Keen Cinema

TAKE SHELTER

2011-10-03T10:31:00.001-07:00

IN THEATERS

Directed by Jeff Nichols

Starring: Michael Shannon, Jessica Chastain, Shea Whigham, Tova Stewart, Katy Mixon, Kathy Baker

Michael Shannon's character, Curtis, is having these dreams. They all start with a storm. A heavy rain falls; that with the consistence of motor oil. With the first dream, his dog attacks him. The second, strangers attack him. These dreams get increasingly intense to the point where he physically feels the ramifications of these visions and they blur with his reality. Understanding his mother's diagnosis of paranoid schizophrenia, he tries to harness and treat what is happening to him and his mind. Jeff Nichols' direction of this film is haunting; the visual effects compliment the suspense and triggers anxiety. Shannon plays Curtis phenomenally as a guy who doesn't usually talk about his problems, therefore when there is a serious one, it's almost impossible to talk about it. Nichols' previous film, Shotgun Stories, tells the story of two families at rivalry who were started by the same father. This middle America feel encompasses both films in a very brooding sense of the soul -- especially as Michael Shannon carries both films. Take Shelter might appear slow, but the script is extremely smart as slivers of humor get sliced into such intensity. The story stays perfectly ambiguous because, through Curtis' eyes, nothing is quite certain. This type of fantasy/reality storytelling has never been accomplished that well before in the vein of paranoia. The films we've seen have mostly been the outside looking in. Whereas this film truly inundates you with fear and anxiety even though you might know for certain that everything is all right. It makes you second guess, and of course fear for poor Curtis.

DREAM HOUSE

2011-10-03T10:30:00.001-07:00

D-

IN THEATERS

Directed by Jim Sheridan

Starring: Daniel Craig, Rachel Weitz, Naomi Watts, Elias Koteas, Marton Csokas

So... Craig's character, Will, retires to his dream house with his wife and two daughters. As it turns out -- he is hallucinating them. And he didn't just retire from a white collar job -- he was released from a mental institution. He was put there years ago after being severely injured in the same shooting that had killed his wife and kids. What now? Indeed. About forty minutes in, the film comes to a halt as he understands who he really is and that he is just hallucinating his family. The film then turns into a drama as the mystery of the shooting unfolds because it wasn't what it appeared to be. This seems like an interesting set up -- but unfortunately the telling of the story is all a tug of war and ends in a befuddled mess that insults the viewer's intelligence, and wallet for that matter. First of all, his schizophrenia shouldn't have been revealed in the advertisement for this. Second of all, it shouldn't have been advertised as a horror. It's not scary. Only the first half hour or so is, and it's all spoiled in the trailer. The eventual mystery that the film builds to is dealt with poorly by using catch-up flashbacks that distract from the climax as it's happening. There is no supernatural element to this film as it presumes in the trailer. The information kept from the viewer till the end doesn't even present a good drama. Also gaping holes in the script present too many questions. Such as, why was he released from the institution if he was such a mess? The writing fails on all fronts as not even these good actors can save it. I hear Jim Sheridan wanted to take his name off this at one point. Alan Smithee would've been offended.

DRIVE

2011-10-03T10:29:00.005-07:00

B+

IN THEATERS

Directed by Nicolas Winding Refn

Starring: Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks, Oscar Isaac, Christina Hendricks, Ron Perlman, Russ Tamblyn

With a rad eighties-film inspired opening, and a scene that follows of pure adrenaline -- this film promises the heavens. Unfortunately, it's direction falls in and out of sentiment -- most times in places where you might be begging the film to be as cold as it's characters presume to be. A stunt driver who moonlights as a getaway driver gets involved with a woman with a kid, while he is accustomed to his lone wolf lifestyle. Her husband is released from jail with a few extra problems from his activities inside. In order to quell his troubles, our hero getaway driver decides to help him on a heist since this husband is loved by the child our hero now loves. Subsequently, the heist goes all wrong and it is a fight to the death. In a brilliant opening monologue by Gosling, his character states, in the second person, the rules that he lives by as a driver; all in all, that he is hired to get you away -- before and after that are not his problem. This cold demeanor is brilliantly portrayed, yet quickly squashed as cross fades and terribly long slow motion sequences give way to fatherly bonding with the kid of the girl he falls for. It is almost laughable at the misdirected tone of this development, but keeps in line as this plays with the eighties style and genre, curiously though - it takes place present day (at least nothing notes otherwise). It is precisely this love he has for the two, that he puts himself on the line in front of heavy hitters portrayed by Brooks and Perlman. They both do a wonderful job, but hark back to the stereotypical persona of movie villains who bark the entire movie waiting to bite (at least bite our hero). Carey Mulligan, as the girl, is looking cute as can be; her character doesn't do anything essential in the plot, but Mulligan still manages to do less than nothing. Bryan Cranston plays a mechanic who is somewhat of a father figure to our hero, yet doesn't get his proper honor when push comes to shove outside the jittery older man who warns the best of us as he manages to stay on our side. And Christina Hendricks, well, maybe the sexiest character on screen in the last decade or so? The film is essentially a neo-noir in a Michael Jackson jacket with pink shades. The violence seems a bit excessive at times for how realistic the rest of the film is portrayed, as it jars you out of the story a bit farther than needed. But overall, I'm critical because this came close to being a perfect film. It is effecting -- It dares to be different, and shines like a glass bottle in a sea of shit that studios are producing now. But the over-sentimentality gushed in by love and exacerbated by slow motion stains it something corny. But it's almost forgivable. Almost. Cheers to the music as well.

RESTLESS

2011-10-03T10:28:00.005-07:00

A-

IN THEATERS

Directed by Gus Van Sant

Starring: Mia Wasikowska, Henry Hopper, Ryo Kase, Schuyler Fisk, Jane Adams, Lusia Strus

As Van Sant deals with a heterosexual relationship deliberately (as opposed to peripherally in previous films), there is a unique eye upon Restless that should be properly expected. A pair of oddball characters find love within a timed period. Mia's character, Annabel, is diagnosed with cancer and has three months to live. Henry's character, Enoch, has grown up with his aunt after losing his parents in a car crash for which he himself was comatose as a result. Being pronounced dead for a few minutes, Enoch survived and has since been having visions of a Japanese kamikasi pilot from WWII. As weird as it all sounds, the film is purely sweet. It seems to be void of any superficial dialogue or snide, sarcastic characters as it deals directly with the innocence of the 'here and now.' The other characters they interact with bring a fresh breath of reality to the film whenever it simmers too long within the fantasy that their love creates. Scenes with the ghost of the kamikasi pilot seem tiredly written, but the character's presence speaks loudly of Enoch as they continually play the board game Battleship together. With all the darkness this film harbors, don't let it's sadness scare you. These characters are kids -- still with the capacity to play. Even though they are surrounded by death, their young minds deal with it in fresh ways contrasting our boilerplate cancer stories. It turns out to be a happy meditation on a strong, yet short lived love. And as it is, maybe it's brevity is why it was so strong. Contrary to the feelings his previous films (Elephant, Last Days, Paranoid Park, and Milk) envoke, Van Sant's directing is much more viewer friendly with Restless, yet is still beautifully haunting.

THE ILLUSIONIST (L'illusionniste)

2011-01-27T19:59:00.003-08:00

IN THEATERS

Directed by Sylvain Chomet

Voices: Jean-Claude Donda, Eilidh Rankin, Duncan MacNeil, Raymond Mearns, James T. Muir, Tom Urie, Paul Bandey

Scripted by Jacques Tati, this film promises whimsical joy. Directed by Chomet (The Triplets of Bellville), this film promises sincerity. Releasing a hand-drawn feature animated film today amidst computer animated films (which are hastily made) should be respected in it's craft. The movement of these characters re-define charm. An old magician visits Edinburgh and befriends a small girl. She ends up following him as a genuinely caring relationship evolves. Almost without a word uttered, this film communicates through looks and gestures mature enough to please an aged audience and simple enough to entertain a younger one. Although the film can be bitter-sweet, it speaks of the use of magic; no matter how one defines it. The young girl's eye is drawn to the magic, but truly the magician's perfected technique. Unfortunately she might be the only one since there isn't much work for a magician. Not as many laughs as one would expect from an animated film, but Chomet is after something more. This film exhibits the pure art form and makes you forget you are watching drawings. It would seem the film had lost connection with a larger audience for that single purpose. The Illusionist wavers on a line between fairy tale and drama. Story book come to life.

THE GREEN HORNET 3D

2011-01-27T19:59:00.001-08:00

IN THEATERS

Directed by Michel Gondry

Starring: Seth Rogan, Jay Chou, Cameron Diaz, Tom Wilkinson, Christophe Waltz, Edward James Olmos

The action sequences are amazing. This is a leap for Gondry after directing indie classics Eternal Sunshine of the Spotless Mind, Science of Sleep, Dave Chappelle's Block Party, and the take-or-leave gem, Be Kind Rewind. But it is inevitable with someone of his talent to evolve and make movies with millions. His style specializes with visual gadgets and normally in-camera effects. Therefore when we watch Rogan and Chou kick ass in this action-comedy, there is nothing short of brilliance. Unfortunately the script isn't where it should be. Rogan plays Britt Reid, a rich slacker who inherits his father's newspaper publication empire. The circumstances of his father's death as well as his true character are put into question when Britt becomes further involved with the company. He teams up with Kato, his father's employee who has a secret talent for weapon gadgetry. They begin to fight crime together posed as criminals themselves. The childlike wonder present in all of Gondry's work surely shines here, as well as the petulance of brothers when Britt and Kato fight over Diaz's character. This unfortunately takes too much focus from the overall story at the film's midpoint. The dialogue doesn't quite match up with the story's priorities at some points, but it still portrays the characters in a fun way where the film recognizes it's own tradition and has fun with it. The supporting actors are all over-acting, and the script is clean enough to make this a kid's film. Unfortunately the grand scope of it tends to be corny at times and lacks action. There are only three or so action scenes. It is only during these scenes where the 3D truly shines. Let's hope this doesn't ruin Gondry's career because he makes very unique films.

SOMEWHERE

2011-01-27T19:58:00.003-08:00

IN THEATERS

Directed by Sofia Coppola

Starring: Stephen Dorff, Elle Fanning, Chris Pontius

"Stick to what you know" is something Ms. Coppola has definitely embraced. Unfortunately, she's channeling the life of what it's like to have a famous family. This story is about a jaded actor who spends some of his time with his daughter as he has joint custody of her. The film cuts from one scene of Dorff's character hanging out to another. He hires girls to dance for him in his hotel room, he does a press junket for his latest film, he takes his daughter to the ice rink; we simply see these true life, every day actions of someone with a high profile who slightly yearns for a lower profile. Yet each scene does have a level of certain indulgence from the characters that translates deeply, and therefore showcases indulgence from the filmmakers. There is something about Sofia Coppola that likes to capture real things happening. She's a method director if you will, and seems to reject the rigid process that classically-made films stick to: big lights, actors hitting marks, and close-up/reverse close-up shots. But then Sofia also likes to make films about the small triumphs in life. She likes to portray the utterly simplistic sides of life that a main-stream audience wouldn't necessarily find terribly interesting. She exhibits in the art house basically. Therefore with this film, we have an odd pair of technique where she a) likes to film the little things like people being relaxed, hanging out and b) wanting to capture it for real as it happens. So ultimately she is just hanging out with her friends and filming it. The story truly is minimal as the daughter, beautifully played by Fanning, comes in and out of his life as Dorff's character struggles to recognize (through the fog of womanizing) what he actually wants from life. Coppola's previous films have had a certain plot to progress her style that Somewhere seems to lack. Marie Antoinette missed the mark completely for similar reasons. It was a film about indulgence that was executed by simply indulging and not examining or commenting on such a turning point in France's history. Somewhere does slightly touch upon a disconnect with the world that makes it feel like it inhabits some truth, but the entire 97 minutes explores this just enough to satisfy a proper story's first act. This will not invigorate Dorff's career. Let's hope the whole lot does better next time.

THE FIGHTER

2011-01-27T19:58:00.001-08:00

B-

IN THEATERS

Directed by David O. Russell

Starring: Mark Wahlberg, Christian Bale, Amy Adams, Melissa Leo, Jack McGee

Russell has a keen sense of humor, even if he does have a reputation for being an asshole. Mark Wahlberg acts as an anchor to all the spectacular performances around him. Since he does have his limits, this is the perfect role for him. This film truly isn't about boxing, it's about family and trust. Wahlberg's character is like a fiery ball of potential that people want to take advantage of, especially his family who had helped him burn so brightly in the first place. But with an over-bearing mother and an ex-boxing champion brother with a crack cocaine problem, it becomes hard to know where to draw the line and say goodbye. Adams plays the girlfriend who helps him realize his solo potential from dropping his family's representation. Since this is a true story, the film is steeped in argumentative irrationality and exhibits sibling resentment perfectly. The story is told very well, but nevertheless it is a story we as viewers can understand and predict all too well. There aren't many surprises here outside the raw performances of the ensemble. It's shot very straightforward complimented by a slightly nostalgic score of 90's rock. Which, to be honest, doesn't quite work very well with the montage sequences Russell put together. He chooses a mix-tape of The Breeders, Red Hot Chili Peppers, and The Rolling Stones. Ultimately the film lacks style. In every aspect. But, it's a justifiably decent script with amazing performances. Amy Adams comes up short unfortunately.

BIUTIFUL

2011-01-14T14:27:00.001-08:00

IN THEATERS

Directed by Alejandro González Iñárritu

Starring: Javier Bardem, Maricel Álvarez, Hanaa Bouchaib, Guillermo Estrella, Eduard Fernández, Cheikh Ndiaye, Diaryatou Daff

Powerful as it is poetic. This is a story about a man fighting for his life, both his physical health and the family he put together. Bardem plays a psychic medium who talks to the dead for any cash he can get to support his wife and two kids. His day job consists of supplying his friend's business with illegal immigrants to work. These challenges coincide with his diagnosis of cancer. Overall, his home-life is in a shambles due to his wife being a heavy drinker and drug addict. His love for her oozes off the screen and even clouds the viewer's judgment of right and wrong. Scenes of him pleading his kids to never forget him are of the most powerful you'll ever see. Some people have stated that this film is too scattered; referring to his psychic abilities being added to a free-falling narrative of a dying man. On the contrary, this aspect of the film truly transcends Iñárritu's storytelling to the next level. The tragedy of this supernatural side of Bardem's character is that he tries not to embrace this gift. He hates to exploit it and take money from the bereaved. He avoids his sixth sense best he can, but at some points they are hard to ignore. And these points are downright bone-chilling. This film penetrates your emotions stronger than you realize a moving picture could. And above all, Iñárritu's film speaks from a hispanic culture that has a very strong relationship with death. Día de los Muertos for example is an occasion celebrating death by looking it straight in the eye and rejoicing it with a laugh. We see this man from one world to the next, doing all he can; being a man with courage we should all aspire to behold.

TRUE GRIT

2011-01-14T14:26:00.003-08:00

B+

IN THEATERS

Directed by Ethan Coen, Joel Coen

Starring: Jeff Bridges, Matt Damon, Josh Brolin, Barry Pepper, Hailee Steinfeld

Based on a novel by Charles Portis that was once adapted into a film before starring John Wayne, True Grit tells the story of a young girl employing an old Marshal to find the fugitive murderer of her father. The film starts off clean with beautiful cinematography and a fast talking script. Steinfeld misplaces her performance periodically as she struggles with her dialogue unfortunately, but her overall character works quite well opposite Bridges and Damon. The film picks up momentum when they finally find their fugitive, but ends shortly after that as the viewer realizes that the story wasn't about finding him but the journey that took them there. This script and story still works beautifully between all characters, but this balance of progression between Bridges' character and Steinfeld's character push and pull to a climax that was cut short. An ending that felt tacked on might be true to the book, but it falls flat cinematically. To complete a character arch within the story, the Coens seemed to overlook the detachment from the audience to the hero when Steinfeld's character is replaced by another actress (to play older jumping forward years) just when we wanted to know what was immediately coming next at the story's apex. Kudos to Barry Pepper, this man is rising. Bridges' performance is spot on as an unstable Marshall who can actually shoot. Apart from a misstep of an ending, this film truly soothes you in every way. It has moments that transcend you from wherever you are.

BLACK SWAN

2010-12-20T09:44:00.000-08:00

IN THEATERS

Directed by Darren Aronofsky

Starring: Natalie Portman, Vincent Cassel, Barbara Hershey, Mila Kunis, Winona Ryder

This film is a nightmare. The psychological impact films have on the human brain relate very closely to dreams. Therefore, it is very refreshing that this film doesn't acknowledge any subconsciousness within it's structure, or referring to a character dreaming. From beginning to end we experience her story through her perception, be it practical or surreal. The worst thing for a film narrative to do is invest the viewer within something and disregard it by having the lead character "wake up." Aronofsky had seen a ballet production of "Swan Lake" while reading Dostoyevsky's "The Double" and had seen many similarities he explored with this film. Nina, our heroine, yearns for the part of the white swan in "Swan Lake." Her understudy, bearing a striking resemblance to her, poses an anxious threat within her mind. Paired with pressure coming from a sheltering mother and a wolf-like ballet director, it's a story focused on the sexual awakening of a girl previously encompassed with ballet practice. Then her subsequent decent into madness. The rhythm and intensity of Aronofsky's Requiem for a Dream meets the realism and camerawork of The Wrestler. The film's beauty is only eclipsed by it's anxiety. This film chills you. The cast kill it, every last one of them. Cassel is almost too perfect and makes the real life fact of Portman having her ballet instructor's baby very creepy indeed.

