Morals are challenged in a 'World' that's dangerously close to turmoil

In the midst of all of the sequels, remakes and reboots that Hollywood is overwhelming us with today, movie-lovers tend to take refuge in some independent works. Those films offer us new visions as we watch the work of a director that hasn't quite gotten their name out yet. Foreign films can offer that as well, since they can also be favorable diversions from the usual Hollywood scene. But foreign films aren't as easy to find in your local cinema, because most people aren't as open to receive them. The subtitles and unfamiliar faces are usually the turn-offs. As a fan of foreign cinema, I usually have to rent that genre of film because of their limited distribution to our theaters. That's why having the chance to go to a press screening for Danish director Susanne Bier's latest film, In a Better World, was a huge treat. As expected in a foreign film, there was much originality in its story and emotional depth in the characters, all in a film about two worlds that are geographically and politically different, but socially and thematically similar. It's a cinematic breath of fresh air.

Anton (Mikael Persbrandt) is a doctor who commutes from his suburb in Denmark to his work in a refugee camp in Africa. His wife Marianne (Trine Dyrholm) have two young sons, and are considering getting a divorce. Their older, ten-year-old son Elias (Markus Rygaard) is tormented everyday at school. He is then defended by a new student, Christian (William Johnk), a boy who recently moved from London with his father, Claus (Ulrich Thomsen). Shortly before the move, Christian's mother had lost her battle with cancer, and he is deeply troubled by it. Elias and Christian form a friendship; but when Christian involves Elias in a risky act of revenge with possibly tragic results, their bond is put to the test and their lives are put in jeopardy.

Persbrandt is resonant as Anton, Elias's pacifist father. He is a man of admirable moral values. There are people that use their fists to solve their problems; but his character uses words and a gentle exterior. Anton is still a force to be reckoned with as he uses non-violence to defend his family and friends from those that do use violence. He is a protector, a peacekeeper, and a stone fortress. Everytime you witness him in a confrontation, you expect him to break after a while, but he doesn't. He never lets go of his ethics, even when he decides to help heal a warlord in Africa, where he is a doctor. He doesn't see his patients as good or bad, just as people.

Trine Dyrholm is just as strong-willed as the mother of the two boys. She is the more assertive half of the couple, and is the bigger victim of their impending separation. But she is a tough woman and is always ready to take care of her children when wrong has been done to them. Markus Rygaard and William Johnk come across as very experienced actors, despite their age. Their performances blur the line between childhood and adulthood. Elias and Christian suffer from violence and tragedy, and Rygaard and Johnk handle the material with a firm grip, and act with as much ripeness as their older co-stars. Elias's fraility and Christian's recklessness bring their friendship close to brotherhood because of how their bond can stay intact regardless of their polarizing attitudes.

The screenplay by Anders Thomas Jensen envisions two diverse worlds that are vulnerable to mayhem. It displays, to a strong effect, how violence in society can engulf even the most civilized communities. Jensen's narrative has the Denmark suburb facing the challenges of everyday life, and has the African village facing the terror of a warlord. Yet, his story thematically links these two places. It poses the question of whether or not we are all vulnerable to chaotic behavior, no matter where we reside. Traveling back and forth from Denmark to Africa, Anton is the visual link of these two worlds, the character that faces ethical tests in both locations. The audience can vision themselves as Anton and think about if they would be passive or aggressive in his same scenarios. The characters make good and bad decisions, face the consequences, and have their principles challenged. It all makes In a Better World a commendable morality tale.

Final grade: A

'127 Hours' shows the spirit of adventure and the triumph of the human spirit

One of the most thrilling recreational activities is a trip through nature. It gives you the freedom to go anywhere and do anything you want. It's exploration without limits. That's why when you watch a film where nature is a character itself, the viewer can relate to the nature they see, and grant it with some recognition of having tackled a landscape they see before them, be it a waterfall, a forest, or a vast desert. There's something about exploration that fuels our senses with adventure, and a film can do that to you as well. That's why Danny Boyle's latest film, 127 Hours (based on a true story), is a real nature piece. The audience takes the journey with its star, James Franco, and travels across the wilderness with him as he navigates the great outdoors and is faced with the most challenging of adventures: the will to survive.

Aron Ralston (James Franco) is an all-American nature boy. On a Friday evening in April 2003, he decides to leave home and spend the weekend exploring some canyons in the Utah wilderness. He finds some temporary company on his one-man trip when he meets two hikers, Megan and Kristi (Amber Tamblyn and Kate Mara). They relax in an underground hot spring, and then eventually part ways. Afterwards while climbing through a canyon, Aron gets his arm caught between a boulder and a canyon wall. The next five days will cause him to look back on his life and will test his ability to do the impossible.

Based on Ralston's autobiography Between a Rock and a Hard Place, 127 Hours is a film that belongs to James Franco. His moving performance is one of the best of the year, in that he does a lot with his character, despite being stuck in one place for much of the film. What starts out as a journey of survival then also turns into a journey of reflection. Ralston tells much of his backstory via a handheld camera he places on the boulder. It is with this that we see why he is the adventure-hungry person he is, as well as his regrets and his flaws. All of his flashbacks are told with such lucidity that you get a true sense of his past, even though the flashbacks are only a couple of minutes long. He is exposed to us despite being confined from everything else. Even though we all know that Ralston survives his ordeal, watching him make his final video for his family is still melancholy and transfixing.

