. Harrelson is a real treat as the Twinkie-obsessed Tallahassee and ultimately steals the show with his zombie-stomping swagger. Love interest Wichita, Emma Stone doesn’t really have to do anything but look pretty. In that, she is successful. Abigail Breslin has grown and delivers well.

Though not scare-filled, Zombieland is graphically gory. The gore—almost chunky and spew-tastic—is in your face and deliciously gooey. The running ‘double tap’ rule throughout the film is equal parts safety and fun. These zombies are hardcore and watching their annihilation at the hands of banjo-wielding Tallahassee is killer.

Not to be overlooked is the screenplay. The plot—it doesn’t take a genius. It’s essentially wary loners teaming up for survival’s sake. It’s where director Ruben Fleischer take it. Road trip! The group makes their way cross-country to the last known safe-place with a few bumps along the way. The dialogue is infinitely quotable. The stop-off at an A-lister’s home in the 90210 is unforgettable!

It's the details that catapult Zombieland to cult status alongside Shaun of the Dead and Romero’s Night of the Living Dead. From the opening credits to Metallica’s ‘For Whom the Bell Tolls’ to Columbus' rules to the very last splatter, this is zed fun. Don’t wait for the DVD. Go now and stay past the credits!

Duel (1971)

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

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

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

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

The Court Jester (1956)

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

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

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

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

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

American Masters: Neil Young: Don't Be Denied

It was by chance that I caught this documentary on the 'grandfather of grunge' Neil Young. Wow! It's not everyday you get the chance to sit at the feet of a visionary. This doc, told by Young himself, examines his unflinching dedication to the art.

Loaded with unseen, archival performances with untold personal reflections, Don't Be Denied is a portal to Young's very soul. Collaborators like James Taylor, Nils Lofgren, Stephen Stills, David Crosby and Graham Nash add insight on the man.

From his short lived band Buffalo Springfield to Crazy Horse to CSN&Y, Young is unapologetic--cocky, even--as he relates his experiences throughout his career. Always moving forward, refusing to languish in what critics and fans say, Neil Young is refreshingly blunt.

Examining everything--from his multi platinum After the Gold Rush to his experiments with Devo in the 80s and even his protest album, Living with War, Young is conversational and AWESOME.

Neil Young: Don't be Denied is a MUST-SEE for any self-respecting music fan, but of particular interest to fans of this ICON.

Fanboys (2008)

A short time ago, in a galaxy not far away were a group of friends. Linus (Chris Marquette), Hutch (Dan Fogler), Windows (Jay Baruchel), Eric (Sam Huntington) and Zoe (Kristen Bell). When one is diagnosed with cancer, the friends embark on a road trip determined to allow Linus his last wish: to see Star Wars: Episode I: The Phantom Menace. Never tell them the odds. This group of fanboys won't let virginity, faulty power couplings or a rabid bunch of Trekkies from reaching Skywalker Ranch and ultimately seeing the film.

Set in 1998 (sigh, those were the days), director Kyle Newman submits the ultimate in nerd love. Fanboys is simply great fun that {gently} pokes at everything Star Wars fans {myself included} can relate to.

The 'average' cast of characters symbolize too much--I'm almost ashamed of myself. The camaraderie between the quintet is genuine all the way. Chris Marquette as Linus holds the group together, but it is Dan Fogler that steals the show.

So much of the set dressing is relatable for me-I couldn't help falling in love with this one. The boys take on their road trip in the A-Team van {of all things} decked out with some uber-special detailing. From the costuming to the soundtrack, director Newman evokes an awesome experience.

What's more the non-stop cameos from Star Wars alum Carrie Fisher, Billie Dee Williams and Ray Park add another layer of joy. Toss in a few more from it-boy Seth Rogan, William FREAKIN' Shatner, Roy and Darryl from The Office, Kevin James, Jason Mewes, Will Forte, and even Lou Taylor Pucci {somebody out there knows that one} and well... it's dork heaven. Kristen Bell is the one shot of estrogen and boy, does she deliver.

As if the cast, costuming, dialogue, and soundtrack isn't enough, director Newman delivers subtle and sometimes glaring tributes to the epic Lucas canon--THX and American Graffiti are first to mind.

The humor is sophomoric, sometimes crude, retarded and stereotypical. It's all the things you and I enjoy making fun {and secretly enjoy}. Fanboys celebrates the degenerate in all of us. For once, just go with it. Enjoy the movie at face value and you won't be disappointed.