KISSES

2010-12-08T11:07:00.008-08:00

A-

ON DVD

Directed by Lance Daly

Starring: Kelly O'Neill, Shane Curry

It's purely heartwarming. Made extremely simply, it's about a pair of eight-year-olds who live next to each other. One day, a routine squabble with their parents turns into a bit of violence. The young boy and girl seem to be too afraid to go back inside their own homes and face their parents, so they decide to run away and depend on each other. The film is steeped in euphoric music and photography as it takes you through inner-city Dublin. The true joy is the acting of these young kids. They are wise beyond their years professionally, yet they still encompass a state of spontaneity throughout. Bravo to director Lance Daly. Be sure to see it with subtitles though, because their Irish accents are pretty thick. They also do a wonderful thing with the color of the film as it starts out bleak with black and white, then as the kids start to have fun on their own the color seeps in seamlessly. Between the photography and the acting, this film is undeniably sweet yet not too sentimental. Living through the streets, debating whether or not to return home, and meeting strangers along the way keep it realistic and not too cuddly. The kids are both prodigies, but look out for this little Kelly. She's already kicking ass.

INSIDE JOB

2010-12-08T11:07:00.007-08:00

IN THEATERS

Directed by Charles Ferguson

Narrated by Matt Damon

With many other pertinent and informal documentaries breaking barriers out there such as Forks Over Knives, Enron: The Smartest Men in the Room, and Manda Bala; Inside Job is a film absolutely everyone should see. Without being an economics major, the average person can follow exactly how this financial crisis/recession came to be. This filmmaker holds nothing back as he interviews the bigwigs down there from wall street. Using clever metaphors and diagram graphics, the separation between banks and the insurance companies created a monumental loop hole that triggered a downfall. With the banks being trigger-happy in approving loans (general and business), they trust the insurance companies to ensure the payment from the actual customer. That is the basis of the problem. Everything else is increasingly aggravating and will be better understood by watching this well-made documentary. Elliot Spitzer is interviewed for this film as it hints at the overall hedonism activity of politicians and traders, but similarly Spitzer has a documentary focused entirely on him by the filmmaker Alex Gibney entitled Client 9: The Rise and Fall of Elliot Spitzer. The charming thing about Inside Job is the filmmaker's sheer diligence in finding the truth and reporting it to us, the people. It is unfortunate that some of us (myself included) don't keep up too well on this country's politics and need to watch a film in order to fully understand our economic situation, but there are many others who even lack necessary interest to see this documentary. This is why I stress the importance of this film even if you don't think you'll understand it. Keep your heads up.

WHITE MATERIAL

2010-12-08T11:07:00.005-08:00

B-

IN THEATERS

Directed by Claire Denis

Starring: Isabelle Huppert, Christoper Lambert, Nicolas Duvauchelle, Isaach De Bankolé, William Nadylam

Deep in the social unrest of nondescript Africa, Huppert plays a woman who slowly loses her ranch and family. The beauty of this film lies in it's minimal dialogue. First, we get a sense of conflict. Then we see how these characters are effected emotionally, then literally. At first devastating, the film grows a sense of odd rejoice by the end. Even if the film is riddled with ugliness formed as hate and murder. The camerawork allows you to exist with the characters and steep yourself in beautiful Africa. But due to the nature of the film, anxiety takes hold. Not much suspense here, but an unraveling. One by one, the kids of Africa take it back from their oppressors. Part documentary feel and part poem, it's truly beautiful.

FAIR GAME

2010-12-08T11:07:00.003-08:00

A-

IN THEATERS

Directed by Doug Liman

Starring: Naomi Watts, Sean Penn, Ty Burrell, Sam Shepard

Based on a true story, Valerie Plame (played by Watts) was a CIA agent who was discredited (outed) by White House officials. This, of course, is damaging to her life let alone her profession. This was absurdly done to discredit an article her husband, Joe Wilson (played by Penn), wrote in a 2003 New York Times op-ed piece saying the Bush administration had manipulated intelligence about weapons of mass destruction in order to justify the invasion of Iraq. Incredibly important film. As a narrative it moves along quite firmly giving us a play by play from a good director who has made a number of missteps in his career (Jumper, Mr. and Mrs. Smith). Sure we might be bored of seeing Watts and Penn in roles like this, but this film speaks louder than most. And if you won't see it because of any of those reasons, you're missing the point. This is a film that everyone should see, and should have gotten more recognition over films like Winter's Bone and Toy Story 3 by the Academy (as well as Assayas' Carlos while I'm on the subject). You do have to keep up with this film and have a keen sense for justice. The only thing it might lack is artistic merit in it's directing. Any style was trumped by information and repetition of threats (but realistically how much can one film have?). Therefore as a film, the photography and pacing can be wearing on it's audience. A hyper-version West Wing. But audiences of all should be able to absorb this film, except those under twelve years or so due to it's intelligence of politics. Very nice to see Sam Shepard, if only for one scene.

MADE IN DAGENHAM

2010-12-08T11:07:00.001-08:00

A-

IN THEATERS

Directed by Nigel Cole

Starring: Sally Hawkins, Andrea Riseborough, Jaime Winstone, Lorraine Stanley, Nicola Duffett, Geraldine James, Bob Hoskins, Daniel Mays, Rosamund Pike, Miranda Richardson

This is a true story based on the 1968 strike at the Ford Dagenham car plant. Female workers who created all of the car's seats/interior/fabric, walked out in protest against sexual discrimination. Lead by Hawkins, all the women are incredibly great. Especially Rosamund Pike. Bob Hoskins was a predictable choice for the liaison between them and the powers that be thanks to his rolls in films like Mermaids and Mona Lisa; each film dealing with the subject of powerful women. Without being paid their proper wages, these girls made a stand without much support from anyone. The story itself is quite inspiring, but with actors like these and a script like this, it's a pity a film like this didn't get more recognition. It's got a light-hearted sensibility done in a very intelligent way. Most of the male characters are obviously skewed unfavorably, but justifiably so. It works, and the comedy is spot on where you laugh with these characters as they steal your heart. The beauty of this film is the questioning moral sensibility when working toward a bigger goal, such as equal rights (because having a woman's role in 1968, their home lives were in peril). True heroes recognize the necessary sacrifices needed in order to achieve something extraordinary. With all the super hero movies out there right now, it's upsetting that the stories of real heroes aren't as popular.

THE DISAPPEARANCE OF ALICE CREED

2010-11-29T10:33:00.000-08:00

D-

ON DVD

Directed by J Blakeson

Starring: Gemma Arterton, Martin Compston, Eddie Marsan

This film loses focus by stirring the pot a bit too much. Remember what would kill weak David Mamet films? Yes, the tired twist. Twisting the film back and forth can break it's neck and sadly Alice Creed is a victim of this. A pair of lads kidnap a young girl. But that's not the last of her. She doesn't give up that easily. And, it's Gemma Arterton. Can't get better than that set up, right? The film goes downhill as everyone's intentions aren't exactly what they seem. That's about all I can go into without spoiling the film. It's a bit Suicide Kings, it's a bit 44 Inch Chest, but fails to hold onto a proper character or even story arch. It stays very thin. If you're a fan of these actors, which I have been thoroughly throughout the years, than check it out. Otherwise, there might not be much here. Very nice photography though.

DUE DATE

2010-11-22T09:12:00.001-08:00

C-

IN THEATERS

Directed by Todd Phillips

Starring: Robert Downey Jr., Zach Galifianakis, Michelle Monaghan, Jamie Foxx, Juliette Lewis, Danny McBride, RZA

This film is simply a remake of John Hughes' Planes, Trains, and Automobiles without crediting it. It's difficult to understand how movie deals get made in Hollywood by simply stealing/revamping an old film idea e.g. The Roommate that's coming out with Minka Kelly and Leighton Meester. This film is simply Single White Female. At any rate, with Galifianakis in John Candy's role, as the naive bumbling idiot who just needs a friend, he is quite funny. What doesn't work most of the time is Phillips' odd sense of sentimentality among the superficiality his films usually create. "We don't want to see Galifianakis cry about his dad; for real." A friend of mine says. Indeed, we do not. His cheap jokes don't compare to what Hughes can do, and unfortunately with similarities so strong between Due Date and Planes, Trains, one can't help but compare. Instead of Steve Martin trying to make it home for the holidays, Downey Jr. is trying to make it home to see the birth of his first child. Instead of John Candy needing companionship after losing his wife, Galifianakis needs companionship after the death of his father. Instead of Candy destroying their car after comically getting his arms stuck behind his back trying to take off his jacket at the wheel, Galifianakis has a fit of narcolepsy and lets the car drift off an overpass. Phillips' superficial storytelling riddled with cheap jokes are not complimented by substantial themes like death, or family, or friendship constructed the way John Hughes would make a film. The writing is what's bad here. Moment to moment it's quite corny, but will help you laugh along the way. With a bit of deja vu. Also, look forward to Juliette Lewis, who in my opinion is not making enough films. But a cameo by Danny McBride could've been done without. He has outstayed his welcome by pulling too much focus. Bad juju.

127 HOURS

2010-11-21T15:08:00.001-08:00

B+

IN THEATERS

Directed by Danny Boyle

Starring: James Franco, Kate Mara, Amber Tamblyn, Clemence Poesy

With flashy cutting, colorful photography, and split screens the film pumps you up immediately as it for bodes the inevitable. But once we get in that canyon, under that rock, the film is miraculously driven by Franco, and Franco alone. This is a film based on the true life adventure of Aaron Ralston, who got his arm caught under a boulder that fell after him down a canyon sliver. After about five days alone, he severed his own arm in order to free himself and live. This was a huge story of human endurance when it happened. Danny Boyle does a fairly good job portraying this story about one man caught below a boulder with his thoughts. Visually, this film takes you through his memories and imaginations while getting closer and closer to the breaking point. Boyle had built a set to scale creating a perfectly claustrophobic, uncomfortable place for the cast and crew to work in, and it shows. He had hired two different directors of photography, but had voiced disappointments as the experiment didn't "work" the way he had wanted. He wished to showcase a different relationship each operator would have with Franco. Ultimately, he says, upon watching the film it's difficult to decipher who actually shot what. All in all, this film is a triumph in human will and strength. But as a film, it does have a bit of shock and awe to it as we all know what is coming and how the film ends. For that very same reason, the film does feel almost like a movie of the week or a human interest story done very well. The surprises are few and steeped in stylistic memory. This film also forces you to examine the talent of Franco's acting. Sure he's no Oscar winner, but he has potential that is laid out in front of you here. It's a tough job to carry a film like this. If you can stomach the desperation, you might overlook the thick sentimentality.

NEVER LET ME GO

2010-11-08T11:07:00.001-08:00

C+

IN THEATERS

Directed by Mark Romanek

Starring: Carey Mulligan, Andrew Garfield, Keira Knightley, Charlotte Rampling, Sally Hawkins

Based on a book by Kazuo Ishiguro, this realistic depiction of an intelligent alternate universe can only be compared with Philip K. Dick. Almost modern day, as the childhood first-third of the film takes place around the 60s or 70s, three friends stay close over the years while the boy in the middle of two girls is fawned over. The romantic bleakness of the story attributes to it's core; these kids are clones and grew up in a boarding school where they are raised to strictly aid organ donation. This being an underlying fact, it's dealt with in a very subtle way. The problem here is that since this subject of cloning farms is dealt with minimally, it focuses the story arch on the inner relationships of these main characters that of which don't transcend any boilerplate love story. Certain scenes focus intricately on how these characters are emotionally effected by being clones, but the emotions seemed forced in a way that the film feels plastic and not real. By the end of it, the story ignores a lot of juicy points that could've been creatively addressed but fell flat. Mark Romanek, famous music video director seems to fall short with his films. An earlier one was One Hour Photo. This film lacked proper arch as well, but was quite beautiful in it's execution. Theres a certain trust that what he presents will be enough, but it never is. I'm sure the book is amazing though. Never Let Me Go doesn't lend itself to a visual medium.

THE GIRL WHO KICKED THE HORNET'S NEST (Luftslottet som sprängdes)

2010-11-01T12:32:00.003-07:00

C+

IN THEATERS

Directed by Daniel Alfredson

Starring: Noomi Rapace, Michael Nyqvist, Lena Endre, Anders Ahlbom, Georgi Staykov, Sofia Ledarp, Mirja Turestedt

This story just got boring. As the first one was about an actual mystery, the subsequent two films center on the character of Lisbeth herself. This, being the third installment of Stieg Larsson's The Girl With The Dragon Tattoo series, many people are already invested in this character. The story of Lisbeth is not very dynamic on it's own. Learning of Larsson's intentions and inspirations (since he himself witnessed a instance of unforgivable misogyny), the film just seems like a drawn out soapbox for the ultimate victimized woman. She is, of course, an admirable and heroic character, but best fits as a subplot to a bigger mystery as the first film, Dragon Tattoo, played out. To concentrate on her, her past, then her revenge might best be told through it's original literary format. This film lacks all surprise and simply delivers what the audience has been thirsting for after seeing the second film. It's Justice. Good. But the story doesn't jump around, it caves in on itself. Since David Fincher is remaking the first film for American audiences with Rooney Mara, this Lisbeth character can become a cultural icon (if she isn't already). But unfortunately as the second and third films focus on her being a victim, her strife falls flat and is single noted. Curious to see how her personality will stand the test of time with new audiences, especially with these remakes. Lets look forward to the first remake, Dragon Tattoo. They switched up the ending supposedly for the better.

WELCOME TO THE RILEYS

2010-11-01T12:32:00.001-07:00

IN THEATERS

Directed by Jake Scott

Starring: James Gandolfini, Kristen Stewart, Melissa Leo, Alley Sheedy

Very simple story, so simple you probably know it already. But it's done here in a very charming way. Every emotion here is justified, but the story of a middle-aged couple struggling to continue their marriage after losing their daughter, doesn't quite surprise. Enter Stewart's character who Gandolfini finds on a business trip to New Orleans stripping and living in a house with no gas or electricity. Once these three characters clash, moralistically we know the shoes of a lost child can never be filled. Every performance here is spot on and curiously well-executed with guidance by Scott coming from directing his first film Plunkett and Macleane. Now, fans of the gentleman highwayman you know who you are. But Welcome To The Rileys has a new kind of charm. Bravo to everyone involved making this, but it lacks intrigue and edge. A pleasure to watch, yet scene by scene, you can surmise the content for yourself before the next one hits.

PLEASE GIVE

2010-10-22T09:56:00.000-07:00

B+

ON DVD

Directed by Nicole Holofcener

Starring: Catherine Keener, Oliver Platt, Amanda Peet, Rebecca Hall, Ann Morgan Guilbert, Sarah Steele, Thomas Ian Nicholas, Josh Pais

Delightfully cynical as all other Holofcener movies are. Keener's character owns a trendy vintage furniture store, with her husband (played by Oliver Platt), and gets lessons on buying up old people's stuff and selling it for profit. As a family, they get to know their next door neighbor's due to their purchasing of their apartment to extend their own. The comedy lies in the fact that the neighbor's, played by Hall and Peet, have a grandmother (Guilbert) who still lives there deteriorating. The themes in this film are thick in vanity, whether it be that of physical beauty, social status, or the core of one's compassion. Peet plays a dermatologist, while Keener's daughter (Steele) gets annoyed when Keener gives homeless people too much money. There aren't many overall arch's here in story or character, but rather a portrait where people (however cold) can truly appreciate what they have and who they have it with. The nature of the humor might be too offbeat for an elderly audience, but this unique style is getting better with each film Holofcener makes.

JACKASS 3D

2010-10-18T09:35:00.003-07:00

IN THEATERS

Directed by Jeff Tremaine

Starring: Johnny Knoxville, Bam Margera, Ryan Dunn, Steve-O, Jason 'Wee Man' Acuña, Preston Lacy, Chris Pontius, Ehren McGhehey, Dave England

Sprinkled with a few surprises, this film delivers the comedy. A lot of puking, and a lot of feces. In a good-hearted manner, though. This film doesn't lend itself for a proper film review, but it is just like the previous films only the guys are getting older. Skit after skit, they get more and more gross. Even the camera guys are puking. Unfortunately it doesn't have a proper climactic ending, but it still leaves you with your grin aching. If you are willing to see this movie, you will enjoy it. The 3D doesn't go too far though. The titles pop out the most, and they rarely play with it. Thinking about it, they could've been much more creatively gross with this film, but it's all there for what it's worth.