Danny Boyle and cinematographers Anthony Dod Mantle and Enrique Chediak use sweeping camera movements to capture the spirit of adventure felt by Aron as he bikes and hikes across the Utah canyons. Although areas of his travels are mostly dirt and rock, there's a certain beauty to be felt here as we examine the wonders of our own backyard. For Boyle and fellow screenwriter Simon Beaufoy to write a story that keeps the audience enraptured as the protagonist is trapped in one place for most of the movie is one of the biggest accomplishments in film this year. It's never boring or tedious. You learn his history and who he is as a person, all the while sitting in your seat with bated breath as you wait to see how far Aron would go to survive. Forget what you see on those nature-survival reality shows. 127 Hours is better, much better.

Final grade: A

A wonderful beginning to the end, 'The Deathly Hallows- Part 1' is the most faithful adaptation yet of the Harry Potter saga

Three years ago, the literary world experienced the finale of J.K. Rowling's seven-part wizarding chronicle in Harry Potter and the Deathly Hallows. Even though we all know how the saga concludes, that won't make the end of the film series any less bittersweet. Watching Part 2 (out next July) will be like reliving the moment we turned the last page in the seventh book. Luckily, the ending has been prolonged to make the epic conclusion play out in all of it's glory, and will temporarily delay the inevitable 'good-bye'. These characters have become very close friends to us; and although it will be a tearful parting next summer, we can at least take solace in the fact that Harry and the gang are being given the proper farewell that they deserve.

The wizarding world is no longer the whimsical and enchanting place it was in the earlier installments. It is now under the darkest threat it has ever faced, and the dark wizard Lord Voldemort (Ralph Fiennes) is on the war path, and even Muggles are being caught in the crossfire. Meanwhile, Harry (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) have decide not to return to Hogwarts and complete their seventh and final year. They are determined to pursue their own journey and find Voldemort's remaining horcruxes, pieces of his soul that he has placed in several items throughout the country. If they aren't found, he will remain immortal. More obstacles hinder their task as tensions within the trio fire up and followers of Voldemort continuously hunt them down. And they soon realize that they must also obtain three coveted items that are being sought out by Voldemort: the Deathly Hallows.

This series hasn't been just a blockbuster book/film event, it has been a generational one. We've watched these cherished characters grow up on page and on screen, and it was a privaledge for all fans. Upon seeing Harry leave 4 Privet Drive for the last time, I couldn't help but think about the first time I watched him emerge from the cupboard under the stairs, him being unaware of the epic showdown that lay before him. These actors have fully grown into their roles, and are on the verge of adulthood. They aren't the children that once entered the world of magic six films ago, but are now challenged with real world dangers.

The emotions expressed by the wizarding trio show how much they've been through, and how much they are going through. Radcliffe's acting has become more mature with each adventure. Where we once saw his wide-eyed wonder as a pre-teen, we now see experience, anguish, and acknowledgement of his destiny. Grint's character isn't just there for laughs anymore. This film involves him in some of the film's best scenes. Watson's Hermione has gone from being the bookworm student to the peacekeeper and mother-figure of the group. Watching her wipe her parents' memories of her before leaving them is near heartbreaking, and stands for all of the sacrifices our heroes are making to secure a future without evil.

Besides the three leads, the extensive British cast add many sparks to the film. Helena Bonham Carter is frightening to watch as the sadistic and delightfully mad witch, Bellatrix Lestrange. Imelda Staunton returns as the wretched Dolores Umbridge, one character that we all love to hate. Other standouts include Rhys Ifans as the odd Xenophilius Lovegood, Bill Nighy as the new Minister of Magic, and Brendan Gleeson returns as the snappish Mad-Eye Moody.

'The Deathly Hallows- Part 1' isn't just director David Yates's best job so far with the franchise, it's also the most faithful adaptation yet of the series. It's the first Harry Potter film to give the audience the full experience of seeing the book on screen. The beautiful cinematography by Eduardo Serra showcases the full landscapes that act as makeshift homes for the trio. The set design adds to the fish-out-of-water theme of the young wizards. Instead of striding across the grounds at Hogwarts school, they walk through a trailer park and pass by power plants in unfamiliar areas of the Muggle world. And there's a remarkable animated sequence detailing the story of the Deathly Hallows, directed by Ben Hibon. The cliffhanger prepares us for the epic battle of Hogwarts that is fast approaching, and will leave fans anxiously, and impatiently, awaiting these next eight months for the final installment. If Part 1 is the calm before the storm, then Part 2 will call out the thunder.

Final grade: A-

Opposites attract in Todd Phillips's new road comedy

After his breakout role in last year's The Hangover, Zach Galifianakis (and his beard) have been getting some major exposure. His talent has provided some of the biggest laughs in the comedy world for a little more than a year now. So it wasn't a surprise that Todd Phillips chose to work with Galifianakis before their Hangover sequel, due out May 2011. Phillips does what he does best, and blends elements of buddy comedies with some gross-out humor. And with the addition of Robert Downey Jr., this makes for a clash of two very different actors. The constant arguing between the two make Due Date worth the watch, but it's missing the over-the-top laughs and shocks that Phillips's other films have presented.

