Duel (1971)

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

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

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

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

Night at the Museum (2006)

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

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

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

Revolutionary Road (2008)

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

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

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

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

Star Trek (2009)

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

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

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

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

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

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

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

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

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

The Court Jester (1956)

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

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

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

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

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