CARLOS

2010-10-18T09:35:00.001-07:00

A-

ON SUNDANCE CHANNEL

IN THEATERS

Directed by Olivier Assayas

Starring: Édgar Ramírez, Alexander Scheer, Alejandro Arroyo, Juana Acosta, Ahmad Kaabour, Talal El-Jordi, Nora von Waldstätten, Christoph Bach

This film is an amazing five and a half hours long. It airs on The Sundance Channel in three parts, while being released in theaters with one intermission. Before the film, it states how this story isn't entirely true as it weaves together fabricated personal relationships of Ilich Ramirez Sanchez (Carlos The Jackal). He joined the Popular Front for the Liberation of Palestine (PFLP), which has been described as a terrorist organization. They oppose negotiations with the Israeli government, and favor a one-state solution to the Israeli–Palestinian conflict. After a few failed assassinations and bombings, and evading/killing detectives, he raided a conference of The Organization of the Petroleum Exporting Countries (OPEC) in 1975. After his actions draw heat, he is expelled from the PFLP due to his increasing celebrity as well as not executing hostages properly of the OPEC raid. His incredible life continues, but I don't want to ruin too much of the film. Edgar does a superb job, as well as the rest of the cast. Assayas compellingly directs the film, yet the camera's direction isn't very dynamic. It's pretty straight forward and gets a bit trying at times because some scenes are strictly expository trading dialogue back and forth. The scattered music cues pick it up (with great music of the times), which act like fresh drinks of water. It lacks a climactic ending, as it could've been fixed with keener attention to pacing and suspense. Overall, it's is a masterpiece worth the three-hundred and thirty-three minutes. This character is extremely engaging as well as his principles and his actions. In this case, it's a very entertaining composition inspired by the true life of a terrorist.

KINGS OF PASTRY

2010-10-18T09:34:00.001-07:00

C+

IN THEATERS

Directed by Chris Hegedus, D.A. Pennebaker

Starring: Jacquy Pfeiffer, Sebastien Canonne, Philippe Rigollot, Regis Lazard, Nicolas Sarkozy

This film is poorly made with DV cameras and cheesy titles, but overall it's a nice slice of culinary competition. The Meilleur Ouvrier de France (Best Craftsman in France) is a three-day pastry competition. We start out by getting to know a few contestants, then learn more of the bunch when the contest begins. Unfortunately it doesn't quite focus on the creation of the pastries as much as it concentrates on the creation of the artful centerpieces that are required to accompany the pastries. The challenge is that these pieces are to be made from sugar cane. The drama is steeped in how fragile these pieces can be. After hours, days, months of creating and tailoring these pieces, some will break. And by extension, break spirits. What this film fails to do is give you a proper play by play of the competition. As you are watching, you are unaware how many stages the competition has, and who is who. It's over before you know it, and it lacks proper climax. The pastries are barely mentioned, glossed over with a panning shot toward the end while everything is set out for the judges. For a fan of pure culinary techniques this barely satisfies, but it is a nice watch for those simply curious. These centerpieces do get quite beautiful. But overall, don't know how this film got a theatrical release.

RED RIDING: 1983

2010-10-11T11:22:00.000-07:00

A-

ON DVD

Directed by Anand Tucker

Starring: David Morrissey, Mark Addy, Sean Bean, Peter Mullan, Robert Sheehan, Shaun Dooley, Jim Carter, Michelle Dockery, Lisa Howard

This trilogy is concluded with splitting the lead characters. One is played by Morrissey, a policeman whom we've seen before in 1974 and 1980. We finally get a glimpse into his perspective of remorse as we learn of his involvement in this on-going corruption. The other character, played by Addy, is a lawyer falling into this muck as earlier characters have. The difference is, he actually gets close and inadvertently does some good. The rhythm stays serene as we flip back and forth between them, but it is ultimately satisfying as we see the wrong steps that were taken and who had actually contributed to these girl's disappearances. These two characters don't necessarily meet or intersect, but both of their actions have much to do with the film's outcome. I hesitate to go into it much further because a viewer shouldn't know anything upfront. There isn't much violence or action, but what does happen is devastating. Even though based on true murders, the story is a fabrication surrounding these stories. It's quite expertly told, but it does lack a certain flash or camera direction that hopefully Ridley Scott might improve upon. But to present fans of this trilogy, there is a possibility he might trivialize it. 1974, 1980 and 1983, even though different directors, keep similar moods and color palettes impressively. Also bravo to Tony Grisoni, the screenwriter for all three.

RED RIDING: 1980

2010-10-11T11:21:00.000-07:00

A-

ON DVD

Directed by James Marsh

Starring: Paddy Considine, James Fox, Maxine Peake, Tony Pitts, David Morrissey, Eddie Marsan, Shaun Dooley, Jim Carter, Peter Mullen, Robert Sheehan

As the trilogy continues, we come in 6 years later... many murders later. The most frequent apparently happening in 1977. Peter Hunter enters the story as an investigator with a ready team beneath him of the best of the best to properly examine all the Yorkshire Ripper's victims since the start in 1974. Yet again our protagonist gets pulled into the secrets and corruptions, only we're with him the entire way as he does his job with proper diligence. With the lack of cooperation from the Yorkshire police, he is undermined and tested at every turn. His one folly is his affinity for his female subordinate whom he has a history with. They had an affair, which seems to have a more lasting effect on her. With a wife and children, he regrets it, yet still confides in her friendship. Soon, photographs of them together threaten his credibility even though he's on the right track in exposing the true nature of Yorkshire corruption. Frustrating as all hell as it keeps you at the edge of your seat, the tonality justifies every single actor in this one a little better than 1974.

RED RIDING: 1974

2010-10-11T11:20:00.000-07:00

B+

ON DVD

Directed by Julian Jarrold

Starring: Andrew Garfield, David Morrissey, John Henshaw, Anthony Flanagan, Eddie Marsan, Peter Mullan, Rebecca Hall, Sean Bean

This is the start of the Red Riding trilogy, a motion picture event based on David Peace's literary works. 1974 starts off with a young journalist who, maybe strictly due to his ego, gets wrapped up in solving the murder case of a recent victim of a serial killer. Dark cinematography and raging suspicion, this film looks like it was made to watch during a rain storm. The wiry protagonist is wet behind the ears, so he doesn't quite pull you in as much as the story itself. Sure it's about the murders, but the killer is not much of the subject. Things get dire quick, so stick with it. But unfortunately, his intimacy with a mother of one of the victims brings the film down into a distasteful melodramatic realm. She is obviously unstable from her emotional traumas, so he latches on thinking he can save her. You cringe as his bad decisions lead to an explosive ending. These three films have three different directors yet maintain composure and credibility for a good crime mystery comparable to the latest Dragon Tattoo craze. The draw to this story is that all three films revolve around the case, more or less, of the Yorkshire Ripper. People come in (journalists, investigators, etc.) and people go out as multi-level corruption is unveiled with recurring characters. It has been well received and critically acclaimed so, that they have plans to remake this film for America. There isn't much reason to, apart from the thick British accents... but I suppose they can money grub if they like. Ridley Scott and Tony Scott of Scott Free Productions are scheduled to remake. This fact then raises my hopes a little. These two haven't been doing so well lately due to Ridley's Robin Hood or Tony's Unstoppable. Ultimately this film was well written with a great premise. As it continues, I can't wait to see what develops. The image on the poster there, is that of a young girl who had been tortured, raped, and strangled with swan wings stitched to her back.

MESRINE: PUBLIC ENEMY #1

2010-10-11T11:19:00.001-07:00

IN THEATERS

Directed by Jean-François Richet

Starring: Vincent Cassel, Ludivine Sagnier, Mathieu Amalric, Samuel Le Bihan, Gérard Lanvin, Olivier Gourmet, Christophe Vandevelde

In and out of investigator's grasps, this film is much more poignant on Mesrine's essence than Killer Instinct. We get to the bottom of who he is and why he carries on like he does. First off, he escapes from custody, then once back in prison he befriends another convict (played by Amalric) who becomes his stern, moody counterpart to his boastful brashness. These two are an amazing pair onscreen as the film almost echoes the spirit of Papillon. What drives Mesrine? How much is it about establishment, and how much is it about fame? These questions are rightfully asked when the superficiality of Killer Instinct didn't have time to ask. Sagnier plays yet another love of his, not as strong as earlier ones, but still brings out the pure gangster in him. This pair of films justifiably creates a portrait of a man who would love the fact that a movie was being made on his life if he were alive. Cassel takes on this character like we've never seen him do before. And as a proper pop-corn movie, we're with him every step of the way rooting for someone so violent and selfish. The pace thankfully slows down a bit, but as scene follows scene; action follows action. It brings a smile to your face. These are based on true stories, but before each film it is stated that truth, in storytelling, is subject to who's telling it. Meaning there are different points of view and opinions about what had happened. This is an honest and proper disclaimer. Enjoy this film and it's spirit. This man lived. This man died. By his terms.

MESRINE: KILLER INSTINCT

2010-10-11T11:15:00.000-07:00

IN THEATERS

Directed by Jean-François Richet

Starring: Vincent Cassel, Gérard Depardieu, Cécile De France, Elena Anaya, Gilles Lellouche, Roy Dupuis, Ludivine Sagnier

This fucker is unrelenting. There isn't anything too exceptional on the camera direction here, but the direction of the actors gets the point across thoroughly. This is the story of Jacques Mesrine, a notorious french gangster in the 60's and 70's. He is infamous for his robberies, kidnappings, and unbelievable prison breaks. We meet him as he meets and takes a wife, then gets deeper and deeper into a life of ill-gotten-gains with the help of some friends turning him on to simple robberies, which lead to murders. Some moments echo many other gangster films, but this rhythm and momentum is exceptional (Something Che, a similar historical two-parter directed by Steven Soderberg, didn't encapsulate). Each decision is swiftly made from a pure instinctual urge, which the title properly portrays. With every opportunity, he is an overpowering force. Based on true events, you're not going to believe what this guy has done. From leaving his parents to finding different ways of love in the women of his life, all characters move aside as he walks through. It's good to see films like this that not only institutionally question, but morally question our present ways of life. Another similar true story film to check out would be The Baader Meinhof Complex (on dvd), or the upcoming Carlos, a 5-hour mini-series about Carlos the Jackal (a terrorist from the 70's and 80's) that will also get a theatrical release in a 2 hour format October 15th. Killer Instinct first establishes Mesrine. Seeing all that he has done. Now, at the end of this film, the public knows who he is. He is now Public Enemy #1. This is where the second film (part 2) will pick up.

ENTER THE VOID

2010-10-06T08:58:00.000-07:00

A-

IN THEATERS

Directed by Gaspar Noé

Starring: Nathaniel Brown, Paz de la Huerta, Cyril Roy, Olly Alexander, Masato Tanno, Ed Spear, Emily Alyn Lind, Jesse Kuhn

Beginning from an exceptionally well done POV (Comparable to Prodigy's video for "Smack My Bitch Up"), the story sits you in the mind and perception of our lead character Oscar. Living with his sister in Japan, he does and sells drugs for a living. Having the dangerous occupation of a dealer, he gets into a tight spot and is killed. The first 30 minutes are steeped in his perception, then the film's POV transcends his physical body as Oscar has an out-of-body experience (OBE). Therefore technically, as the rest of the film is his journey through death, we never leave Oscar's POV. Thematically, the film suggests the ideas of reincarnation as Oscar speaks with his friend about The Tibetan Book Of The Dead. Characteristically, it's quite clever as we also experience Oscar's life flash before his eyes. It's a unique meditation that runs the gamut of a dreamscape. It is unrated, and gets pretty sexually explicit. His sister, played by Paz de la Huerta is one of the best young actresses we have working today. She gives it her all, emotionally, as few actors of her age do. I refrain from saying anything more as most of her roles lately expose her body. But she truly is a good actress, of whom we'll see more of in the coming years. This story is rich with character, and the visuals are intrinsically original. After tumbling out of the theater, my perception felt different. Looking around the parking lot, my view felt fresh. This film transcends. Gaspar Noé concentrates on his films being a sensory experience and pushes to create something new on screen. See it with an audience however uncomfortable you might be.

THE SOCIAL NETWORK

2010-10-01T11:39:00.001-07:00

IN THEATERS

Directed by David Fincher

Starring: Jesse Eisenberg, Rooney Mara, Joseph Mazzello, Max Minghella, Andrew Garfield, Rashida Jones, Josh Pence, Armie Hammer, Justin Timberlake

A fifty-something woman said to me that this was a "young people's movie." I might've seen her point if I neglected to see this movie. It's about young people and the true cut-throat sense of an entrepreneur, but in no way is it strictly for a young audience. This being Fincher's film, there's an intelligent level of darkness to it that fuels the anxiety and suspense. Starting from Mark Zuckerberg's (the founder of Facebook) intelligence and capabilities, this story builds and builds cutting back and forth between the through narrative of what happened... to the courtroom squabbles that were a result thereof. The genius in the writing is that we identify Zuckerberg firstly through a lengthy break-up with his girlfriend, which is quite soul revealing. Then through selfishness and sheer lies the story picks up steam along with the growing members of Facebook. The key of interest which distinguishes the idea of Facebook from Friendster or MySpace is it's exclusivity (e.g. The site initially requires one to have a Harvard.edu email address). Therefore, the film strongly comments on social status among our recent generation of technologically savvy young people. Some even compare this story to The Great Gatsby as it addresses simple needs of human nature that forward-thinking characters like Zuckerberg can get obsessed about. Gatsby never was a real person, but threw the right parties, hung out with the right people, drank the right liquor, and had the beautiful girl. Adorably, Zuckerberg's passion is instigated by his one girl. The muse, the siren, femme fatal, etc. Anyone who has half their heart due to giving it to someone who doesn't share their own, understands precisely. The story is the genesis of the website we all know now called Facebook. This now is as common a communication device as a cell phone call, email, or texting. The film addresses the verb: Facebook. To Facebook someone. What Fincher (of Benjamin Button, Zodiac, Panic Room, Fight Club, and Se7en) does with this film is give it a proper dose of maturity. Zodiac was labeled as his most mature film as it wasn't really about the killer or the murders as Se7en was, but it was about how these events can affect the human psyche. Obsession. The Social Network will no doubt make people think differently when they log on to Facebook now. It will help us reflect on what this site does for us and how it was devised. And at what costs. Soon, we will find something new. This was a revolutionary movement worth Zuckerberg's 7 billion dollars. But in a way, technology has distanced us from communicating face to face. And now we crave communication through this technology of a middle-man. Coming back to social status, through this middle man we are able to edit ourselves. And appear as we like to be instead of how we are. The Social Network is brilliantly devised as a timeless meditation on the human condition (even as it is about something so trivial as a social networking website).

I'M STILL HERE

2010-09-30T14:26:00.000-07:00

IN THEATERS

Directed by Casey Affleck

Starring: Joaquin Phoenix

Didn't know why after all this work Casey came right out and confirmed that this was a ruse just as the film was opened... Until I sat with an audience and watched this. There is an inviting aura given to an audience by films of parody. As I imagine people watched this film believing it was the real Joaquin, or simply confused at it's intention, they could have been quite critical and speculative. Now, as everyone officially knows it's a farce, an audience completely embraces the ridiculousness of it and enjoys Joaquin's performance. This is Phoenix's performance piece. It's quite genius, as Affleck and Phoenix devised this at Joaquin's apex of his career. Many different people with that level of success deal with it differently. Cuba Gooding Jr. decided to make a bunch of shitty movies, Forest Whitaker and Kevin Spacey decided to take anything and everything they were offered, and Dave Chappelle went off to Africa. And let's not forget all the poor souls who fell prey to their own self-destruction (including Joaquin's brother, River). But Joaquin, along with his brother River, are particularly profound actors and exceptionally intelligent human beings. This is a smart comment on our American way of obsession over celebrity and status. With the media world at your fingertips, it's a pretty creative way to not give in to it's superficiality which true artists find revolting. Sure, some are possibly offended by his behavior and insensitivity, but where were all those slap-happy hypocrites when Sacha Baron Cohen was blatantly exploiting and poking fun at cultures outside of our own in Borat? He did it for laughs, and we were entertained. Phoenix and Affleck have a much more cerebral experiment on their hands. In the most confrontational scenes, Joaquin embodies this character and starts to call others on the subject of being true to one's self. In a scene with Ben Stiller, who visits Joaquin to offer him a role in his film Greenberg, Joaquin notices that he's acting different because of the present cameras filming them. Ben placates him in a way that you start to recognize his own projected celebrity persona. Phoenix points out "Look, these guys.." (pointing to the cameramen) "..have seen me all the time, they've seen me at my best and at my worst. Why are you acting like that?" "Like what?" Ben replies. "You're not being yourself." "Oh, should I put a shirt on my head and act all weird like you, is that what you want?" Says Ben. It is then obvious Stiller is put on the spot and is quite embarrassed. This is illustrative of Ben's overwhelming sense and concern for self-status as he sits across from Joaquin Phoenix, who for all he knows is going through a prolonged mental breakdown. He doesn't know what to say next as he is completely concerned with how he would appear in such an awkward situation. Ben's reaction then, as we all saw, was to dress like Joaquin (sunglasses, full beard, chewing gum) at the 2009 Oscars and make fun of him as he presents an award with Natalie Portman. Sean Combs (Joaquin hilariously confuses his present name preference and constantly refers to him as "Diddy") is actually one of the most down to earth, yet guarded person in this film. He points out to Phoenix what hard work becoming a rapper is and if he truly wants it and isn't just making fun. The storyline presents itself as Joaquin Phoenix, fresh with an Oscar win, decides to retire from acting and try his luck as a hip-hop artist. During the filming of this, people were skeptical of what he would tell the press as Casey Affleck was constantly there with a camera. Now the film comes out and hopefully it will show us, as a culture, what press/media/celebrity obsession has done to the American public. And, actually at the end of the film, certain people in the documentary are credited with playing characters. Including the guy playing Joaquin's father. They also have writing credits going to Joaquin and Affleck, who are brothers-in-law. To express this alternate Joaquin in the film, there are rambunctious scenes of nudity and drug taking which is just good fun. But thematically, there are these inherently true moments scattered within the film. Phoenix reads from a children's book which speaks of dreams. Reflectively solemn, he reads it in context of his yearning to make it in hip-hop. But as simple as the words are with his performance, the scene can't help but transcend it's foolish parameters. Joaquin then goes to Panama to see his "father." A descent into the native waters reveals a contrast to the Media-driven Hollywood. This scene, as Joaquin swims, is the final summation of self worth. Social status is illusory.