Peter (Robert Downey Jr.) is a career-driven man who is trying to get back to Los Angeles in time to see the birth of his first child. After meeting an aspiring actor, Ethan Tremblay (Zach Galifianakis), and having an unpleasant encounter with an air marshal, they both get kicked off the plane. Being without an ID or money, Peter doesn't have any other choice but to accept a ride from Ethan to get from Georgia to California. Little does he know, it won't be one straight trip to his destination. With a few unexpected pit stops on the way, this trip will be more than just a car ride.

The mismatched duo of Downey and Galifianakis is what carries the film. Peter's surliness and Ethan's idiocy is what makes these two fun to watch. You realize how different these opposing forces are on-screen. They are as disagreeable with one another as Tom and Jerry. Their witty bantering is what keeps their relationship alive. It's refreshing to see Robert Downey Jr. let loose and perform in this type of comedy; but Zach Galifianakis plays perilously close to the same character as he did in The Hangover. He has the beard, is unintelligent, gets on the other main character's nerves, and carries around a pug this time instead of a baby.

Many of Phillips's other characters got into awkward situations. Due Date is lacking that. In his previous projects, the characters got themselves into hijinks left and right, and they were outrageous. Peter and Ethan get into them just every so often, and it only causes a chuckle. With their star power, there was a lot more potential to make some serious trouble. Jamie Foxx has a supporting role as Peter's best friend, but isn't given much to do. In The Hangover, you can't forget Mike Tyson singing and air-drumming to Phil Collin's "In the Air Tonight," or Ken Jeong popping out of the trunk of a car with a crowbar. Watching Downey and Galifianakis conflict with each other is amusing at first, but their material runs out of gas after awhile.

Final grade: C+

The afterlife serves as new territory for Clint Eastwood

The subject of the afterlife isn't something a Clint Eastwood fan would think of him exploring in a film. A sensitive topic like that doesn't appear too often on his filmography. Let's not forget, this is the man who has played a gruff boxing trainer and a racist war veteran, and has directed grittier films such as Unforgiven and Letters From Iwo Jima. But Hereafter isn't all soft. It centers around three characters as they try to cope with death as it affects each of their lives under very different circumstances. Eastwood's latest work is a comforting, but powerful look at the questions we ask and the answers we seek concerning life after death.

George Lonnegan (Matt Damon) is a psychic living in San Francisco with his brother, Billy (Jay Mohr). Although George is trying to live a normal life and discontinue the use of his powers, Billy tries to persuade his brother to use his supernatural abilities to his full potential and make a profit from it. Meanwhile, Marie Lelay (Cecile de France) is a Parisian journalist who survives the 2004 Indian Ocean tsunami in Thailand after nearly drowning. Although she returns to work soon afterwards, she begins to ponder upon the visions she had while unconscious; glimpses that might have been a window into the great beyond. In London, twin boys Marcus and Jason (Frankie and George McLaren) are trying to take care of their alcoholic mother so she won't lose them to social services. After Jason gets hit by a car and killed, Marcus gets sent to live with foster parents, all the while attempting to find ways to contact his deceased brother.

Following last year's Invictus, Damon and Eastwood pool their talents again, and prove a terrific moviemaking team, like DiCaprio and Scorcese. Damon gives a solemn performance as the reluctant psychic. Although his mystical powers are a gift, they are an obstacle for George. Besides the individuals that he helps with contacting their loved ones, he can't hold onto a real relationship. This is an anchor on George. The viewer sees the pain in Damon's eyes as this takes a hold on his life and quietly tortures him. But the true heartbreaking performance of the film is that of Frankie McLaren, who plays Marcus. After losing his brother to a tragic accident and his mother to rehab, Marcus must deal with his troubles alone. The maturity of his performance is reflected in his character. Since Eastwood uses a real set of twins, instead of having one actor play both twins, that makes the love and connection between the two look and feel more genuine.

Intertwining storylines is always a fascinating tool in film, and screenwriter Peter Morgan (The Queen and Frost/Nixon) assembles the story in a style similar to 2006's Babel. Three separate scenarios taking place in different parts of the world eventually meet in the end. In Babel, however, the links between the characters were built over time. In Hereafter, although the characters are connected in the end, it happens only in the last fifteen minutes, making it seem rushed.

Hereafter isn't Eastwood's best film, but it's not a bad one. It's a worthy effort for a supernatural drama. He kicks-off his story with a special-effects sequence of the tsunami, and it's shown in disturbingly realistic detail. The film doesn't answer many of the audience's questions about the afterlife, only with rather foggy visions; but that leaves the viewer to think about what they believe follows death. Despite its flaws, Eastwood has shown that he still has the ability to connect with his loyal followers.

