National Treasure 2: Book of Secrets (2007)

Benjamin Gates' (Nicholas Cage) great-great grandfather has been implicated as a key conspirator in Abraham Lincoln's death. Thanks to a mysterious descendant (Ed Harris) of John Wilks Booth, a missing page of the assassin's diary has reappeared. Both men seek justice for their maligned ancestors and will go to great links to prove their families' innocence. Ben, Abigail (Diane Kruger), Mom (Helen Mirren), Dad (John Voight) and Riley (Justin Bartha) follow and international trail of clues to clear the family name and discover a world of secrets.

For entertainment value, you can't beat National Treasure 2: Book of Secrets. This movie is so money; it's disgusting. {Book of Stupid is a better fit.} Implausibility is off-the-charts, but the action is solid. Keep perspective, meaning it IS a Walt Disney bankrolled family film, and you won't be disappointed.

Cage is on auto-pilot; it's John Voight that really shines. He play purely for comedic joy. Helen Mirren is solid, but underutilized. Bartha gets a few humdingers. Ed Harris gets the shaft playing an uneven villain. Unfortunately, Harvey Keitel gets a only a small and rather meaningless cameo.

Unlike the original, Book of Secrets is all over the place. There are too many characters and underlying plots that never get off the ground. The adventure is fun. A thrilling car chase through the streets of London and a delightful lover's quarrel in Buckingham Palace between Abigail and Ben are the highlights. The half-a$$ed kidnapping of the President is just sad.

Trust me. Just watch, don't think, and you'll enjoy yourself. A word of warning: Book of Secrets sets the stage for another act.

What Would Jesus Buy? (2007)

Reverend Billy and the Church of Stop Stopping are on a mission to save Christmas (and us) from the Shopocalypse. Rev. Billy hopes to save humankind from consumerism, over-consumption and the fires of eternal debt.

What Would Jesus Buy? examines the mass commericalization of Christmas by simple asking each of us to think before we buy. From his portable pulpit Rev. Billy preaches the evils of credit card debit, big-box stores and sweat-shops. The Stop Shipping Gospel Choir leads the revival in verse.

The documentary follows Rev Billy and the Church across the country on a countdown to Christmas {and Walt Disney World}, but encourages us all to consider our habits. The film examines how our nation slowly became a nation of consumers, not producers. How corporations have cajoled Americas to trades quality goods for cheap ones at higher prices, killed mom-and-pops, and sweet-talked us into charging over $13,000 a year in CHRISTMAS purchases alone.

Rev Billy inspires and encourages us to take simple steps to repent of our evil shopping ways. His assault of the Mall of America is remarkable. You, the viewer, can't help respect a man so dedicated to his calling. Culminating at Walt Disney World on Christmas, Rev Billy succeeds in getting his message out and going to jail.

What Would Jesus Buy? is an endearing message shrouded in satire. The documentary does suffer from poor pacing, but the message and the looks on stunned shopper's faces is worth a watch. Store this with your Christmas classics as a friendly reminder this season.

Gone in 60 Seconds (1974)

Having enjoyed weirdos Nicolas Cage and Anglina Jolie in the '00 remake despite its flaws, I was really expecting the original to be something special.

Back in the day, Gone in 60 Seconds might have been special--even cool. But in '08, this '74 gem is a product of poor casting, direction, writing, cinematography and dialogue. Even the legendary 40+ minute car chase comes across as ridiculously.

For what it is, a 70s lowbrow entertainment, Gone in 60 Seconds fits the bill. It has a real indie movie feel. Writer/director H. B. Halicki didn't know what he was doing, but it's obvious what he loved. His obsession for fast cars is real. That is probably the only reason for watching. Back to that legendary 40+ minute car chase-- the car looks amazing.

Gone in 60 Seconds is sadly dated and without a plot, script or cast to shore it up, the film is flat. Unfortunately, there isn't the saving grace of camp. Still, if you run on the exhaust fumes and can't quite get that grease from under your fingernails, you just might enjoy yourself.

Cool Hand Luke (1967)

"What we've got here is a failure to communicate."

How do you break a man who won't be broken?

Lucas Jackson (Paul Newman) is sent to prison for cutting the heads offs parking meters. When questioned by the warden on why having been in the Army and attaining the rank of Sargent, he was discharged as a private, Luke shrugs.

Joining the convicts, Luke notices the hierarchy. Dragline (George Kennedy) is clearly the leader. He is bigger, smarter, stronger and doesn't hesitate to lord over them. Newbies are quick to fall in line--except Luke. Luke's carefree attitude is challenging to Dragline. The two are soon fighting for prisonyard supremacy by boxing. Again, Luke's nonconformity escalates the situation. Slowly Luke gains the respect of Dragline and fellow prisoners.

On the chain-gang, Luke stirs up the fellows, by his attitude, to excel at even the most menial of tasks. His energy is non-stop and before long, the prisoners has stripped their guard of any power over them. The warden doesn't take to kindly to that.

Luke's effects on fellow prisoners is troublesome for the warden and he's soon looking for a reason to isolate him. The warden is determined to break Luke.

Steely-eyed {and young} Paul Newman is remarkable creating a character who learns the hard way, but holds no hard feelings. He's brilliant. The stellar cast also includes great names that all film fans should recognize. George Kennedy has a great turn as Dragline. Joe Don Baker, Harry Dean Stanton and Dennis Hopper also play incredible roles as fellow prisoners. These commanding performances by the entire cast will stun you.

Cool Hand Luke delivers some powerful symbolism that brings you to tears. Luke is a man living life on his own terms. The screenplay by Donn Pearce and Frank Pierson is stunningly simple, but under Stuart Rosenberg's direction the film becomes an endearing epic.

This movie is quintessential American cinema. Cool Hand Luke is a world shaker; it's unforgettable.

Memento (2000)

Former insurance investigator Leonard (Guy Pearce) suffers from short-term loss after losing his wife during a brutal rape and murder. He supplements his memory loss with Polaroid pictures, tattoos and notes in hopes that he will find his wife's murderer-- the last thing he remembers.

Memento brings a whole new angle to the thriller genre. Through a series of flashbacks, that flashback further each time and through the narration of Leonard, the viewer is led through a maze of clues and characters. Writer/director Christopher Nolan (The Prestige, Batman Begins) weaves an unusual murder mystery, that much like Fight Club (1999), is a huge and successful mind f^ck.

Guy Pearce plays the enigmatic Leonard beautifully. Pearce conveys an interesting complexity, but viewer empathy is overwhelming. Supporting him are Carrie-Ann Moss and Joe Pantoliano in equally weird and mysterious roles.

Memento's success lies in it's unorthodox editing, Nolan's ability to create a gripping story and manipulate viewer sentiment. Director Nolan unfolds the story in a fresh, innovative manner that is frustrating, exhausting and addictive. The tight screenplay is engaging; the use of color and B&W to tell chronological and reverse chronological events is fascinating. Memento is a memorable spin on the genre. Nothing beats the 'ah-ha' moment here.