As I see it, Fanboys is an unexpected gem of a movie. Fans of Star Wars, pop culturists, geeks... this is all you. I unapologetically enjoyed this movie.

There Will Be Blood (2007)

Daniel Plainview (Daniel Day-Lewis) is a simple prospector turned ruthless tycoon after securing the oil rights to a family's goat ranch. Eli Sunday (Paul Dano) is the son of the family and a young charismatic preacher in the town who quickly becomes at odds with the greedy Plainview. Driven by pride and greed, the gentle parlay an unsteady relationship and ultimately live to see the demise of each other.

There Will Be Blood is a masterpiece of storytelling. Writer/director Paul Thomas Anderson's adaptation of Upton Sinclair's novel, Oil! is in a word: magnificent.

With minimal dialogue, elegant score, and two brilliantly executed characters, Anderson delivers a film of epic proportions. Daniel Day-Lewis is captivating as the multi-faceted Plainview. The story follows a quarter century of a self-made man and the events that hardened him. Day-Lewis ages along with his character. He turns an honest, hopeful face into a tired and twisted one. Paul Dano owned Eli Sunday with balanced conviction. It was remarkable. Toe to toe, both actors reflect an art form and its the viewers that win.

Darkly vicious, the film examines the human psyche exposing the very worst. It would be uncomfortable if not so effortlessly rendered. The cinematography is stunning and Anderson is right to use it as a pressure release.

There Will Be Blood is a must see for Anderson's Kubrickian execution and mesmerizing performances, but I imagine it will be a very polarizing film. Clocking in at nearly three hours, you're either going to feel cheated or relieved. One thing is for certain... you will be haunted.

The Parent Trap (1961)

Sharon McKendrick (Haley Mills) and Susan Evers (Haley Mills) couldn't be more different. Sharon, from Boston, is a prim and proper young lady schooled in etiquette. California-bred Susan comes from horse ranch and relishes the outdoors. Two girls so different could never be so alike. Or could they? Their first meeting at summer camp leads to an all out war. It's not until camp counselors place the two in solitary confinement that they discover they are twins, separated as babies when their parents, Maggie McKendrick (beautiful Maureen O'Hara) and Mitch Evers (steely-eyed Brian Keith), divorced. With just a few weeks left of camp, the sisters hatch a plan to switch places, get to know their other parent and ultimately reunite them.

Walt Disney's The Parent Trap is rambunctious fun thanks to a fine performances all around. Mills is the star of the show, but she's constantly threatened by the likes of O'Hara {whose metamorphosis from dull socialite to motherly vixen is phenomenal} and character actress, Una Merkel. Mills walks a fine line of sweet and sassy that never overreaches. As polar opposites Susan and Sharon, Mills' acting chops are challenged and she delivers swimmingly.

Elegant Boston and sunny California make for beautiful settings for the twins' adventure. The film charms you with top-notch performances, an engaging musical number, and non-stop fun.

Much like The Swiss Family Robinson, Mary Poppins or 20,000 Leagues Under the Sea, The Parent Trap is a must-see Walt Disney classic.

In Bruges (2008)

After accidentally killing an innocent boy in London, hit men Ray (Colin Farrell) and Ken (Brendan Gleeson) are sent to lay low in Bruges, Belgium. Told to act like sight-seeing tourists by their boss, Harry (Ralph Fiennes), the two professional have a difficult time adjusting to the fairytale town. Bored and trying to cope, Ray is spending his time drinking while Ken takes in the sites. Waiting it out begins to take its toll and the eclectic locals of Bruges soon have them in trouble.

Director and screenwriter Martin McDonagh's black comedy has a very human heart. Farrell and Gleeson have brilliant chemistry. Both trade barb for barb wonderfully. Farrell is the real surprise as Ray. The young man, sick and despairing after killing the little boy is reexamining his existence. Farrel plays him with real emotion and sardonic wit. Farrell is at the top of his game; he's moody, but his comedic sense of timing is spot-on. Ken is the seasoned professional and Gleeson plays him a cold mentorly-type until Bruges unlocks the tender, fatherly side of things. Ralph Fiennes, in a role as perverse as Amon Goeth, plays up his quirky crime boss perfectly.

Adding to the mayhem is a varied low of townsfolk, a midget, and couple of angry Canadians. McDonagh works every angle and it's easy to see the cast is relishing the work. Bruges is a character in its own right. The cobbled streets and medieval history of castles, spires, and churches is an odd setting. But under McDonagh's direction, it's alive and plans to sock you in the mouth.