Final grade: B+

'Paranormal Activity 2' echoes its predecessor with all of the haunted house shivers

When Paranormal Activity was released a year ago, it presented audiences with a unique spin on the haunted-house genre. With its Blair Witch Project approach to the handheld camera style of filming, the movie took its ghost story to the suburbs of California. In most of our minds, that would be the last place for the dead to haunt the living. After the first installment delivered the scares, we weren't expecting a sequel. How could the story continue after the terrifying ending in the first installment? Many of us, myself included, had the fear of the sequel going down the path of the Blair Witch sequel, which tanked after the first became a horror phenomenon. Well, the skeptics have been proven wrong. Paranormal Activity 2 isn't just a worthy continuation of the story. It dishes out the suspense and jolts and takes it to the next level; and does justice to its predecessor.

The story takes place two months before the events of Paranormal Activity, and centers around a family in Carlsbad, Ca., where parents Kristi (Sprague Grayden) and Dan (Brian Boland) arrive home with their newborn son, Hunter. After they return home one night and find that their house has been burglarized, they install six video cameras around the house to catch anything else that might happen. Soon, the family begins to hear loud noises and experiences strange goings-on in their house. Dan and Micah (Micah Sloat, from the first film), think nothing of it. But Kristi and her sister Katie (Katie Featherston, also from the first film), think that something otherworldly is causing the family's trouble. It's not until Kristi's older step-daughter Ali (Molly Ephraim), begins to conduct some research, that the horrors occuring in the house begin to happen more frequently, and starts to assume it has something to do with the family's past.

One of the factors that makes Paranormal Activity 2 that rare, better sequel is that it takes the handheld camera concept and expands upon it. In the first installment, the camera was mostly limited to the bedroom, and captured the activity that only happened there. In this one, the scares are captured through multiple angles of the house: the nursery, the front hallway, the kitchen, the living room, the front of the house, and the pool area. This wider perspective of the house allows the audience to see almost anything that goes on. Any one of these cameras can spot something sinister, and we wait with baited breath to see where it will happen, and what will happen. The surprises never become stale. And of course, there's also a handheld camera, mostly used by Ali. When she wakes up in terror and investigates to see what went bump in the night, she needs some way to document it, doesn't she?

The film doesn't take the typical horror convention of having the ghouls come out only when the sun goes down. In the sequel, the frights threaten the family in both night and day. Some of the movie's best scares happen during the day, and this shows that the family is as vulnerable while awake as they are when they're asleep. The baby and the family dog are also put to clever use. It's common knowledge that in many other horror stories, infants and pets can see what many cannot. What's unsettling is that when they see a ghost or a demon, only they can see it, not the audience or the other characters; and this provides another dimension to the idea that what we can't see can scare us just as well as anything else. Sudden noises and total silence are enough to give you a feeling of anxiety as you wait for the next big shock.

A small problem with Paranormal Activity 2 is that it follows most of the same format as the original; but with the few tweaks given to the sequel, it's almost never an issue. And although it takes a while for the frights to pick-up, the second half will leave you shaking. I won't give anything away, but the ending does leave the door ajar for another installment. The writers silenced our doubts about the sequel by giving it a clever approach; but it's difficult to imagine the story being stretched any further into a third film. There isn't any need to spoil what's already scary.

Final grade: B+

Don't bother hooking this 'Catfish'

To alliviate confusion, this is the other Facebook movie. This isn't the new David Fincher film that chronicles the origin of a communication sensation. It's a documentary drama that captures the making of a romantic relationship through the internet, and the lies that can be told when not interacting face-to-face. Catfish tackles an interesting premise that's relevant to the situation of today's countless social networking interactions. The story, camera techniques, and approach to the suspense genre make for what seems to be a small, yet promising thriller; but doesn't deliver as a whole.

Yaniv Schulman is a young photographer living in New York City with his filmmaker brother, Ariel, and his friend, Henry Joost, who is also a filmmaker. One day, Nev receives an e-mail from an eight-year-old named Abby, who lives in Michigan. She has seen one of Nev's photos in a newspaper, and asks for permission to create a painting from it. After getting his approval, she paints the portrait, and mails it to him. Astounded by how professional it looks, Nev doesn't know whether Abby is a fraud or a child prodigy. Soon, he decides to call the family for the first time, and starts talking to Abby's alluring 19-year-old sister, Meghan. After some romantic exchanges between the two digital lovers, Nev, Ariel, and Henry decide to make a surprise trip to Michigan to finally meet the family. However, once they make it to their destination, Meghan's family isn't at all what they appeared to be.

The problem with Catfish is that it ends as you would think. There could have been a tweak to what was expected, but no. It concludes with a disappointing emotional twist, rather than a shocking psychological twist. The acting from everyone in the cast fits in suitably with the plot material; but it can't save the movie from the obvious direction in which it's going. All of the suspense evaporates halfway through the film when we finally see the family. At that point, Catfish turns into a completely different movie. It goes from a documentary mystery, to a documentary about the family. Catfish should have been one of those films that keeps you in its grip until the end. It holds you, but as the story progresses, it slowly releases you.