MACHETE

2010-09-22T09:39:00.000-07:00

IN THEATERS

Directed by Ethan Maniquis & Robert Rodriguez

Starring: Danny Trejo, Robert De Niro, Jessica Alba, Steven Segal, Michelle Rodriguez, Jeff Fahey, Cheech Marin, Don Johnson, Shea Whigham, Lindsay Lohan

This is a gritty exploitation movie in the spirit of the grindhouses, and it delivers. It slightly pokes fun at itself while being pretty cool about it's action. Machete is out for revenge after his wife is slain. He gets hired to assassinate a senator (De Niro) up for re-election only to find out he was a scapegoat for the real score. The senator's right hand man (Fahey) has plans of his own in order to enable an electric fence along the Mexican/American Border. Luz (Rodriguez), who works in a roach coach, is heading an underground coalition of Illegal immigrants,(whom she helped cross the boarder) to unite at her signal. Sartana (Alba) is an immigration officer on their tail who ends up joining forces with Machete. Marin plays a priest who is also Machete's brother, and Lohan plays Fahey's daughter who gets mixed up in this theme of revenge. Along with gore, meaningless nudity, and great one-liners this film is a hell of a lot of fun. Even Segal has fun as Machete's arch enemy. This film was put together in a good way where it didn't depend on Trejo to carry it, which is good. Trejo is a fine actor, but for him to commercially carry a film like this (even though it is exploitation, in this day, with this cast, it's commercial) would be a bit of a challenge as his strengths are in character acting. But he pulls it off. The gadgets, the music, the ladies... Machete delivers. It was also surprisingly smart for them to focus (even comically) on immigration. The Mexicans truly unite... gardening tools and all.

RESIDENT EVIL: AFTERLIFE 3D

2010-09-21T15:57:00.000-07:00

C-

IN THEATERS

Directed by Paul W.S. Anderson

Starring: Milla Jovovich, Kim Coates, Shawn Roberts, Sergio Peris-Mencheta, Boris Kodjoe, Spencer Locke, Wentworth Miller

With the return of Paul W.S. Anderson, who directed the first Resident Evil, this film definitely has more of an artistic value to it. It was violent and sexy. BUT the story was still atrocious as it has been the past two, Resident Evil: Apocalypse and Resident Evil: Extinction. Afterlife starts off well, where it's in Tokyo in this other-worldly realm as a number of different Alice's try to take down Umbrella from inside it's Japanese fortress, but it just continues badly. We meet up with the real Alice, who then finds Claire Redfield (Ali Larter) with a case of amnesia. Sound familiar? What's overwhelmingly boring is they travel in search of a signal being broadcast promising shelter and infection-free facilities. Sound familiar? They then come across a huge cell block of a prison where a group of survivors have been staked out. Now all of them have to find a way out of this building as it's surrounded by mutating zombies. Sound familiar? It's gets corny because this building is in Los Angeles and the survivors are all stereotypically in the entertainment industry. One's a model, another an actress, and another a pompous agent. The whole arc of the story is Umbrella utilizing the breakout virus counter-acting it with Alice's immune blood cells to manage perfect monsters. This was the most interesting part, and it comes at the end. Story-wise so much more could've been utilized to make this movie actually good. But it falls back into the mold of a zombie action film we've all seen before. It is quite beautiful to watch though, through 3D we see the action sequences to their fullest. Only it's usually bullets flying by and not many zombies flying by. This wasn't anywhere near as scary as it should've been. For the next one, which I probably will see, they should come up with some new ideas.

IF GOD IS WILLING AND DA CREEK DON'T RISE

2010-09-21T15:02:00.000-07:00

ON HBO

Directed by Spike Lee

A follow up to Lee's When The Levees Broke, this two-parter (4 hours total) tells the story of the city of New Orleans years later in repair facing a new disaster of spilled oil. With BP to thank, the Gulf of Mexico is contaminated with oil that appears to be more of an embarrassment than a disaster. Part one of this documentary divulges how Katrina, to some, was an opportunity to clean the poor out of New Orleans in ways they never could before. Instead of letting the Projects stand, for example, they want to clean them up. But not for the people mind you, because now they become unaffordable and the inhabitants are thrown out and misplaced. Corruption and theft is uncovered from behind the doors of public schools. Formaldehyde was found as a primary part of the speedy production of the FEMA trailers and contributed to the sickness of many people, most of them children. The violence that rises is due to the lack of order and preparation of the authoritative police. Officers are found covering murders up, then lying incident after incident. New Orleans is turning into the wild west as the social economics are in despair, and this documentary helps us learn who is really helping this situation and who isn't. As BP keeps dumping dispersants to break up the thickness of the oil in the gulf, it almost acts as a metaphor to our overall treatment of this social unrest. These dispersants simply break up the oil, not get rid of it, so it's less visible from the surface. Out of sight, out of mind? This oil is collecting at the bottom of the sea and we seem to be dreading another hurricane season that will swirl this oil up and dump it on anything it likes. It would also prove fatal to inhale any of that oil if it simply gets "dispersed" into the air. The land is eroding down there. The fisherman down there will tell you in this documentary. Obama is doing his best in a cool, collected manner. But right now, this might not be the approach we need. We need to get mad. This is fucked up.

CATFISH

2010-09-21T09:05:00.000-07:00

B-

IN THEATERS

Directed by Henry Joost & Ariel Schulman

Starring: Nev Schulman, Megan Faccio, Rel Schulman

This is a documentary on a guy having a relationship through Facebook. It's as simple as that. But apart from all the hype, it's real. Don't believe it's all set up. That being said, it doesn't warrant all the mysteriously creepy advertising. It's actually much sweeter than it appears to be. The film is very engaging as it captures many great moments in this odd story. It's not particularly well made, but as personal as the viewer gets with these people in the documentary it serves as a very unique experience. Ultimately Catfish speaks volumes of human relationships, recognizing what we truly get out of them and how they are effected by social networking websites. This was filmed toward the beginning of Facebook's reign. And might I add, the film is damn poignant. Embarrassment is an understatement. Another round for everyone.

THE ECLIPSE

2010-09-20T18:30:00.000-07:00

B+

ON DVD

Directed by Conor McPherson

Starring: Ciarán Hinds, Iben Hjejle, Aidan Quinn

A naturalistic drama with ghosts. This film can be pretty spooky. Our lead is hired to assist a famous visiting writer for a writing festival. She writes about ghosts and the existence of passed souls in our world. He is concerned because he's been hearing things around the house since his wife had passed and left him with their two children. He keeps overlooking her father in the retirement home, and is overall preoccupied. The famous writer seems unrelentingly realistic compared to the surrealism she writes in her books. This is explained by her present disharmony in managing her life. An old one night stand, who is also a writer, shows up and professes his love for her even though he's married and she's uninterested. These three people begin to intertwine in a beautifully written way where each person needs a connection with another soul/spirit. But some are misplaced and overlook respect. A very decent film, can't believe it has such a small audience. Well, this tone is very specific and I suppose not for everyone. What's attractive is the originality of this tone.

CEMETERY JUNCTION

2010-09-20T17:48:00.000-07:00

C+

ON DVD

Directed by Ricky Gervais & Stephen Merchant

Starring: Tom Hughes, Christian Cooke, Jack Doolan, Felicity Jones, Ralph Fiennes, Emily Watson, Ricky Gervais, Matthew Goode

From BBC's The Office and HBO's Extras, Gervais and Merchant decide to do a teens-in-a-small-town-drama. Some of it is poorly written, but give it a chance. The charm overcomes you about half an hour in. Three friends are stuck in their hometown, Cemetery Junction. The first a bad seed, the second the crass comic relief, and the third is our lead. A boy trying to get a good job at a bank so he can leave his town. He soon strives for his old flame whom he now realizes is about to get married to a jerk. She also happens to be his new would-be boss' daughter. The bad seed gets thrown in and out of jail and the comic relief keeps making a fool of himself, but there is charm in this stereotypical story. And it ends up being told a lot better than you think, as Gervais and Merchant's television shows similarly pan out. Unfortunately it doesn't seem like they know how to conquer feature length projects yet. But they do know how to develop character and tug on the heart strings in a classic way. It surprises you. Give it a look if you're already a fan of these guys. If not, it might be a bit bland.

THE AMERICAN

2010-09-20T16:49:00.000-07:00

B+

IN THEATERS

Directed by Anton Corbijn

Starring: George Clooney, Violante Placido, Thekla Reuten, Paolo Bonacelli, Samuli Vauramo, Irina Björklund

The original title of the book this film was based on is "A Very Private Gentleman." This fits the story better, as it's about a man who doesn't need any companionship to survive. It is told in a minimalistic way that is reminiscent of old Italian films. He is an assassin in Italy for an assignment that he decides should be his last. It's the classic arc of a character who is deep in his dangerous profession and has trouble getting out. Clooney's character develops a romance with a prostitute which perfectly carries the story along with sincerity. The beauty of this film lies in it's cinematography. Corbijn is a old master at making things look beautiful. He used to do music videos, some with Joy Division, and had made Control based on Ian Curtis' life with the band. They didn't know how to market this film, so they sold it as an action/mystery by cutting all the action shots in the trailer. Truth be told, it's a very subdued film where craft of a good film takes president over ogling Clooney. Swooners please advise. And cynics, hold your heart.

THE KILLER INSIDE ME

2010-09-20T13:59:00.000-07:00

ON DVD

Directed by Michael Winterbottom

Starring: Casey Affleck, Kate Hudson, Jessica Alba, Ned Beatty, Elias Koteas, Simon Baker, Brent Briscoe, Bill Pullman

Delightfully cold, this film is. A fairly simple story about a man slowly existing. He descends in a way that even makes the viewer feel alone. Affleck does quite well. In a way, as well as he did in The Assassination of Jesse James By The Coward Robert Ford, his abilities work in a similar way here. He is not particularly a good actor. That is, he isn't a chameleon. He is Casey Affleck. But in Jesse James he was playing a soft spoken coward. Now, lessen the lines, and you can pull off a soft spoken psychopath. It's all a change of demeanor for Affleck. Which is pretty good for this film. His character is a deputy who gets involved with a hooker he's supposed to keep tabs on. He also manages to keep a goody-goody girlfriend who banks on his hand in marriage. The detachment portrayed is other-worldly and socially mysterious. The film has received a lot of hype for being brutal, but it's isn't in a way you'd expect. The violence comes so easily and quickly that his victims don't quite understand it (even while it's happening) let alone expect it. What's unique is he doesn't pray on strangers, they're simple actions taken to close people in his life. Koteas and Baker are on his trail, and Pullman shows up at the end. Winterbottom does a respectable job, but not exceptional. It lacks a cinematic quality, but harbors an appropriate voyeuristic feel. If you really liked this, go back and watch Butterfly Kiss. Another Winterbottom film just as creepy with Amanda Plumber.

ME AND ORSON WELLES

2010-09-20T13:05:00.000-07:00

D+

ON DVD

Directed by Richard Linklater

Starring: Zac Efron, Claire Danes, Christian McKay, Ben Chaplin, Eddie Marsan, Kelly Reilly

I don't know what Linklater must be thinking. Bravo for trying another period piece like his Newton Boys, but that story had so much more balls and spirit than this film. After bombing with Bad News Bears, then this... I am starting to lose faith in good old Linklater. For those who follow his work, you understand how it's hard to lose faith in this guy from his love for theatre to his love for gutter philosophy (Dazed and Confused, A Scanner Darkly, subUrbia). As he turns commercial, the stories just bore. Thanks to this film, though, I've finally put my finger on Zac Efron. He simply has the worst timing, as an actor, imaginable. Watching him act is like somebody cutting footage of someone like Jennifer Love Hewitt into a film like The Godfather and telling us she's in it. Only it feels this way with Efron whatever film he does. The film itself is a coming of age story about a young actor who desperately aspires to be in Welle's theatre company. He gets in with his charm, and might I add, a little too easily. Then realizes the people he confides in and counts on only create means to their own ends. A cornerstone of coming of age story, but Efron being so effortlessly suave and goofily obvious when presenting his character in conflict, one can't invest in him or root for him. The ending is a big fart as his character decides not to pursue acting after all. And I don't mind ruining it, because that bit is minor to what the film does have to offer. Which apparently isn't a peek into an aspiring young actor. What it does have is great scenes of what it's like to be in a theatre when rehearsing. What it's like to have arguments and what it's like to memorize lines and lie on your resume. McKay is quite good, although looking at what this film is about, I'm confused as to why they even set this up with Welles. He was great, but nowhere near to the target they were trying to hit, and might I say missed. Bravo Chaplin and Marsan as well. Linklater, pick better scripts even if you do have to cast the High School Musical.

SCOTT PILGRIM VS. THE WORLD

2010-09-03T16:47:00.000-07:00

A-

IN THEATERS

Directed by Edgar Wright

Starring: Michael Cera, Alison Pil, Mark Webber, Kieran Kulkan, Mary Elizabeth Winstead, Chris Evans, Jason Schwartzman

Edgar Wright has come a long way as a director from Shaun of the Dead and Hot Fuzz, therefore the main attraction to this film is how it is directed. It amps up, and moves fast. Haven't seen anything quite like it in a while. I can't help but think this film might have done better, and possibly had been a better film, if they had cast another actor in the lead role. Sure Michael Cera is great... but only at one thing. Cera's name certainly turned a lot of people off to even consider seeing this film. Even a no-name actor would've made this film more original. Based on a comic book, Scott has to defeat his new girlfriend's seven evil ex's. Which is a fun idea, but ultimately through all the glitz, none of the ex's pose a real threat. But, on with the show. With a culture steeped in Punk rock and video games, the visuals and costumes are fantastic. But I hesitate to say Punk, as it's a bit more of an Emo style than punk. Some of the guys have that tight-pants-eyeliner-hair-long-on-top-short-on-the-side type of thing. The sense of humor, though, is truly pitch-perfect. It falls prey to Cera's timing and eventually Schwartzman's arrogance, but the supporting cast really pulls through. Mark Webber and Alison Pil especially. Since this movie is reserved for the young teens, the corny happy ending is forgivable... but dreaming of a different sensibility, this film would've succeeded as a cult classic if it was about more than just getting the girl. As far as this goes, the storyline (although understood stems from a comic book) doesn't go deeper than that. So let's celebrate the music (written by Beck) and the fast-talkin' cuties.

THE GHOST WRITER

2010-09-03T15:03:00.001-07:00

ON DVD

Directed by Roman Polanski

Starring: Ewan McGregor, Pierce Brosnan, Kim Cattral, Olivia Williams, Tom Wilkinson, Timothy Hutton, James Belushi

You may think Polanski has lost his knack for good, spooky, mysterious, tense storytelling... but he hasn't. Brosnan plays a former UK prime minister who is coming out with a memoir he wants ghost written. The ghost writer turns up dead and McGregor's character (who classically goes unnamed throughout the film) takes over the job. Something seems off from the beginning as Brosnan's character is between two women and McGregor is persuaded to live within his subject's household while working/interviewing. He will find out a secret that leads to another secret until the viewer won't know what to expect. I know we might be getting tired of Ewan as a leading man, but he pulls it off within this film. He isn't Ewan, he is the lead in a film. Last few times he's graced the screen, he falls prey to the mannerisms of a movie star instead of a true actor. What's odd is they seemed to have over-dubbed all the "fucks" in the film. Must be to get a PG-13 rating, otherwise they would have to sacrifice an R rating for a few "F" words. This was a little distracting. Most reminiscent of Polanski's Bitter Moon or The Tenant.