The screenplay is existential, almost nihilistic, in nature, but McDonagh tempers the philosophy with sharp humor and brutality. By allowing our protagonists to stew on their recent actions, McDonagh opens the door for coping and each hit man does it his own way for hysterical, but decidedly morbid results. The film is simply full of crazy goodness with it's unexpected turns, provoking laughter or tears when their shouldn't be and causing the viewer to care for our conflicted criminals.

As I see it, In Bruges is brilliantly executed with top-notch performances, strong direction, and thought-provoking humanity amid memorable dialogue and stunning cinematography. What makes it a must see is the absurdity of it all.

Unbreakable (2000)

Allow me to be so bold, but Unbreakable is one of the finest examples of storytelling to come along in this decade. Despite what you may think of director M. Night Shyamalan or the hype behind him, Unbreakable stands on it's own merit.

The strongest element of the film is its screenplay and while it may contain supernatural overtones, it is the humanity that ultimately shines through. Character-centered, the film relies on Bruce Willis and Samuel L. Jackson to deliver performances of a lifetime and they do. Willis is deceptively understated as David Dunn--an average man, we discover, with extraordinary abilities. Jackson gives a finely nuanced performance as Elijah Price, aka, Mr. Glass. The rapport between these two--the crux of our screenplay is phenomenal.

The aesthetic of the film, allow me my studious glasses and pipe, is subtly artful. Those who has seen Unbreakable will agree that Shyamalan's direction here is calculated, each step with detailed purpose, but he does so ever so slyly, that the viewer doesn't shoulder the immensity of it until after the fact. Notice how Shyamalan frames each frame--literally, as if, we the viewers, are looking in. His reverence for the graphic novel is apparent in retrospect.

The film's colourings and James Howard's scoring compliment the director's vision exponentially. Not to be overlooked, is our supporting cast of Robin Wright Penn as Audrey Dunn, David's wife and Spencer Treat Clark as David's young son, Joseph. Clark plays a crucial role in David's evolution. Imagine a young boy latching on the notion 'my dad is a superhero'. Joseph's confrontation with his father is influential in the turning of the film's tide.

Unbreakable is a slow burn and for the general masses, I think, it's the film's downfall. But for me, the pacing is representative of Dunn's self denial and discovery. The origins of good and evil--the righteousness of both, is not something easily digested in any media, but in context here, Shyamalan makes a sound exploration of them both.

Unbreakable's climax is its crowing glory. The realization for Dunn and the viewer, I like to think, is equally breath-taking.

As I see it, Unbreakable is a riveting, moody piece that I can't help falling more in love with each time I view it. Seeing it again tonight, renewed by passion for this brilliant movie. Unbreakable is an unassuming masterpiece that is simply a must see.

Kramer vs Kramer (1979)

Young, career-driven Ted Kramer (Dustin Hoffman) finds the momentum knocked out of him when he finds out that his wife, Joanna (Meryl Streep) is leaving him and their 6-year-old son Billy (Justin Henry). Losing his new promotion and ultimately his job, Ted tries to balance work and fatherhood. Frustration and anger soon turn to joy as Ted discovers he loves being a full-time parent despite the occasionally mishap. Ted and Billy slowly setting into routine. Then Joanna reappears to claim the boy.

Kramer Vs Kramer is a poignant movie. Without taking sides, the human drama unfolds with honest emotion and repercussions. The performances from Hoffman and Streep drive this film beautifully. Hoffman is amazing to watch. The physical and emotional struggle that Ted goes through is remarkable and Hoffman makes every moment. Streep imbues Joanna, I think, with the emotion of any woman who has discovered she's lost her identity. Justin Henry is equally impressive playing Billy as frustrated and impertinent as his young mind struggles to deal with abandonment.

As the legal battle over Billy begins, the film takes on a whole other tone but still maintains an observers role only. Therein lies the films beauty. Both parties, led by juggernaut lawyers who warn 'this will get ugly' become observers in their own lives as they watch lawyers attack with vicious intent. In words unsaid and glances shared, Hoffman and Streep speak volumes.

Kramer vs Kramer rings with an authenticity that's not often found in Hollywood drama. Ground-breaking for its time, Kramer vs Kramer is one of the few films worthy of their Oscars.

Elf (2003)

Each year, Elf makes my list of must-see holiday films. It's quickly becoming a new classic. One you just can't help loving year after year.