Final grade: C

David Fincher brings Facebook from the computer screen to the silver screen

At first, news about a film based on the creation of a website would be something to scoff at. Audiences would sarcastically think to themselves, “What will they think of next?” It would lead us to believe that screenwriters have officially run out of fresh ideas for stories. Not true. What director David Fincher presents to us is the opposite in his new film, The Social Network. After teaming up with talented scribe Aaron Sorkin, writer of the television series, The West Wing, the two have brought to life the story of friendship and betrayal in the rise of one of our biggest communication advancements.

It is Fall 2003 in the prestigious land of academia known as Harvard University, and student Mark Zuckerberg (Jesse Eisenberg) is aching to boost his status on campus and become known for something. After a harsh break-up with his girlfriend, Erica Albright (Rooney Mara), he gets drunk and goes on a techno-frenzy. He creates a website called "FaceMash," where male students rate girls based on their looks, with the help his friend, Eduardo Saverin (Andrew Garfield). After realizing his talent with computer-programming, Cameron and Tyler Winklevoss (both played by Armie Hammer), two very wealthy students, recruit Mark to assist them with launching their new website, Harvard Connection, which is exclusively for Harvard students. After being accused of "stealing" their idea, Mark is soon faced with threats of lawsuit and the loss of his only friends. All the while, he is being encouraged by Napster founder, Sean Parker (Justin Timberlake), to expand Facebook into a global network.

Eisenberg nails the jerk attitude of Mark Zuckerberg. He’s not a person you would associate with; but he portrays Zuckerberg in such a way that first makes you root for him, then hate him, then at the last minute, feel sorry for the situation he’s sunk into. Newcomer Andrew Garfield is a star-in-the-making. He plays Eduardo as a calm and quiet cohort to Mark; but when he performs his scenes when a rise in emotion is needed, we see what he can really do as an actor. And Justin Timberlake brings his famous all-star charm to his role as Sean Parker. Timberlake portrays Parker as the embodiment of business-world temptation without flaw. We know he can sing. We know he always delivers the funny on Saturday Night Live whenever he hosts. But this performance officially makes him a true actor.

Fincher has the noticeable ability to make even the minor characters memorable, as seen two years ago in his last film, The Curious Case of Benjamin Button. He makes sure that every performance counts, and gets all the feelings out of each person; even if they only have a few scenes. He achieves this with characters such as Erica Albright, and Christy Lee (Brenda Song), the latter of who quickly becomes a “facebook groupie.” He gets his cast to do the best possible job they can, and it shows.

Sorkin adapts his screenplay from the book, The Accidental Billionaires, by Ben Mezrich. Sorkin’s script is one of the most well-written to come along in a while. Although it’s mostly drama, it’s also peppered with some humor. Between the anger and jealousy spouted by the characters, there are some very memorable quotes. One of the best is said by Timberlake after a one-night-stand. The characters deliver the sharp-as-a-tack dialogue at great speed, especially in the opening scene shared by Eisenberg and Mara. The rapid exchange of words draws us in, wanting us to listen to them as we find out what makes them tick.

David Fincher cuts the story back and forth between Facebook’s creation and the lawsuits over its rightful ownership. This technique highlights the theme of best friends who become bitter rivals. He goes from the wild and crazy life of college, to the ambitious shark tank of the business world. He presents these two worlds in such a way that gets the viewer invested in the plot; because in the film, college isn’t just about college, and business isn’t just about business.

If Sorkin and Fincher can make a film about a website so enthralling, the sky’s the limit for these two talents. The film is one of the best achievements in story and character this year. The cast brings such kinetic energy to the film and eagerly feeds off of the dialogue like starving lions. The story not only shows how Facebook became a communication revolution; but also a cultural one. In short, The Social Network is a film to be celebrated.

Final grade: A

This 'Town' is the home of Ben Affleck's redemption

If there is anything to be said about The Town, is that Ben Affleck is back in the spotlight. More than a decade after winning a screenplay Oscar, alongside Matt Damon, for Good Will Hunting, and a successful directorial debut three years ago for Gone Baby Gone, Affleck has amazed us for a second time with his newfound talent for directing. Like the latter two films mentioned, The Town ventures back to the coarse city of Boston, and doesn't hold back in its depiction of the rough-and-tough of it's citizens' exteriors. Based on the novel Prince of Thieves by Chuck Hogan, the film delivers as equal parts crime-drama, action-thriller, and believe or not, love story.

The film tells the story of a group of professional bank robbers in Charlestown, Massachusetts. Being the hotspot for the most robberies in the country, these guys know their craft and how to work it. A team comprised of four friends, Doug MacRay (Affleck) and his crew decide to hold-up a bank and take its manager, Claire Keesey (Rebecca Hall), as a hostage. After letting her go unharmed, they realize she lives a short walk from their home, and decide to have one of their own spy on her to see how much she knows about her ordeal and her kidnappers. Thinking he's best for the job, Doug fakes a chance encounter with Claire. A romantic relationship soon evolves, and Doug wants to exit the crime business. His best friend Jem (Jeremy Renner), catches wind of this, and soon starts to question Doug where his allegiance lies.