LIFE DURING WARTIME

2010-09-03T14:32:00.000-07:00

IN THEATERS

Directed by Todd Solondz

Starring: Shirley Henderson, Paul Reubens, Charlotte Rampling, Ally Sheedy, Allison Janney, Michael Lerner, Dylan Riley Snyder, Ciarán Hinds

Solondz seems stale. For a follower of his career, one might wonder where he will go after completing a film like Palindromes. He pushed any and everything with that film having multiple actors play the lead character and having scenes of kids sifting through the dumpster of an abortion clinic followed by true mentally handicapped kids singing and dancing (the tone teetering on exploitation and bad taste). His new film, Life During Wartime is a somewhat continuation of his characters from his film, Happiness. It seems he had tried to tackle his token subjects of pedophilia and self-loathing in a much more mature way than his earlier films. The viewer weaves in and out of each character's story as some of them meet or know each other. The respectable theme, or point, of the film is the act of forgiving and forgetting. A father is released from prison after molesting his son. The younger son of the one molested, unaware of the history, finds out and has a somewhat identity crisis as his mother is over medicating. The mother's sister is in a depression, seeing visions of her dead boyfriend who had killed himself while her present boyfriend is on the verge. A few more sub-plots ensue, but it sounds much more depressing than it is. The beauty of Solondz's work is that he pushes the taboo to the point of humor. Unfortunately with this film, it lacked (due to the mature, dramatic approach) the spontaneous shock value he is so used to giving us in his previous films. The acting is a lot better though, due to this amazing cast. His earlier films, Fear, Anxiety, and Depression and Welcome to the Dollhouse had a unique charm as they weren't supported completely by professional actors. Happiness, Storytelling, and Palindromes had great casts of professional actors, but they all worked in a more comedic tone playing up the inappropriateness while Life During Wartime addressed pretty tame and real problems. These problems analyzed in a more serious manner escaped Solondz's unique charm as a filmmaker. I'm sure his next film will be just as much a diversion. He is growing and you have to love him for that.

FAREWELL (L'affaire Farewell)

2010-08-30T10:47:00.000-07:00

IN THEATERS

Directed by Christian Carion

Starring: Emir Kusturica, Guillaume Canet, Fred Ward, Willem Dafoe, Alexandra Maria Lara, Ingeborga Dapkunaite

Colonel Grigoriev of the KGB, discreetly makes contact with Pierre, a French engineer working in Moscow. Grigoriev passes him documents containing information constituting the most important Cold War espionage known. Over two years, French President, Francois Mitterrand and US chief Ronald Reagan received documents from this source in Moscow, given the codename Farewell. Farewell provided information that would cause upset that sounded the end of the Soviet Union. With Ward playing Reagan, a bit of overacting flows through this film. But it certainly delivers as it is based on a true story. Kusturica pulls off an amazing performance throughout, it feels like an old fashioned secrets and war film. Similarly to The Lives of Others, it will keep you engaged. In a way, the tone isn't quite true to itself. It feels forced when getting into certain scenes of humor or exhibition when veering away from the strict plot line. But, you smile and buy it because the film will get back to it's point and draw to it's important conclusion.

FISH TANK

2010-08-15T14:59:00.000-07:00

B+

ON DVD

Directed by Andrea Arnold

Starring: Katie Jarvis, Rebecca Griffiths, Kierston Wareing, Michael Fassbender

Gritty and playful, the real deal is the star Katie Jarvis. She plays Mia, a fifteen year-old rightfully frustrated girl in a moment of her life that manifests delinquent behavior. Her mother played by the resilient Kierston Wareing, has parties and flirts with guy after guy while shoving her two daughters up to their room where they are out of the way. Finding an outlet for her frustration through hip-hop, Mia takes a stereo and a forty to an abandoned building in her neighborhood in Essex and dances her routine. The only person to take interest in her passion is her mother's new boyfriend. He's young and hansome, and a closeness is formed; as well as another outlet for her frustration. The camerawork and acting is solid all around, but the story seems to rest on the taboo of Mia being sexually awakened by her mother's boyfriend. This, as an audience, we've seen before. Mia's world intrigues you until the entrance of the boyfriend. This turns a bit contrived and milks the sensual nature of a young girl rebelling against a mother like hers. Once this relationship is established between her and the boyfriend it picks back up and delivers to a good ending. It just seems a bit cheap that it ultimately became about her relationship with an older man. Girls need good rolls like this that don't involve getting emotionally wrapped up in the way a man treats her. Beautiful scenes are strewn throughout including her coming across a horse that is chained up in her neighborhood. As she tries to break the chain to set it free, the whole scene does it's purpose metaphorically. Without giving away too much, we follow Mia through some hard times and tough decisions. Without being too dark, or mean-spirited this film is snidely inspirational. "Coming of Age" films are truley becoming an idiosyncratic art form. Good luck to Katie Jarvis, she's got a quick mouth on her. God bless her.

THE KIDS ARE ALL RIGHT

2010-08-08T18:05:00.000-07:00

A-

IN THEATERS

Directed by Lisa Cholodenko

Starring: Julianne Moore, Annette Bening, Mark Ruffalo, Mia Wasikowska, Josh Hutcherson

This is a well-written gem. Although it seems fresh, it is a very straight forward family drama. For a long time, I've been pleading for films that address the subject of same sex couples or marriages without having that as a gimmick. This film prides itself on being very down-to-earth and normal for a Lesbian film. Because in essence, it's a family film oblivious to any possible taboo. Two women are married and have two kids that they have a sperm donor to thank for. The kids, now maturing are curious and contact the donor. As the donor, having some of the kid's natural genes, appeals to their personalities he gets a bit too close for comfort to the family. Bening wonderfully plays the overbearing parent that is put off by the family's new friend. There are scenes in this film that are unbearably realistic to family life, or illustrative of a parent having deep-seeded anxiety and not knowing how to face it. Each motive for each action taken here by every character is properly explained and executed. As a viewer, even though you might be able to predict what happens next, you can be right there with everyone and understand how this situation presented itself and how things don't have clear correct answers. It's quite witty and the story stays tame. It's a family film for families who aren't... well... bigoted.

INCEPTION

2010-08-05T13:56:00.000-07:00

IN THEATERS

Directed by Christopher Nolan

Starring: Leonardo DiCaprio, Joseph Gordon-Levitt, Ellen Page, Tom Hardy, Ken Wantanabe, Cillian Murphy, Tom Berenger, Marion Cotillard, Pete Postlethwaite, Michael Caine, Lukas Haas

Inception is an action film set against a backdrop of dimension-hopping. Once we overlook the movie-like rules that are set, this film looks dramatically beautiful. Thing is, we need to get past the fact that each dream illustrated isn't very artistic. They are terribly realistic, and we all know dreams aren't as coherent has portrayed here. Before I get ahead of myself, this film is about a man specializing in the art of dream intrusion. He employs someone to be the "architect," who imagines the world in which others participate. Others being a "mark," which fills the dream with their subconscious, and the others working at unveiling whatever they need to know from the mark's subconscious. "Inception" is described as them planting an idea in the subconscious of the mark rather than extracting information. This is done with sophisticated equipment connecting them all while they sleep. The plot seems to run away with itself as rules are set when they go outside of their comfort zone using their equipment while dreaming already; creating dreams within dreams within dreams. Nolan metaphorically represents this throughout the film with facing two mirrors as we see an infinite amount of reflections. The middle of the film gets a bit too talky for itself as an action film, especially when once on the real job, they didn't seem to have any preparation. As serious and intricate this work must be, they run into problems in the dream they obviously should've gone over with each other before. This is real psychological warfare, Nolan didn't seem to give much weight to. And Page's character is the new kid on the block, but seems to get too smart when calling shots and way too involved in DiCaprio's character's personal issues. That being said, Cotillard's character is illustrating a sub-plot to the feature to create more suspense, but ends up dragging the film and convolutes the over-all plot. Inception is an action film, and to push anything more, like emotion with this sub-plot just teeters on sappiness. The moralistic questions that arise from intercepting people's subconscious' is enough to focus on, and would present a better meaning without having the lead harbor a love-interest-guilt-complex. Also, the first half hour has dialogue that is overblown. "This means creating worlds... This means dreaming what you want." DiCaprio always seems to be explaining this to people who should already be familiar with this (outside of Page's character who then takes to this activity too well given the psychological ramifications). In the tradition of Virtuosity, The Matrix, The Thirteenth Floor or The Cell, this is an action film about dimension hopping. Dreams? Not necessarily. This film presents each dream as a different world, with few odd/artistic/weird things that manifest. Also, once we enter the idea that a character can change his face within a dream... this opens too many doors of possibilities in manipulation. They should'nt have opened that door. Tom Hardy, is spectacular. He can inspire anyone to become an actor, watch out for this fucker. Leonardo is still a little boy trying to play a man. Gordon-Levitt is fine, does the job, but nothing exceptional. Murphy does a great job, wish they gave him the lead. And Page, sheesh. That part could've been played by anyone. She played it safe. As the plot runs away with itself, it's open for interpretation. Which is good. But is also Swiss cheese.

OUR FAMILY WEDDING

2010-07-23T12:29:00.000-07:00

B-

ON DVD

Directed by Rick Famuyiwa

Starring: Forest Whitaker, Carlos Mencia, America Ferrera, Regina King, Lupe Ontiveros, Charles Q. Murphy, Shannyn Sossamon, Taye Diggs

African Americans Vs. Hispanics seems to be the nicest way to put it. The root of all humor in this film is simple ethnic stereotypes that go head to head. It's good to see Mencia in an acting role with some good comedy, as well as Whitaker broadening up his humor for this film. But all the jokes stem from harsh stereotypes that overall everyone has a good time with, and it shows. I'm sure this didn't look like much on the page, but the actors push it to a family film where people who don't usually watch shows like Chappelle's Show can enjoy as it's tone is a little more friendly. America's character is Mencia's daughter. She is engaged to Whitaker's son. After an anonymous altercation between the fathers, they meet again for this engagement and immediately hate each other. And it turns into a pretty goofy battle of wits riddled with superficial jokes. Don't get me wrong, this film does have some heart. The way the family battles reflects on the young couple in an effective way giving a good amount of minority drama to the film. The climax comes with the wedding and kills the film. They force it in a way with viagra and a goat. Or a goat with viagra, sorry. The writing isn't very good, but it's a surefire laugh and a bit of heart for those interested. Shannyn Sossaman has a scene as Whitaker's date. And her comedy was spot on for fans of hers. She needs more work.

THE GIRL WHO PLAYED WITH FIRE (Flickan som lekte med elden)

2010-07-23T11:15:00.000-07:00

B-

IN THEATERS

Directed by Daniel Alfredson

Starring: Michael Nyqvist, Noomi Rapace, Lena Endre, Sofia Ledarp, Micke Spreitz, Yasmine Garbi, Peter Andersson, Georgi Staykov

Continuing the adventures of Lizbeth, this film doesn't deliver as the first one did. Although we have all the original actors, it's a different director. But we can't blame Alfredson, this story isn't as dynamic as Dragon Tattoo. This story starts with a pair of murders that Lizbeth is eventually framed for. It's her on the run as we dive deeper into her past, and secrets are revealed about her. The flip from Dragon Tattoo is that now, Nyqvist's character gets involved in her story and helps her instead of the other way around. Sadly this film doesn't harbor the same tension as the first one and lacks momentum. I can't go further into the actual plot, because even beginning to tell it would ruin the overall story. Basically, the murders are linked to a prostitution ring that has ties to her councellor from the first film. This film backtracks over a few characters and meditates simply on Lizbeth's past. Since it is about her, the same thing happens where we have characters explaining things while walking along the street with another character for exposition sake. Ends up being a bit unimaginative. Then toward the end, when villian characters bring danger and violence to the story... the film tends to get too cartoony. Big thugs, and talks with guns on the coffee table. This film just wasn't as engaging as the first, but it's still good to get to know Lizbeth. If you're invested now, like I am, than this is worth a watch. It also gets a little tongue in cheek as Lizbeth is now someone the audience is rooting for, and the filmmakers know that. Her character now has a bit of a cheer quality. Lets hope the next one will be better; The Girl Who Kicked The Hornet's Nest.

THE GIRL WITH THE DRAGON TATTOO (Män som hatar kvinnor)

2010-07-23T09:53:00.000-07:00

A-

ON DVD

Directed by Niels Arden Oplev

Starring: Michael Nyqvist, Noomi Rapace, Lena Endre, Peter Haber, Sven-Bertil Taube, Peter Andersson

The best-selling Sweedish books have launched a franchise with the character of Lizbeth, played by Rapace, beginning with this film. It's an old-fashioned mystery construct that revolves around a girl who has been missing for forty years. Nyqvist plays the man hired to investigate this unsolved case spurred by her old father who, over the years, now needs someone else to continue his investigations. Rapace plays a computer hacker who was investigating Nyqvist on a previous scandal, then continues to follow his activity and becomes intrigued by his new assignment that she offers her help. The odd couple work together in unravelling family secrets as the young girl's disappearance is linked to a series of related murders. The characters come together quite nicely in a noirish fashion, but are very 21st century. Rapace, with the Tattoo, plays an unstable person who needs the surveillance of a councellor since her release from an institution where she's been since a young girl. Her past continues to define her actions throughout the film. Since there is so much information to get across to the audience from a book steeped in history mystery, some scenes do feel like they are simply there to give you information as a character or voice over simply explains a story while we see pictures and cut-aways cross-faded in front of us. These moments tend to remind you that you are watching a movie and it takes you out of the mood the overall film tries to establish. As long as it is, it doesn't drag though. And the performances, counter balancing these moments, are top notch. As Rapace's Lizbeth begins to be a minor character, it's her involvement in the investigation that raises this movie's bar to thriller status. A good old-fashioned moviegoing time with some fresh characters.

WINTER'S BONE

2010-07-22T15:14:00.001-07:00

IN THEATERS

Directed by Debra Granik

Starring: Jennifer Lawrence, John Hawkes, Kevin Breznahan, Dale Dickey, Garret Dillahunt, Shelley Waggener

Based on a book, this story has a sustainable plot. A young girl taking care of her younger siblings and inadequate mother gets word that due to her father missing his court date, the law will seize her land. Ultimately as she tries to find him and get to the bottom of this, a checkered history between the locals and her father unveils. No one seems to want to help her or tell her any news about her father. This is all good for story, but structurally on screen, there isn't much to propell the audience into a state of suspension. The majority of the tone falls in the realm of a television drama. This is of course excluding the lead played by Lawrence. She encapsulates a strength and rigor uncommon among young female actors today. Since this film is set in the Ozarks some can call it ugly, but i beg to differ. I think this film can be called something beautiful with how gray it can be. Each character that comes in and out doesn't have a lot of power or threat to the situation, as they maybe had cast the lead too well or her supporting cast not well enough. This film shows how hard someone can have it, but maybe it should've stayed a book. That's up for grabs. But for a somber time teetering on mystery with some good moments check this film out. It just comes up short of true tension and good acting. Besides the lead... hoho.

I AM LOVE (Io sono l'amore)

2010-07-19T13:54:00.000-07:00

B-

IN THEATERS

Directed by
Luca Guadagnino

Starring: Tilda Swinton, Flavio Parenti, Edoardo Gabbriellini, Alba Rohrwacher, Pippo Delbono, Diane Fleri

It stays subtle until the last scene. Wonderfully played by Swinton, this story revolves around a family. An Italian family drama that meddles, yet is photographed stunningly beautiful. An old man is handing over the reigns of the family business to not one, but two descendents (one being a young boy). Swinton's character then gets involved in an affair with her son's friend. Simply, these are the two story lines but the script fails to structure itself properly as to losing focus on each story keeping the film vague until the second hour. This film ends up being an eruption of emotion as the family faces tough decisions, but not an eruption that would give a movie originality or any sort of staying power over time. Still beautiful, it might make you cry. But out of some pretention, it ominously shows you situations that don't quite satisfy your craving for scandal or the taboo. It's a simple transfer of power, that they don't explore enough, and an unlawful affair. Dressed amazingly, the clothes make the film, as do the locations.

HOT TUB TIME MACHINE

2010-07-19T12:36:00.000-07:00

C-

ON DVD

Directed by
Steve Pink

Starring: John Cusack, Craig Robinson, Rob Corddry, Clark Duke, Crispin Glover, Chevy Chase

In an effort to make this a throw-back to eighties comedies, they had cast actors such as Chevy Chase, John Cusack, and Crispin Glover. But ultimately it falls apart like a crappy National Lampoon's booty comedy. The structure is reminiscent of an eighties ski weekend movie, as Cusack, Robinson, Corddry, and Duke take refuge in a hot tub that transports them back in time to the year 1986. What's odd, is when they look in the mirror, they see themselves as they were in 1986 (much younger). So they seem to be actually stuck in a memory. The comedy stays superficial with sex and projectile puke, which is the best this movie can attest to entertainment. The plot is quite worthless, as it's caught between parody and pop culture. Each character has their own little sub-plot that they work toward a boring conclusion where they all feel better about themselves. And lets pick some better eighties music people, or at least different eighties music. What's Christopher Lloyd up to?