Will Ferrell stars as Buddy, a human, raised (by Bob Newhart) in the North Pole as a toy-making elf. The trouble is, he's no good at it. Confronted with the truth, Buddy decides to travel to Manhattan to find his real dad (James Caan)

Directed by Jon Favreau, Elf is a holiday riot. It doesn't ask much from it's audience. The cast goes for the gusto with Ferrell leading the way. Buddy is this innocent man/boy discovering the evils of the real world, but he's so innocently clueless--it's hysterical. Ferrell plays him straight with delightful physical comedy and random joyous dialogue. Zooey Dechanel plays Buddy's love interest. Their courtship is sweet without being cloying. Caan is perfectly hateful. Ed Asner plays Santa {that's weird}.

Don't be a cotton-headed ninny-muggins. Take Elf for what it is--holiday fun--and you'll enjoy every minute {and won't mind feeling incredibly goofy while doing so.}

The Big Bang Theory: Season One (2007)

This CBS sitcom is perhaps the most underrated show on television. The premise centers around four uber-nerds: Sheldon, Leonard, Raj, and Howard. These socially inept geniuses befriend a gorgeous, albeit naive Midwestern girl named Penny. True hilarity ensures. Each character has a trademark tic that shines through each episode.

Leonard the most 'normal' of the nerds wants to be 'average' normal and spends most of his time either trying to woo Penny or calming Sheldon. Sheldon, Leonard's roommate, is the most socially retarded and spends most of his time exasperated at the simplest of things he doesn't understand. Sheldon can easily disseminate quantum physics, but can't delineate restaurant dining. Raj, of Indian decent, has a pathological fear of beautiful women. Around Penny he is silent. Wolowitz (Howard) is a Jewish wannabe lady killer. Together, the four spend Wednesdays playing Halo, speak Klingon, engage in Superman movie marathons, and lay down string theory. Oh, Penny works at The Cheesecake Factory.

Each episode contains above average comedy that typically allows Sheldon (Jim Parsons) to kill. His straight-faced, exasperated, know-it-all tone is pitch perfect. {Look for Sheldon as the Doppler Effect for Halloween} Wolowitz (Simon Helberg) and Raj (Kunal Nayyar) deliver some of the best physical comedy to come to network television in ages.

The Big Bang Theory is the latest in geek chic. Witty and genuine, the show deserves a look and listen. As season two continues, the writers and cast stick with the fresh formula and plenty of laugh-out-loud moments.

30 Days of Horror: George A Romero's Night of the Living Dead (1968)

Is there really any better movie than Night of the Living Dead? Seriously?! Night of the Living Dead is everything you want in a horror movie. The original B&W classic is a simple idea perfectly executed.

Gore aficionado, writer/director George A. Romero is innovative and masterful here. From the start with Barbara and her brother visiting their mother's grave, the two are attacked by horde of zombie. The fright begins and never let's up.

So what makes Night of the Living Dead so great? Let's break it down:

• B&W cinematography ~ Screw Technicolor! What Romero does, playing up the negative spaces with grace. The unfolding cinematography without choppy edits raises the bar. He successfully builds a isolated, claustrophobic feel that terrorizes as much as the zombies.
• Effects/Gore ~ The splattering, limb gnawing, impalement, fire--it's all effective and horrifying.
• Human elements ~ First the collective strangers in the farmhouse--they have to come together for survival, but at the same time there are all these sub-sets of people. Whether divided by race, age, or an unknown suspicion, it plays on the audience's fear--acceptance.
• Social commentary ~ Night of the Living Dead works on two levels. One is simple full-on horror. But you could also take it in context of the 60s decade and Romero would seem to address political issues of the day head-on as well.
• Farmhouse ~ It becomes a character unto itself--as a barricade between the living and the dead, but it also becomes a crutch for our characters
• Cast, both dead and alive ~ Sure, they are virtual no-names. A definitive plus; however, there are genuine performances from them all. These zombies set the bar by which all others are measured. Perfection.
• Sound/Score ~ Even watching Night of the Living Dead with the sound turned off is hair-raising. The ominous score adds another haunting touch, but notice how Romero slowly removes forms of communication from the picture furthering the isolation.

Finally, the ending. Night of the Living Dead leaves you breathless from start to finish Fear and tension mounting, climaxing to an unfolding of one of the greatest mind f^cks you've ever seen--one that begs a rewind, again and again.

Night of the Living Dead is THE movie to see for any self-professing cinephile or horror fan. A low budget masterpiece, this is the movie that started it all.