The cast is all-around superb. I'll get to Ben Affleck later on, seeing as there's more of him to praise. As far as the supporting players go, Renner is a true standout. After portraying a rowdy and reckless army sergeant in last year's The Hurt Locker, and now playing a Bostonian with a fighting-Irish mentality, it's safe to conclude that Renner knows how to play tough and does it well. Rebecca Hall might be one of today's best least-known actresses; but hopefully, this film will make her more recognizable. Her role as the central female character allows her to show her range of talent. The way she channels her emotions while dealing with the bank robbery and its after-effects helps us see all of her character's vulnerabilities. And Blake Lively, who plays Doug's ex-girlfriend Krista, adopts a thick Boston accent and a ragged look, and is enjoyable to watch in her few scenes. She makes a smooth transition from tv show Gossip Girl's world of petty drama to a world of crime.

The real person to commend is Ben Affleck. We all knew he was a decent actor and writer; but directing might be his next big talent. Affleck directing this film proves that Gone Baby Gone wasn't just a stroke of luck. He can clearly direct a film, and stages some heist scenes that get your blood pumping from the get-go. Each one seems to top the previous, from the bank raid in the film's opening, to an armored-truck robbery at the film's midpoint that takes us all over the streets of Boston, to an ultimate heist showdown at Fenway Park in the conclusion that pits these Boston thugs against a group of FBI agents led by Jon Hamm. It's a confrontation that brings out all barrels blazing.

Affleck adequately balances each story element used in the film. Never does the action become too overbearing, the drama doesn't go over-the-top, and the romance between Doug and Claire never becomes too sappy. If Gone Baby Gone made Ben Affleck relevant again, then The Town has completed his comeback in Hollywood. He has a big future in the film industry, and that future is bright.

Final grade: A-

Fall Movie Preview 2010

It's now the middle of August. That means that the weather will soon start to get cooler, the days will become shorter, and hopefully for the rest of this year in Hollywood, the movies will continue to get better. After a lackluster first half, and an even worse first month of summer, the rest of 2010 looked grim, except for a handful of promising movies.

After the summer's first much-anticipated films such as Iron Man 2 and Robin Hood failed to leave an impression on moviegoers, the rest of the season seemed to rest on the shoulders of the later part of the summer. And it didn't let us down. Pixar's Toy Story 3 has now grossed $4oo million domestically, and over $900 million worldwide. Christopher Nolan's dream-thriller Inception was the most talked-about movie for weeks upon its release in July, thriving on repeat business, word-of-mouth, and the audiences' appetites for an original storyline. Even The Twilight Saga: Eclipse managed to attract more critical love than its two predecessors, and has almost crossed the $300 million mark in North America. And we can't forget this summer's most acclaimed indie comedy The Kids Are All Right. After it expanded to more theaters, it quickly became an audience favorite.

Now, from September through December, there are a batch of new adventures headed to our silver screens. The last few months of the year are always when studios plan to unleash their films that they hope become Oscar-bait. Many of these movies turn out to be independent films. Coming from someone who loves them, after I hear continuous critical raves for an indie, I'm more than happy to find one being shown in my area. I realize that it's now my chance to see it, and find out what all the fuss is about. And this Fall has its share of indies. There's the creepy faux-documentary Catfish. We have Ryan Reynolds battling claustrophobic conditions in Buried. Academy Award nominees Ryan Gosling and Michelle Williams pair-up for the love story Blue Valentine. Also, Natalie Portman and Mila Kunis are competing ballerinas in Darren Aronofsky's dark thriller Black Swan.

Although Summer is usually the season of the blockbuster, this Fall will have a presentable package of them. Facebook takes center stage in David Fincher's new drama The Social Network, which will tell the intriguing story of its creation. TRON: Legacy, a sequel to 1982's TRON, will attract sci-fi fans and conjure up '80s nostalgia. And the movie that we've all been waiting for, Harry Potter and the Deathly Hallows- Part 1, will surely become the biggest film of the year, and have Potter fans and moviebuffs alike in a frenzy.

Now that I have your attention and your excitment is brewing, let's get this preview rolling.

Never Let Me Go (Sept. 15) Based on a novel by Kazuo Ishiguro and directed by Mark Romanek (One Hour Photo), the film follows a group of students in a British boarding-school. Although the school is a haven-like place, the students' instructors hold secrets about their grim purpose in life. They soon embark on an emotional journey that has them come to terms with their futures and feelings towards one another. Starring Carey Mulligan, Keira Knightly, and Andrew Garfield.

Catfish (Sept. 17) In this faux-documentary, a man is filmed as he pursues a relationship with a girl he met on Facebook. As the group of friends take a trip to the girl's house, they soon realize that nothing is what it seems.

The Town (Sept. 17) A master theif (Ben Affleck) begins a relationship with a bank manger (Rebecca Hall) after a recent robbery. All the while being with her, he also tries to keep off the radar of an FBI agent (Jon Hamm). Based on the novel Prince of Thieves by Chuck Hogan, this marks the second directing job for Affleck, following his 2007 film Gone Baby Gone. Jeremy Renner, Blake Lively, and Chris Cooper also appear in this heist thriller.

Buried (Sept. 24) Ryan Reynolds is Paul Conroy, a truck driver who wakes up in a coffin six feet underground with just a knife, a lighter, and a cell phone. Not able to recall how he got there, Paul must begin to piece everything together to find out how he arrived in this death trap before time runs out.