HAPPY TEARS

2010-07-13T00:26:00.001-07:00

ON DVD

Directed by
Mitchell Lichtenstein

Starring: Parker Posey, Demi Moore, Rip Torn, Ellen Barkin

The director did not know the first thing of what he was doing with this film. As dry as this concept is, the humor falls completely flat. Posey's character returns home to her sister (Moore) caring for their ailing father (played by Torn) with a cap on his life of a few months. As the sisters rekindle what relationship they have, Barkin's character is a floosy who their father likes to spend time with. Ultimately Torn's character speaks through his delirium of a fortune buried in the backyard that fails to give this film any sense of mystery or suspense, since it's wrapped up in trying to make us laugh through misguided bonding scenes between sisters. It's just bad writing coupled with idiotic direction here, folks. And I didn't even go into the fantasy quips Posey's character tends to imagine when realized on screen for us to see (Posey's character having some botched arc making a statement of how self-involved she is, which misses it's target and is frankly pointless). But oh... "her shoes are actually blue in the sunlight," awww... Validation feels good after everyone contradicting the salesperson she bought them from by saying that they're black. Good for her! She must feel so good about herself. This film thematically strikes a resemblance to King Of California, a film with Michael Douglas and Evan Rachael Wood about a fortune a father spoke of and a daughter believing him even though he's clinically losing his mind. Estranged family members as all these characters are, at least King Of California stayed broad and tongue-in-cheek about it. That film was slightly funny. Not this piece of crap. Fuck this movie.

CYRUS

2010-07-10T00:36:00.000-07:00

IN THEATERS

Directed by
Jay Duplass, Mark Duplass

Starring: John C. Riley, Jonah Hill, Marisa Tomei, Catherine Keener, Matt Walsh

They might've ruined most of the jokes in the trailers just to get us in there to see it, but it still is a solid film. The opening is a bit forced as it's hitting you over the head with how inappropriate and desperate Riley's character is, but it follows through with a thoughtful script. Tomei and Hill play a mother and son with an inappropriately close relationship, while Riley's character falls in love with her and creates a rift between them. As for the cinematography, it gets a bit annoying with aggressive zooms that seem to anticipate the actor's reactions to simple things like walking up steps. It's reflective of the unnecessary camerawork on the U.S. version of The Office on NBC. That show is shot too aggressively to be simply construed as a documentary, e.g. the movements of the camera are incredibly anticipatory to the actor's actions and the rhythm of the punch lines. It seems like they got war photographers to shoot it. The beauty of this movie is it's balance of honest humor with a serious subject that doesn't over-dramatize or assault the viewer with a family-in-crisis angle. Hill's character is of course quite flawed, and is expertly written as a confused person who is coming to terms with recognizing his own inabilities to grow up. But not before an edgy battle for Tomei. Too simple to say more about, so go see it. It's a bit crude, but as my grandmother says "Nowadays, what isn't?"

ONDINE

2010-07-10T00:06:00.000-07:00

IN THEATERS

Directed by
Neil Jordan

Starring: Colin Farrell, Alicja Bachleda, Tony Curran, Stephen Rea, Alison Barry

Ondine is a mythical word in European folklore to describe a fairy-like creature of the water; a mermaid or a nymph. Jordan takes this film in a very beautifully romantic way taking his cue from an old story about a fisherman who fishes out one of these water nymphs. Syracuse (Farrell) is the fisherman who finds this woman in his net, and simply decides to help her out. It is Syracuse' disabled daughter, Annie, who takes quite the fantastical interest in the situation that gives this film it's charm with a smile. Barry (in her first theatrical role) wonderfully plays Farrell's daughter from an earlier marriage. It was Syracuse' drinking problem (this tale being quite Irish) that contributes to his present situation and checkered past. Since we start to see this story develop through Annie's guiding eyes, the actual nature of the film stays ambiguous and teeters on actual fantasy. This is brilliantly done within the storytelling and has a proper follow through justifying everything without losing the audience to sappy romance comparable to Nicholas Sparks. An odd next choice for Neil Jordan, but he can still make a damn good movie. Bachleda, who plays Ondine, is also quite good. The type of good that makes you want to see how good she can be in another role to see if it wasn't just a fluke.

SPLICE

2010-07-09T17:30:00.000-07:00

IN THEATERS

Directed by
Vincenzo Natali

Starring: Adrien Brody, Sarah Polley, Delphine Chanéac, David Hewlett

Adrien Brody simply cannot act any longer. Maybe for the right roles, but in this film he overacts and makes the whole thing over-dramatic. Sarah Polley is a good counter-part though because her subtlety as an actress breeds her own realism. But that being said, this script is too much. Simply too over the top. It takes a while to get going, then lingers as it struggles with what it's ultimately trying to say. Two scientists who are lovers, defy their superiors in order to maintain a new form of organism after the success of their previous one. Only this new one is a combination of animal and human DNA. The film is about them struggling to raise it and keep it a secret in the interest of an evolutionary scientific breakthrough. Meaning seems to be lost when the film has nothing left to surprise the audience with. Part family drama, part creature film, Splice fails to truly scare the audience. It is a bit disappointing because this director has made very intellectually stimulating films previously such as Cube and Nothing, but Splice (maybe trying to be Natali's Elephant Man if compared to Lynch) loses all credibility if he was trying to make a commercial horror flick. The Elephant Man wasn't a necessarily weird film because it didn't have to be. The subject matter was weird enough. Only with Splice, it wasn't a weird enough subject for Natali to make a straight forward film as this is. It's boring. The creature was cool, though.

MICMACS

2010-07-08T19:13:00.000-07:00

A-

IN THEATERS

Directed by
Jean-Pierre Jeunet

Starring: Dany Boon, André Dussollier, Nicolas Marié, Jean-Pierre Marielle, Yolande Moreau, Julie Ferrier, Omar Sy, Dominique Pinon, Michel Crémadès, Marie-Julie Baup

Out of left field comes Jean-Pierre Jeunet with this utterly whimsical film. Following Amélie and A Very Long Engagement, he has honed his own style after co-directing with Marc Caro on The City Of Lost Children and Delicatessen. Jeunet did also directed the fourth Alien film entitled, Alien: Resurrection, that nobody seemed to like. Hollywood denied Caro from working on that one because of his designs. I guess he was too French for their successful franchise. This created a rip between the artists, both of which are now solo. With this new film, the lead character takes a bit of revenge against dueling arms dealers. One was responsible for his father's death and the other responsible for a pensive bullet lodged in our hero's head due to a random drive-by occurrence. He quickly befriends a crew of miscreants who live in a junkyard and take him under their wing as part of their gang. Quickly learning everyone's individual talents, they pull their powers together and scheme their way into destroying these major corporations. Quirky as all hell, this film is Mission: Impossible meets The Fisher King. If you're a fan of his, you'll love it. Off beat enough to invoke a good carny sensibility and commercial enough for the whole family to enjoy.

GET HIM TO THE GREEK

2010-07-08T13:42:00.000-07:00

B-

IN THEATERS

Directed by Nicholas Stoller

Starring: Jonah Hill, Russel Brand, Rose Byrne, Sean Combs

This film should've had the spit-fire and balls that a movie like Midnight Run had. Having a classic odd couple where one drags the other from point A to point B. But unfortunately this film falls prey to a crappy, maybe trendy, structure of "feeling love" and "getting the girl" at the end of the film. Don't get me wrong, the laughs do keep coming especially if you're a fan of these two actors, but they are all quite empty. This script almost being a spin-off of Jason Segel's characters from Forgetting Sarah Marshall, it does exist in the same realm of slow guitar-strumming sentimentality. Hill should've played the same part as he did in Marsahll, as Brand clearly does, because that would've created a more substantial friction between these characters. Maybe they can only conceive of Brand playing a rock star because of his complete lack of talent to play an actual character. This friction was barley there within the characters as each scene plays from gag to gag with piss poor writing. It would've been a much better film to create these problems, and honestly think of down to earth ways for Hill to solve them and have that generate true comedy. For example: Brand is about to sing a song live on the Today Show, but cannot remember the lyrics. He tells Hill to find the lyrics. Now, what does anyone do when they can't remember lyrics to a song? Look them up on the internet via IPHONE or whatever gadget available. Hill's character seemed trendy enough to have one, but fair enough okay, what if he doesn't? He should then find anyone around the studio with a portable internet connection. But no, instead we watch him run around the entire Today Show studio yelling, asking if anyone knows these lyrics. Granted he was drunk and stoned, (which is another writing problem since he got fucked up by drinking and smoking all of Brand's shit just so he can keep Brand sober... instead of simply getting rid of it?) but still problems like these a general public forgive because it's a "stupid comedy." But we shouldn't have to forgive these writing points for comedy. Comedies can be smart. Hollywood is just lazy. I would've enjoyed to see a climax at the Greek Theatre for the performance they were trying to get to the entire film, but no. As soon as we get there, all is swell as we cross-fade to see Hill LEAVE and go home to his girlfriend with whom he's been fighting with throughout the film. Fuck. That's it. If you'll see it, you'll see it. It is pretty funny. But not Puff Daddy. He's annoying.

ROBIN HOOD

2010-07-07T18:19:00.000-07:00

C+

IN THEATERS

Directed by Ridley Scott

Starring: Russel Crowe, Cate Blanchett, Max Von Sydow, William Hurt, Mark Strong, Danny Huston, Mark Addy, Matthew Macfadyen

The story is set before Robin Hood became "Robin Hood." Although it probably would've been more interesting to see a film about him on his crusades. In setting out to make this film, the script started out to have the Sheriff of Nottingham be at the center of the story as the movie was entitled Nottingham. It depicted the Sheriff as being this underdog hero to the broader myth of Robin Hood, and Crowe was to play Nottingham. As development was underway, rewrites veered the subject back to the lead character of Robin. The film now, as possibly a result of Scott and Crowe's overbearingness, has an uncomfortable similarity to Gladiator. The film clocks in at two and a half hours, apparently the good people at Universal couldn't talk Ridley down from this cut when they had every right to. You'll see a similar trend in Universal letting talent take over a film once Paul Weitz's Little Fockers comes out. Thanks to Ben Stiller, you won't see General Dustin Hoffman. Back to Robin Hood, there is plot and subplot creating an epic film. But the only thing of true interest as you watch this film is Robin Hood and his merry men, which they never give you enough of. With stunning action sequences and wonderful photography hiding all the hard work of creating this world, the script is just awfully corny. Overall this film is simply forced. Stop talking down to us, Hollywood. It's insulting. Oh, and Mark Strong is quite a gem but he might be now officially type-cast.

IRON MAN 2

2010-07-07T17:54:00.000-07:00

B-

IN THEATERS

Directed by Jon Favreau

Starring: Robert Downey Jr., Sam Rockwell, Mickey Rourke, Samuel L. Jackson, Scarlett Johansson, Gweneth Paltrow, Don Cheadle

A quick way to ruin a franchise is to replace an actor who has already established a character. The biggest headache was watching Don Cheadle (rather than Terrance Howard) play Rhodey with such stern that all charm was lost. In scenes which were supposed to be rich with playful brother banter between Tony Stark and Lt. Rhodes, an air of awkwardness takes over as Cheadle's performance never finds it's niche. The film's action does kick it up a notch for a proper sequel, yet Rourke's character is a bit over the top. Rockwell does an exceptional job, yet the overall dialogue isn't very smart. And Johansson tends to be a bit dorky. A pretty good time overall for the beginning of the summer blockbusters.

BRONSON

2010-07-07T16:50:00.000-07:00

ON DVD

Directed by Nicolas Winding Refn

Starring: Tom Hardy, Matt King

Based on a true story, Charles Bronson is the name Michael Peterson gave himself after choosing a way of life to be the ultimate antagonist. Charles Bronson is known as the most famous inmate in Britain's history. Originally sentenced to 7 years, he has been behind bars for more than 34. 30 of which were in solitary confinement. The main attraction here is Tom Hardy who completely transforms himself into this ghastly character with not much concern for anything other than his own ego. Some of his character is depicted perfectly with lonely scenes of him center stage with a spotlight as he talks to the audience within his mind. Unfortunately the script lags as it depends too heavily on Hardy's performance. We get a good sense of Bronson acting out, and his clear incapacity to have any emotional relationships with anyone. But overall, it lacks proper build and climax as a film because we witness him melt away in prison with long tracking shots and only spurts of proper ecstasy in rage. This character is so intriguing, yet we never get inside him and on the flip side his outbursts barley pay off. Stylized as it is, it runs melancholic with a brilliant Tom Hardy at work.

YOU DON'T KNOW JACK

2010-04-28T17:21:00.001-07:00

A-

ON HBO

Directed by Barry Levinson

Starring: Al Pacino, John Goodman, Susan Surandon, Brenda Vaccaro, Danny Huston

This story of Jack Kevorkian might have made a good theatrical release if it was cut down about half an hour. But, Levinson does prove how he can still make a damn good film (following disasters like Man of the Year, Envy, and Bandits) and direct damn good actors very well (like Robert De Niro in the unfortunately overlooked What Just Happened? based on producer Art Linson's memoir). Al Pacino hasn't wrenched your gut like this since The Insider. Hunched over, accented, and passionately honest. Vaccaro's scenes with Pacino will captivate you as they truly portray a brother and sister with wonderful dialogue. Clocking each patient, the story unfolds as Kevorkian begins his mission to relieve the suffering from this world. Without giving much back story of Kevorkian's life the film works in a way that you follow him step by step and get to know what was really behind his actions. Levinson also amazingly incorporated real footage of videotaped interviews of patients to give you an honest sense of what these people were going through. It was the inclusion of these that gave the film it's heart as Pacino representing the film's pulse. In times like these when a movie going audience thirsts for comedy, it's good to see a well made drama in another medium like cable television. This film will make you reflect on our rights and natural freedom.

44 INCH CHEST

2010-04-28T17:17:00.000-07:00

ON DVD

Directed by Malcolm Venville

Starring: Ray Winstone, John Hurt, Tom Wilkinson, Ian McShane, Stephane Dillane, Joanne Whalley, Melvil Poupaud

The first fifteen minutes or so keep you in suspense, but stick with it. If you had the balls to pick this one up, then you'll enjoy what it has to deliver. Winstone plays a man at the end of his rope trying to keep it together with the help and encouragement of his best mates. Hurt playing a crass prick, McShane playing a calm poof, Dillane a dodgy sod, and Wilkinson just trying to help out so he can get home to take care of his dear old mum. Justifiably directed like a stage play, the lot kidnaps Winstone's wife's lover in search of justice. The writing team of Sexy Beast has pulled off another brooding story brilliantly written. At it's heart, the film explores what it is to be a man and what it's like to love a woman. And I mean really love a woman. There hasn't been a good role for Winstone in a while, but when Louis Mellis and David Scinto decide to write this part for him and have him on as a producer... Winstone delivers a performance that will strip any man to the core. And force that man to reflect, and re-evaluate any love they have for a woman. Past that, the supporting cast is phenomenal as they spout dialogue that surpasses wit. Buckle down.

(Announcement)

2010-04-28T16:36:00.000-07:00

The following films were reviewed between July and September 2009.

Thank you.

CRANK 2: HIGH VOLTAGE

2010-04-28T16:29:00.000-07:00

B+

ON DVD

Directed by Mark Neveldine, Brian Taylor

Starring: Jason Statham, Amy Smart, Dwight Yoakam, Efren Ramirez, Ling Bai, Clifton Collins Jr., David Carradine, Corey Haim

This is the most creative and invigorating film to come along in a while. The choice to shoot this primarily on small, crappy digital cameras was a stroke of genius. Quantity is quality here, folks. These guys went all out making this picture. Sure it is a B movie, but it’s the best of it’s breed. The plot is as outlandish as one can fathom, and the characters are pushed to absurdity in this world of loud guns, hot chicks, and fast… Chelios. Chev Chelios is alive and forced to exist with an engine for a heart with a dying battery. That’s enough! Nothing else can be summed up. The visual effects need to speak for themselves. The editing style is excitedly extravagant, taking cues from commercial advertising and films that have experimented similarly such as Tony Scott’s Man On Fire or Domino; think maybe of a good, well-done Blood, Guts, Bullets, and Octane only creative (we're talking lifesize puppets maybe...). The feeling and world that is created can be compared to the Twilight Zone as rules are set, characters are caricatured, and the humor is defined as flat-out-rageous. FUCK YOU CHELIOS.