Wall Street 2: Money Never Sleeps (Sept. 24) Set 21 years after Oliver Stone's first Wall Street film, Gordon Gekko (Michael Douglas) is released from prison after his crimes in the finance world. When he tries to warn Wall Street of a forthcoming stock market crash, there isn't anyone who will believe him. Gordon chooses to try and fix his relationship with his daughter Winnie (Carey Mulligan) who blames her father for her brother Rudy's suicide. Meanwhile, the mentor of an up and coming Wall Street trader Jacob (Shia LaBeouf) mysteriously dies, and he suspects it's at the hands of his hedge fund manager. Since Winnie and Jacob are engaged, Jacob accepts Gordon's offer for revenge, and in turn Jacob starts to help Gordon with his relationship with Winnie.

The Social Network (Oct. 1) Who ever thought that a movie would revolve around Facebook? Let alone that it would work? Director David Fincher was up for the challenge. The story follows Harvard student Mark Zuckerburg (Jesse Eisenberg) as his social status skyrockets when he creates today's most popular networking site. But it doesn't come without its consequences. Also starring Justin Timberlake, Andrew Garfield, and Rashida Jones.

Secretariat (Oct. 8) In Disney's latest sports drama, Diane Lane plays Penny Chenery, who after taking over her ailing father's financially troubled Meadow Stable, led her racehorse Secretariat to a Triple Crown victory in 1973. Also starring John Malkovich, James Cromwell, Kevin Connelly, and Dylan Walsh.

Conviction (Oct. 15) Based on a true story, Betty Anne Waters (Hilary Swank), an out-of-work single mother puts herself through law school so she can represent her brother Kenneth (Sam Rockwell) in court, who has been wrongfully imprisoned for murder. Minnie Driver, Melissa Leo, and Juliette Lewis round out the cast.

Hereafter (Oct. 22) Clint Eastwood's latest film chronicles three separate storylines dealing with mortality. Matt Damon plays a San Francisco citizen who has the ability to speak to the dead, which ruins many of his relationships. French actress Cecile de France plays a Paris anchorwoman who almost perishes in the 2004 Indian Ocean tsunami. And two new actors, Frankie and George McLaren, play English children around the time of the tragic 2005 London subway bombings. Bryce Dallas Howard, Jay Mohr, and Richard Kind also star in this supernatural drama.

Paranormal Activity 2 (Oct. 22) After seeing Paranormal Activity last Fall, I couldn't help but think, "They can't possibly make a sequel. Not after that ending." As it turns out, the filmmakers found a way to do so. The trailer doesn't provide too much information; but what we can gather is that the demon-possessed Katie (Katie Featherston) is back to cause more terrifying trouble.

Harry Potter and the Deathly Hallows- Part 1 (Nov. 19) The seventh and final chapter of the Harry Potter saga is being split into a two-part epic, with part two being released on July 15th next year. In this grand finale, Harry (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) decide not to return to their beloved school of magic, Hogwarts. Instead, the trio set out on a perilous journey to obtain Lord Voldemort's remaining Horcruxes, which are items safeguarding parts of his soul. And Harry knows that only one of them can triumph in the end, and realizes that his final confrontation with Voldemort is fast approaching.

Black Swan (Dec. 1) You wouldn't expect Darren Aronofsky, director of such gritty films as The Wrestler and Requiem for a Dream to make a movie about competing ballerinas. But it's a film about a ballerina tapping into her dark side. That sounds more like Aronofsky, certainly. When the director of a NYC ballet company decides to present Swan Lake, director Thomas Leroy (Vincent Cassel) needs to replace his main ballerina, Beth MacIntyre (Winona Ryder). He needs a girl who can portray both the elegant White Swan, and the sensual Black Swan in the production. Soon, competing dancers Nina (Natalie Portman) and Lily (Mila Kunis) start an unusual friendship that roots itself in their rivalry, and Nina soon finds a dangerous part of herself that begins to surface.

The Chronicles of Narnia: The Voyage of the Dawn Treader (Dec. 10) In this third installment of the fantasy franchise, Edmund Pevensie (Skandar Keynes), Lucy Pevensie (Georgie Henley), and their cousin Eustace (Will Poulter), set sail on the high seas of Narnia and battle various dangers to travel to the great lion Aslan's (voiced by Liam Neeson) home at the edge of the world.

TRON: Legacy (Dec. 17) Joseph Kosinski directs this sequel to 1982's TRON. 27-year-old Sam Flynn (Garrett Hedlund) is disturbed by the disappearance of his father Kevin Flynn (Jeff Bridges), who was once the world's top video-game developer. When Sam detects a signal from his father's abandoned arcade, he gets taken to a world that has kept his father imprisoned for 20 years. With the help of a warrior, Quorra (Olivia Wilde), the two Flynns journey across this new world in order to take down a powerful villain that will do everything he can to keep them trapped.