STATE OF PLAY

2010-04-28T16:23:00.000-07:00

ON DVD

Directed by Kevin Macdonald

Starring: Russel Crowe, Ben Affleck, Rachel McAdams, Helen Mirren, Robin Wright Penn, Jason Bateman, Jeff Daniels

First off, this film takes itself too seriously. Each music cue is pushing the viewer to feel something that just isn’t warranted (Especially if we’re supposed to believe Ben Affleck as a politician through his horrible acting; he can't even play himself well in this picture). State of Play is based on a British Television mini-series, which was very successful. It’s obvious here in the feature screenplay that the story is incredibly well written, but unfortunately doesn’t translate well in a two-hour exhibition format. There is just too much information to get across, which the mini-series had enough time to do. State of Play seems rushed and forced for the most part. A girl who is an aid to the staff in D.C., falls in front of a subway train and causes her boss to cry on live television. Their affair is made public and with the help of a journalists’ investigation it is realized that she has actually been murdered. The cats are let out of their bags flying around with the bad melodrama. Rachel McAdams can’t even bring it to the table as she is the most boring she’s ever been. Although, Russel Crowe and Hellen Mirren work very well together considering the circumstances. And unfortunately Crowe and Affleck don't share any chemistry on-screen. Robin Wright Penn is perfect, but doesn't have a lot to work with. Finally Jeff Daniels is always top-notch; his fearful spat with Crowe in one scene makes you jump in your seat with anticipation.

LOCAL COLOR

2010-04-28T16:10:00.000-07:00

ON DVD

Directed by George Gallo

Starring: Armin Mueller-Stahl, Trevor Morgan, Ray Liotta, Charles Durning, Samantha Mathis, Ron Perlman

George Gallo (Trapped In Paradise, Double Take) seems to have made a very personal film here, but it misses it’s target completely. First, the lead kid, Trevor Morgan is a very boring actor that simply plays himself and doesn’t react to anyone else in the film. Secondly, this structure of “The summer I’ll never forget” doesn’t prove itself to be particularly special. John Talia, a painter struggling with his craft gets the chance to stay with an amazing artist Nicoli Seroff. They discuss painting; shades, moods, looking at clouds differently. He meets eccentric friends of Nicoli's who sometimes are full-of-shit theorists of art. He falls for a young girl who brings Nicoli pies. Then paints better and returns home. Each scene is so dull that even these great actors (Armin Mueller-Stahl, Ray Liotta, Ron Perlman) can’t justify the film. It’s beyond predictable to just plain boring; crotchety old man, who doesn’t want young pupil- young pupil winning him over with his charm. It’s directed in a way that evades comedic intention and forces crappy revelations of capturing life in painting. There is one scene that Mueller-Stahl and Perlman play brilliantly: Perlman is shown paintings from mentally challenged children as he reads into them thinking they were painted by a tormented artist. Mueller-Stahl calls him on it and ends up dancing on the table while Perlman gets angry and leaves. Hilarious.

SIN NOMBRE (without name)

2010-04-28T16:07:00.000-07:00

ON DVD

Directed by Cary Fukunaga

Starring: Édgar Flores, Paulina Gaitan, Kristian Ferrer, Marcela Feregrino, Giovanni Florido

Two incredible journeys coincide and meet crossing the border into America. Willy (or El Casper), a boy involved with a gang who plays mentor to a younger boy (El Smiley) as they struggle to stay alive and out of trouble. Sayra, a Honduran girl who has paid a man to lead her into America hops from train to train trying to reach New Jersey. These two characters end up meeting on the same train about an hour into the film and struggle to cross the border themselves. Not to give away too much, because each step of this story unfolds with great tension, these characters are acting on their last throws of survival. The characters are rich, yet sometimes overdone with overacting. The setting and photography is breathtaking in a gritty, realistic way. A well done mini-epic.

RUDO Y CURSI (rude and corny)

2010-04-28T16:05:00.000-07:00

ON DVD

Directed by Carlos Cuarón

Starring: Gael García Bernal, Diego Luna, Joaquín Cosio, Jessica Mas, Guillermo Francella

As pessimistic as this film can be it is downright hilarious. Alfonso Cuarón (Children of Men), Guillermo del Toro (Pan’s Labyrinth), and Alejandro González Iñárritu (Babel) produce the first film by Cuarón’s brother, Carlos. Reuniting the stars from Y tu mamá también, Luna and Bernal play half-brothers from a small town who work on a banana plantation in Mexico, then get approached by a talent scout to play soccer in Mexico City. Nicknamed Rudo (rude) and Cursi (corny), they rival each other as honest brothers do going from rags to riches. This endearing tale shows how money can’t quite buy happiness. You sometimes pity them as they continue to make bad decisions, but in an almost parody we laugh all the way through falling in love with each character’s defects/downfalls. Bets being placed, disconcerting trust issues, and laugh out loud misunderstandings make this tale one of a kind and a must see. One of the best scenes of the film is on a beach when both brothers fight over who is going to build a bigger house for their mother right there on the shore.

DUPLICITY

2010-04-28T16:03:00.000-07:00

B-

ON DVD

Directed by Tony Gilroy

Starring: Clive Owen, Julia Roberts, Tom Wilkinson, Paul Giamatti, Denis O'Hare

In the tradition of the films by David Mamet (House of Games) and E. Max Frye (writer of Palmetto), this film sets up a mystery in which characters double-cross each other until you don’t know who is playing whom in attaining the big score, or for that matter understanding what the score actually is. Two corporations rival for the release of a top-secret product promised to revolutionize the market. Two informants/spies with a delicate past end up having to work together. This mixed with the sexual tension and off-and-on relationship between the characters of Clive Owen and Julia Roberts doesn’t quite justify itself as far as plot and storyline. There are great moments of tension when it comes down to the wire of gaining information, but this film ends up failing to portray quick wit as films like Mamet's Heist, or Frye's penned Where the Money Is has. Although with a very entertaining music score and similar editing styles to the Ocean’s Eleven series, Gilroy's (Michael Clayton) Duplicity is a fun watch. Giamatti and Wilkinson are wonderful in it as well, but play characters that aren’t well developed.

TROUBLE THE WATER

2010-04-28T16:01:00.000-07:00

A-

ON DVD

Directed by Carl Deal, Tia Lessin

An intimate documentary on Hurricane Katrina couldn’t be more on point. This film had intended to focus on the aftermath in New Orleans, but stumbled upon Kimberly Rivers Roberts, who provides her own captivating story with actual footage shot by her on a small camcorder before, during, and after the Hurricane. This footage is inter-cut with Roberts and her husband taking the filmmakers through places in the 9th ward, where they had lived. Produced by Danny Glover, who believes everyone in America should see this film, Trouble the Water gives you an in depth journey through the humanity of the people of New Orleans and the disharmony of this country’s governing tactics.

THE INFORMERS

2010-04-28T15:59:00.000-07:00

D-

ON DVD

Directed by Gregor Jordan

Starring: Billy Bob Thornton, Kim Basinger, Mickey Rourke, Winona Ryder, Brad Renfro, Lou Taylor Pucci, Rhys Ifans, Chris Isaak, Jon Foster, Amber Heard

Based on a novel of stories, this film attempts to adapt a book by Bret Easton Ellis (author of American Psycho, Rules of Attraction, and Less Than Zero). Unfortunately through the pre-production of this film, the translation was lost from director to director. As Ellis produced this, he is not entirely happy with the film’s final outcome because a person he had co-wrote the script with was the original intended director. The most engaging moments are when Mickey Rourke and Brad Renfro share scenes (This being Renfro’s final performance). Everything else is executed quite badly through over-dramatics and imitations of earlier adaptations of Ellis’ works. Most of the actors (especially Jon Foster, who might be the worst new actor out there) seem to be imitating some boilerplate blasé demeanor, in which they thought every Ellis story encompasses. Most scenes are played as serious as can be with serene aerial shots to reduce tension when they could have played better radically done as parody. A great cast with nothing to do and the film's meaning lost in it’s own irony, this film has completely missed it's target with no identity.

SURVEILLANCE

2010-04-28T15:57:00.000-07:00

C-

ON DVD

Directed by Jennifer Chambers Lynch

Starring: Bill Pullman, Julia Ormond, Pell James, Ryan Simpkins, French Stewart, Kent Harper, Cheri Oteri

A thriller by the David Lynch’s daughter, Jennifer. She has to be a badass to deliver a film like this, but it sets up this secluded happening to have insurmountable creepiness or inexplicable actions that eventually don’t deliver. The happening is inspected and mulled over by two FBI agents as they separately interview the survivors of a side-of-the-road tirade involving police officers. Characters are set (overtly eccentric) in the first act, as the second is primarily occupied of flashbacks as characters from the present describe them either correctly or incorrectly. Surveillance simply tries too hard and the plot comes off as a gimmick. The ending is insatiable and the quality of the writing fails to match the films direction of creepiness. On the other hand, Pullman and Ormond work incredibly well together on screen. Kudos, kids. And a surprising performance comes from the on-point French Stewart. Clearly he has not given enough opportunities to play serious (un-goofy) off-putting characters.

TYSON

2010-04-28T15:53:00.000-07:00

ON DVD

Directed by James Toback

Interviewed: Mike Tyson

This documentary is as slow as a dog trying to find his nuts (with both paws). A beautifully daunting opening credit sequence is presented only to be met with Mike Tyson, sitting on a couch in his well-lit living room talking to the camera about himself… for 90 minutes. Now, I’m sure one reading this can understand by now what Tyson sounds like for the most part; a soft spoken little girl. Nothing against the way the man speaks, but the failure to get a narrator or coming up with some way to guide the viewer through this man’s life makes the audience tired and dreary. This might have been more successfully executed as audiotapes for boxing fans. No doubt a die-hard Tyson fan will get much more out of this than most people, but as a film it’s hard to pay attention to. The most enrapturing moments are when Tyson talks about the re-match with Evander Holyfield in which Tyson chomped on his ear, and when Robin Givens bad mouthed him to Barbara Walters right in front of him on television. Mike Tyson is one of the most incredibly generous and honest of all human beings, but the director of this film James Toback has turned into the biggest windbag/blowhard east of the Mississippi. I know Toback to do great films such as Fingers, Black and White, and Two Girls and a Guy. But he has failed to properly execute the telling of this man’s life.

THE GARDEN

2010-04-28T15:51:00.000-07:00

A-

ON DVD

Directed by Scott Hamilton Kennedy

Appearences: Danny Glover, Daryl Hannah, Antonio Villaraigosa, Zack de la Rocha

A documentary about a fourteen-acre patch of land in South Central Los Angeles that was gifted to the community after the L.A. riots of April 1992. The story is told quickly, so keep up. The average person can surely follow the legalities of paper trails the tug of war for this land encounters, though some points seem rushed. These Mexican farmers have used this land since 1992 for growing crops creating the most impressive garden in it’s radius. The problem is, the ownership of the land traces to a backroom deal that took place outside of the courtroom. Corruption lies at the root of this tale with many prejudices and uncertainties. The growers come together with the help of the community and neighboring celebrities to raise funds to keep these luscious crops growing within this community. It’s in the past, you might have read about it in the papers, but check it out if you want to know how it went down.

JUILA

2010-04-28T15:49:00.000-07:00

ON DVD

Directed by Erick Zonca

Starring: Tilda Swinton, Saul Rubinek, Kate del Castillo, Aidan Gould

As wide of a scope this film has, the actions in the script coupled with the over dramatic acting kills it almost entirely. To clarify, Tilda Swinton is at her best as she always is. She has this talent to drift into a character and swim in it’s stream, which keeps the director rolling the camera even after the scene has concluded. She plays Julia, a character who pushes herself into tight spot after tight spot due to her immoral activities and alcoholism. The forever brilliant Saul Rubinek plays her ex-husband. When pairing these two actors together, you get the best scenes in the film. Since they are both theatrical actors, the screen-time they share is the most expository of the characters. As engaging as they are, they only claim about one fourth of the film. The story evolves through bad decisions made by Julia climaxing to the handling of the son of an unstable Hispanic woman kidnapped from his rich father. Julia creates a relationship with the boy as they run to Mexico. The dialogue often seems forced and the actions of most characters become predictable as seen before in many films similar such as Cassavetes’ Gloria or Tarantino’s Jackie Brown. It’s a corny drama with an amazing lead actress directed badly. Julia feels like the first run through of a play with no direction, as if each actor has rehearsed to a wall.

IN THE LOOP

2010-04-28T15:44:00.000-07:00

IN THEATERS

Directed by Armando Iannucci

Starring: Peter Capaldi, Tom Hollander, Gina McKee, James Gandolfini

In this splendiferously orchestrated opus, the Iraq war beckons the U.K.’s involvement with the U.S. Only the level of miscommunication whirlwinds into a production comparable to the madness in Dr. Strangelove. As a British politician is caught off guard with a question directed to the UK about the war, he is flustered and answers hastily/goofily. Along with his assistant, he ventures to Washington to attend a meeting of “The Future Planning Committee” unofficially rumored “The War Committee.” Secrets are leaked, lies are covered, and careers are stared down then hung out to rot in this roller coaster of a film. A controversial document entitled "Post-War Planning: Parameters, Implications and Possibilities" is subject to interpretation depending on who’s reading it. There isn’t any central character officially, but unofficially we can call the lead character anyone we want. Beautifully edited and rich with British humor, In The Loop is unrelentingly funny. And maybe crude… but officially crass. S**CUNT.

GIGANTIC

2010-04-28T15:42:00.000-07:00

C+

ON DVD

Directed by Matt Aselton

Starring: Paul Dano, Zooey Deschanel, John Goodman, Edward Asner, Zach Galifianakis

Paul Dano plays a character that sells mattresses. Goodman’s character comes in and buys one, being a wealthy fat cat. Who comes to pick it up, is lovely Zooey Deschanel and a relationship is born. This film is quite a “how-to” on melancholic character analysis through dysfunctional families. It pushes the cute eccentricities as well, but never makes sense of itself. Dano’s character simply wants to adopt an asian child, which is very selfless, yet it’s iterated that he has had this urge at a disturbingly young age. The film never explains why nor does it explore why a homeless man, played by Zach Galifianakis, repeatedly attacks him in the streets. Aside from off-kiltering plot holes, some characters get a bit annoying as they portray themselves to be pampered victims of disposable income translating into the affection families lack to provide. Deschanel plays a character that doesn’t know how to direct her life through this fog of a self-serving lifestyle while Dano’s character searches and finds a calling for himself. The Galifinakus attacks might be construed as him over coming some fear or mental attack against himself, but comes off as too self indulgent as the director can’t explain or translate these ideas well. Consequently we are disconnected from the unrealized lead character. The best scene is when Dano takes to the woods with his brothers and father. They all take shrooms, then adorably retire to a French restaurant where they receive a private meal. The brothers try to call Dano on his eccentricities, but don’t have the mental capacity to justify themselves. Finally, Goodman is always on the top of his game; perfect.

THE CLASS (Entre les murs)

2010-04-28T15:39:00.000-07:00

ON DVD

Directed by Laurent Cantet

Starring: François Bégaudeau, Agame Malembo-Emene, Angélica Sancio, Arthur Fogel, Boubacar Toure, Burak Özyilmaz, Carl Nanor, Cherif Bounaïdja Rachedi, Dalla Doucoure, Damien Gomes, Esmeralda Ouertani, Eva Paradiso, Henriette Kasaruhanda, Juliette Demaille, Justine Wu

Resulting from many improvisational workshops, the kids (using their real names) in this film are extremely natural on screen. Three quarters of the film takes place in the classroom and it voyeuristically feels like sitting in on a real class. The story is straight forward as these inner city kids in France get a new teacher. The teacher realistically reacts to buttons pushed as he loses his cool like any other person dealing with challengingly unmanageable students. This film doesn’t glorify the teacher as in Dangerous Minds or Stand and Deliver, but instead illustrates the relationship between teacher and student whether it inspires or quickly sours. The Class is more a character piece as the story itself is quite simple to summarize, but if done here the surprises are ruined. The real joy of this film lies in the actors and their natural playfulness. It is over two hours but the editing is rhythmically beautiful.

I LOVE YOU, MAN

2010-04-28T15:37:00.000-07:00

ON DVD

Directed by John Hamburg

Starring: Paul Rudd, Jason Segel, Rashida Jones, Jon Favreau, Jaime Pressly, Jane Curtain, J.K. Simmons, Andy Samberg, Thomas Lennon

The comedy is present as Paul Rudd’s character looks for a best man for his wedding realizing he doesn’t have any friends that aren’t female, but sometimes the humor tries too hard. He meets Jason Segel’s character and the film turns into a proper “Bro-mance” as the phrase was coined. The structure takes on a simple love story, but stayes platonic. They get in a fight, they get back together, Rudd is nervous and coy while Segel is dominating and crude, etc. The best laughs come from Jon Favreau and Jaime Pressly as they play a raucous couple that is friends with Rudd’s fiancé, played by the effervescent Rashida Jones. As this is a testosterone filled love story, gags involving puke, farts and masturbation ensue. It ends up dancing on a line between pure brotherly love and homosexual tendencies/affection. A good part of the dialogue and performances are painfully awkward.

FUNNY PEOPLE

2010-04-28T15:34:00.000-07:00

IN THEATERS

Directed by Judd Apatow

Starring: Adam Sandler, Seth Rogan, Leslie Mann, Eric Bana, Jonah Hill, Jason Schwartzman

Judd Apatow is turning into the next James L. Brooks with his witty dramas. Brooks’ films such as Terms of Endearment and As Good As It Gets are truthful dramas that are categorized under the funniest films ever made. This appreciation for such films comes from the ability to make the viewer laugh just as hard as you make them cry during the same film. You will be let down if you go in expecting a full-blown comedy. This film clocks over two hours and is a drama about a successful comedian reaching out for friends and ex-lovers as he learns of his terminal illness. He takes on a personal assistant, who is a struggling comedian, to write stand up for him as they eventually become friends through trying times. All the characters are rich with very good actors playing comedians/performers close to who they really are, as the film is complete with old footage of them in roles from earlier times/projects. Funny People doesn’t drag, but has definite lines that draw acts one, two and three. James L. Brooks (also Spanglish) and Judd Apatow have similar gifts in capturing unabashed truths of people (having no singular character be an asshole or a nice person, real people are both) and emotions finding rare comedy on screen. With Apatow’s real wife and children in the film, as well as real friends Seth Rogan and Jonah Hill, this film is a love project with everyone at the top of their game.

BIG MAN JAPAN (Dai-Nipponjin)

2010-04-28T15:33:00.000-07:00

ON DVD

Directed by Hitoshi Matsumoto

Starring: Hitoshi Matsumoto, Riki Takeuchi, Ryûnosuke Kamiki, Haruka Unabara, Tomoji Hasegawa

It starts as a faux-documentary about a man who is a hated figure in his country even though he protects them from various monsters. He goes to a secretive power plant, and is jolted/electrified to grow incredibly large like those foam dinosaurs you add water to. The fights with the monsters are creative, but crudely computer animated. This film would’ve made a better video game where the viewer can partake more interactively than being a spectator. The sequences of normality between the fights are too mundane and boring as the fights themselves aren’t engaging enough. Big Man Japan is a bad attempt at being original/creative but falls flat in a Power Ranger/Hellboy/Primal Rage realm.

THE UNION: THE BUSINESS BEHIND GETTING HIGH

2010-04-28T15:30:00.000-07:00

A-

ON DVD

Directed by Brett Harvey

Interviewed: Joe Rogan, Tommy Chong

With an odd host of a narrator, this documentary thoroughly explores the business aspect of where the marijuana world is at this present time. The first twenty minutes or so gives you a good history of the evolution of weed, then dives into explaining the roles taken by transporters, growers, clippers and so forth. Some interviews on the street are obviously biased and cut to further the point of the film, but it ultimately speaks volumes of the medicinal impact it has on illnesses such as Multiple Sclerosis. Documentaries like this help increase the knowledge of the average person about how much money/energy is being wasted on trying to control this herb. Once legalized, Marijuana can be taxed and make this country a lot of money and help the economy. The Union also illustrates how Marijuana is non-addictive and doesn’t cause Cancer by presenting facts and blowing the whistle on earlier studies.

CORALINE

2010-04-28T15:28:00.000-07:00

A-

ON DVD

Directed by Henry Selick

Voices: Dakota Fanning, Teri Hatcher, Jennifer Saunders, Dawn French, Keith David, John Hodgman, Ian McShane

Based on a Neil Gaiman novel, this is a complete fantastical story to enjoy with children of all ages. It tends to become dark, but no darker than The Nightmare Before Christmas. Coraline Jones finds herself moved into a new house with her parents and she has new neighbors to explore. The film starts off a little slow as her character is snobby, getting everything she wants and spitefully complaining about everything. A lesson is learned as she uncovers a secret passageway to an alternate universe where there are identical versions of her house, parents and even her new friend from the neighborhood. Everything is the same, only better. She gets suspicious as things are too perfect in this alternate universe (be careful what you wish for). She then begins to understand it’s origin and loses control of transporting from one universe to the other. The animation alone is entirely beautiful to witness. Selick’s stop motion animation (James and the Giant Peach, Monkeybone) is at it’s best as he filmed this specifically for 3D. Although toward the end, rules are made and a villain is characterized where it somewhat reverts to a formula seen many times before, the film still impresses with it’s unique technique.

THE GREAT BUCK HOWARD

2010-04-28T15:26:00.000-07:00

C+

ON DVD

Directed by Sean McGinly

Starring: John Malkovich, Colin Hanks, Emily Blunt, Ricky Jay, Steve Zahn, Tom Hanks

As funny as this film is, it still comes off somewhat as a dated TV movie. It’s photographed and directed quite blandly, but encompasses a great cast ensemble. Buck Howard is an over-the-hill magician who spouts self-promoting isms and treats everyone around him as if they are all from a sub-species. This is where the comedy flourishes because with Malkovich at the helm of such an odd asshole, he forces every actor in this film up to his level of absurdity. No doubt this is a great watch to simply see Malkovich; he is hilarious as he was in Burn After Reading. Unfortunately, Colin Hanks doesn’t have the range to properly carry a film on his shoulders. His character is one-dimensional and the script becomes predictable at times. The character of Buck Howard is loosely based on a real magician who had baffled audiences with a singular trick showcased in this film.

THE HURT LOCKER

2010-04-28T15:22:00.000-07:00

IN THEATERS

Directed by Kathryn Bigelow

Starring: Jeremy Renner, Anthony Mackie, Brian Geraghty, Guy Pearce, Ralph Fiennes, David Morse

Mark Boal who actually spent some time with soldiers who diffuse bombs in Iraq, wrote this film. It proves to be as realistic as can be and sure to become a film classic when it comes to contemporary war films next to Apocalypse Now and Full Metal Jacket. There hasn’t been many poignant films about this subject. Usually the tongue-in-cheek Three Kings or the poorly executed Jarhead tried tackling this war. Good documentaries focus in on specific incidences taking place in and around Abu Ghraib, such as Standard Operating Procedure and Taxi to the Dark Side. Michael Winterbottom even tried to mold a real account (documentary style with interviews) with a narrative (re-enactments) about a group of friends who’s lives are ruined in Road to Guantanamo. The docu-miniseries Over There also tackled the subject of the soldier’s mental state and the repercussions of this war pretty well. The Hurt Locker finally combines this truth with good action-oriented storytelling justifiably. As the lead comes into the story, he is simply a person who knows his job and has his character flaws; he is nothing short of a hero. And a hero is nice to see outside of spandex tights and a mask over the face. The film progresses from incident to incident in which the team needs to diffuse a bomb, or deal with threatening snipers. The beauty of it is that it never lulls. There isn’t quite a story with a standard character arc here, it’s simply showing what these guys do day in and day out. The cast works beautifully as an ensemble and showcases how well a woman can direct a film about testosterone and violence. But this film is also funny as it is tense. These characters are completely down to earth and ensure a fun movie-going experience.

THE EDGE OF LOVE

2010-04-28T15:19:00.000-07:00

ON DVD

Directed by John Maybury

Starring: Keira Knightley, Sienna Miller, Cillian Murphy, Matthew Rhys

This seems to pride itself on having two gorgeous girls in it than actually having any artistic or entertainment value. Dylan Thomas is treated as a supporting character who appears to be “just one of the girls,” when in reality (even though he wrote poetry) was a deep-voiced disgruntled drunk, who Rhys hardly portrays justifiably. The characters played by Kiera Knightley and Sienna Miller meet with Thomas as a mutual acquaintance. At first, they rival then find best friends within each other complete with banal scenes of them giggling in bed and in the bathtub together. Nothing of interest keeps one watching this film to the end, which has a melodramatic climax impotently trying to make a statement. Cillian Murphy is as good as he can be playing a soldier/love interest of Kiera’s character, but the script is just too boring to enjoy his work.

EXPLICIT ILLS

2010-04-28T15:17:00.000-07:00

A-

ON DVD

Directed by Mark Webber

Starring: Rosario Dawson, Paul Dano, Lou Taylor Pucci, Naomie Harris, Frankie Shaw, Francisco Burgos

Mark Webber clearly has worked with some of the best directors around, and some film talent has definitely rubbed off. These aren’t so much as stories intertwined with each other, but vignettes of relationships among an urban world of inadequacies. It’s most comparable to the film Chelsea Walls directed by Ethan Hawke, in which Webber had starred with Rosario Dawson. Explicit Ills is sweet and at times reassuringly realistic. As it is produced by Jim Jarmusch, the film has scenes of simplicity which bring smiles to viewers who seek some originality. Doesn’t need any set narrative, as watching these characters interact in what seem like abbreviated sections from their lives, is enough to keep you interested. As the film apexes, it addresses stories of tragedy due to the lack of health care.

THE BROTHERS BLOOM

2010-04-28T15:11:00.000-07:00

IN THEATERS

Directed by Rian Johnson

Starring: Mark Ruffalo, Rachel Weisz, Adrien Brody, Rinko Kikuchi, Robbie Coltrane

This is from the director of the indie sensation Brick. This new venture has stylistic similarities to the cuteness of Wes Anderson, but keeps it’s slyness captured in Brick. The actors play off each other extremely well, but unfortunately the script tends to drag and fall short of it’s projected wit. These brothers are con experts who pick a new mark, but end up developing a legitimate relationship with her (the mark being a beautiful, rich woman lacking ambition). The plot never really surprises with intelligence, as it hops from pretty location to pretty location. By the end as it tries and fails to poignantly concentrate on the brother’s showmanship. A line cheesily uttered at the end of the film from one brother to the other, “You’re the only audience I’ve ever needed.” Rinko Kikuchi plays a character who never talks except once in the whole film and is as cute as ever. The whole cast is a joy.

MOON

2010-04-28T15:06:00.000-07:00

B-

IN THEATERS

Directed by Duncan Jones

Starring: Sam Rockwell, Kevin Spacey

As David Bowie’s son made this film, it is important to point out how slick it looks. As you watch it, the film encapsulates this smooth-glossed over style existing between the coldness of the surface of the moon, and the starkness of the interiors of Rockwell’s habitat. This futuristic film is about a man who works for a corporation that provides an alternate form of energy ciphered from moon dust. The only thing Rockwell’s character has to communicate with is an artificial intelligence computer named Girty (voiced by Kevin Spacey). Rockwell, doing his job, starts to uncover secrets of his existence and how he has been taken advantage of by his employer. What falls short is the attention to practicality and intelligence of where technology will be in the near future. Girty appears to be much too independent from his creator, i.e. he makes decisions contradicting the company’s wishes. Because if the company could create such an advanced artificial intelligence there would be much more precautions taken in order to prevent happenings that take place in this story line. Furthermore, if this Girty was as advanced as he is perceived to be (giving him the benefit of the doubt) there would be many more A.I. creations supporting Rockwell in order to keep him at ease deterring his inquiries he has (which go against his employer’s intentions) in this film. But as a tale for someone who doesn’t usually enjoy keen films, this is a very entertaining watch; a few plot holes to a sci-fi futurist. Rockwell’s performance is a one in a million, as he goes head to head with himself. You forget you are watching one man. Bravo Rockwell.

HORSEMEN

2010-04-28T15:04:00.000-07:00

ON DVD

Directed by Jonas Akerlund

Starring: Dennis Quaid, Ziyi Zhang, Lou Taylor Pucci, Clifton Colins Jr., Peter Stormare, Patrick Fugit

Photographed very crapily, the original visionary director of Spun has lost his charm. It’s Se7en meets Strangeland complete with all the stereotypical serial killer moments such as lines like “Why do people do the things they do?” The progression is predictable (polaroids, neglectful detectives, and crazed adopted children) leading up to references to the four horsemen of the apocalypse, but in no way dares to take on a true apocalyptic theme. Quaid keeps you interested, but it falls flat when it ends up feeling like a bad TV movie with a sub-par supporting cast. The story stretches in unbelievable ways and climaxes to a speech, which is a bit preachy. The dialogue feels as if it was written by a seventeen year old as the acting never lives up to the stakes of the scenes.

KNOWING

2010-04-28T15:01:00.000-07:00

ON DVD

Directed by Alex Proyas

Starring: Nicolas Cage, Rose Byrne

This film was a bit scary. Couldn’t imagine being in a situation like the one Cage’s character finds himself in. He finds a list… well I won’t bore you. If you’re interested, just check it out. Nice Twilight Zone progression, but it ends terribly, just terribly. Nicolas Cage is losing his audience quick. (I’m a fan for the record.) If there’s nothing else, folks, if there’s nothing else-- give it a rent. It’s just a bad script, but two thirds enjoyable.

PUSH

2010-04-28T14:06:00.000-07:00

ON DVD

Directed by Paul McGuigan

Starring: Chris Evans, Dakota Fanning, Djimon Honsou, Camille Belle

Corny. Almost better with the sound off. Full of holes, badly written, and it falls off a cliff about an hour and ten minutes in. Although, it was nice seeing Chris Evans on the same screen as Cliff Curtis again since Sunshine. Criminey, you want a good movie, rent that one; directed by Danny Boyle (Slumdog Millionaire). Dakota Fanning’s character does get drunk though, but only for about seventy seconds. She says the alcohol helps her “powers.” The powers these kind of experimented people have start to turn goofy with the fight scenes. It’s like watching a bad puppet show, glimpses of hands and all. Camilla Belle is gorgeous, but she needs to start taking acting lessons.

CHERI

2010-04-28T14:00:00.000-07:00

A-

IN THEATERS

Directed by Steven Frears

Starring Michelle Pfeiffer, Kathy Bates, Rupert Friend

Steven Frears has come a long way from The Hit, to Dangerous Liasons (with Pfieffer), to Hero, to High Fidelity, to Dirty Pretty Things, to Mrs. Henderson Presents, to The Queen. He has this odd hybrid of a talent to make beautiful costume dramas as well as fun films to see with the family. This film is a simple story of Lea de Lonval (who is pointed out as being a classic “whore”) and her exceptional relationship with a much younger man named Chéri. Chéri is the son of a friend and she has watched him grow as he even sports an endearing nick-name for her, which is equivalent to an aunt. Through both of their own relationships, these two beautifully go back and forth from denial to some game of “who has the upper hand” with each other. Don’t expect any corny “love conquers all” ending here, as the film prides itself on making the point of their unique push and pull relationship. Utterly romantic with beautiful costumes, this film also showcases the wonderful Michelle Pfeiffer as she should be. No, not as a cougar, but as an actress who can still handle amazing roles and should have more of them. Nothing in the film is too distasteful outside of the subject discussed here. The film is brilliantly executed with keen looks and rueful nods.

WHATEVER WORKS

2010-04-28T13:58:00.000-07:00

IN THEATERS

Directed by Woody Allen

Starring: Larry David, Evan Rachel Wood, Patricia Clarkson, Ed Begley Jr., Michael Mckean

As close to home as this is to the subject of Allen’s true-life relationship with a minor, it’s a bit cute and kitschy. Larry David plays the predictable Woody Allen character as he addresses the camera and tells us the story of him meeting a young girl and marrying her even though there is a twenty-something year age gap; “Whatever works,” he says. Patricia Clarkson plays her mother who tracks down this runaway with an extremist reaction, which pushes this southern bell into threesomes and hippie-dom. All in all it is quite funny, but the jokes seem to pile upon each other in favor of an older/dated audience. The story develops around the central character, and although concentrates on the supporting characters throughout, it relies heavily on the the humors of culture clash. These characters react exactly how you'd expect and whirlwind around David's character, even though the end tries to surprise/shock/justify means, it comes off quite cartoon-ish. Allen can’t seem to appeal to the young crowd, but if you enjoy Allen’s classic bumbling-eccentric comedies, then this one will satisfy. Not surprise, but satisfy.

PUBLIC ENEMIES

2010-04-28T13:47:00.000-07:00

B+

IN THEATERS

Directed by Michael Mann

Starring: Johnny Depp, Christian Bale, Marion Cotillard, Billy Crudup, Giovanni Ribisi, Stephen Dorf, Rory Cochrane, Shaun Hatosy

Everyone wanted this film to be good, but it just isn’t quite there. Michael Mann puts style and action over script and character development. Scenes of Dillinger running from the FBI take president over him actually robbing banks. This film is a straight good-guy-chasing-bad-guy film with nothing particularly unique that distinguishes this from previous characters. While Johnny Depp, Christian Bale, and Marion Cotillard are especially good in it, there aren’t many well-written scenes where good actors like them can sink their teeth into. Supporting them is an amazing group of actors that includes Billy Crudup, Giovanni Ribisi, Rory Cochrane, and good old Shaun Hatosy (if only in one scene). The film moves quickly along and gives you a play by play of what had happened, but fails to let the viewer fully recognize who these people were. Elliot Goldenthal has written an amazing music score for this film, but it tends to be daunting or a bit over dramatic for Mann’s shallow storytelling. On the other hand, it’s a slick film and was shot at most of the actual locations in Chicago. It’s a lot of fun, and what a good blockbuster film should be. One you could see with whomever you want.