Little Fockers (Dec. 22) After Greg (Ben Stiller) and Pam (Teri Polo) marry and have 5-year-old twins, Greg begins to feel the onset of a mid-life crisis, as he worries about being an attentive father and sustaining a job to support his family. As Greg's father-in-law Jack (Robert DeNiro) realizes something's amiss, his suspicions about Greg rise once again. Much of the original cast of the first two return, including Blythe Danner, Barbara Streisand, and Owen Wilson. New additions are Laura Dern, Jessica Alba, and Harvey Keitel. There isn't any word yet if Dustin Hoffman will reprise his role as Greg's father.

True Grit (Dec. 25) This adaptation of a 1968 novel by Charles Portis, which is also a remake of the 1969 John Wayne western, is directed by Joel and Ethan Coen. When the father of a teenage girl, Mattie Ross (Hallie Steinfeld), is murdered by a drifter named Tom Chaney (Josh Brolin), she sets out on a quest for revenge with the help of a one-eyed marshal named Rooster Cogburn (Jeff Bridges). Matt Damon and Barry Pepper also take part in what is sure to be another unique vision by the Coen brothers.

Blue Valentine (Dec. 31) The life of a married couple, Dean and Cindy (Ryan Gosling and Michelle Williams), is examined over the course of a few years as Cindy encounters some difficulties with marriage, and as Dean focuses on keeping their family together.

Thus marks the end of this preview. You couldn't ask for a better crop of movies to hit your multiplex this Fall. As always, there is something for everybody, and there should be at least a couple of films that match your taste. Although your first response might be to seek out the latest blockbuster, that's fine. But I highly recommend to occasionally look for an indie that's playing close by. It's a wonderful surprise to find how much originality can be on display in an indie film. With everything that's coming out this season, it'll be a challenge not to find some quality cinematic escapism. That being said, have a terrific Fall. And as I always say, enjoy the movies!

No need to cook at home, RSVP to this 'Dinner'

Many people know that a lot of the time, PG-13 comedies fail to hit their targets; whereas R-rated comedies attract larger followings since they're allowed to be more edgier and risk-taking. If we believe that Dinner for Schmucks is one of those dull PG-13 comedies, we might have to call ourselves schmucks for suspecting so. Directed by Jay Roach (Meet the Parents), the film is a remake of Francis Weber's film The Dinner Game (Le diner de cons). The two uproariously-mismatched main characters deliver laugh-upon-laugh as they navigate ways to keep their 'friendship' going long enough to make it to the anticipated dinner. You can't ask for anything more from a Steve Carell-Paul Rudd pairing.

Tim (Rudd) is in the running for a promotion at his office. He's then given the chance to join more of his elite co-workers to a dinner held by their boss. The objective is for each attendant to bring the biggest idiot they can find, and then bring them to the dinner to be ridiculed. Tim is then thrust into a moral tug-of-war as people are telling him he should/should not do it. Fate soon shines upon him, and he meets the socially-inept Barry (Carell), an IRS agent who's main hobby is performing taxidermy on mice and creating what he calls "mouseterpieces," imitating famous worls of art. Now that he's found his schmuck, Tim tries to survive the time he has with Barry until the dinner.

Steve Carell brings all of his charismatic wit to the role; his silliness going beyond much of his other work. At one point, Tim describes him as a "tornado of destruction." That's certainly one way of putting it. But we as an audience reap the benefits of that. Carell's character throws the laughs like an endless supply of confetti. And his facial expressions dance along the lines of creepy and funny. Paul Rudd's serious-minded Tim works well off of Barry's eccentric personality, making the two as awkwardly paired as apples and oranges. Rudd isn't by any means a bad actor; but you just wish that his character wasn't so stern, and would allow him to shake loose sometimes and join in on the fun with his co-star, like he did with Jason Segal in last year's I Love You, Man.

There's an abundance of amusing supporting roles as well. We have Therman (Zack Galifianakis, with his always-present beard), who is Barry's co-worker and nemesis, and believes that he can control people's minds. There's also Darla (Lucy Punch), Tim's out-of-her-mind ex-girlfriend, who stalks him as much as she obsessively loves him. And Kieran (Jemaine Clement), is the epitome of a strange, sensitive artist who works with Tim's girlfriend, Julie. I couldn't for the life of me, however, stop picturing Russell Brand with this role that seemed tailor-made for him. It was a missed opportunity for Brand, but Clement is a worthy substitute.

The appealing aspect of the film is that it doesn't depend on too much crude and sexual material to get laughs. Many of them are delivered by the dialogue, along with some nice touches of physical comedy. Particularly a scene with Barry and Darla throwing wine bottles at each other and engaging in unsuccessful role-playing.

Although it's titled Dinner for Schmucks, the actual dinner is only the last 25 minutes of the movie. Before that, we begin to wonder when the dinner will happen; or we would occasionally forget that there's one involved. If the film was cut down a little bit, there might have been more time for the dinner party. I would have loved to see more of Jeff Dunham's character with his ventriloquist-dummy wife, a clever nod to his comedy routine; as well as the loony animal psychic (Octavia Spencer).

Not much time is dedicated to the actual dinner as many advertisments have promised; and we're left with a wanting to see more of these "guests of honor." But surprisingly, the screenwriters bring an adequate amount of zaniness that comfortably fits into the last half hour. As we anxiously, and sometimes impatiently, wait for the climax, Carell keeps the movie alive. He serves our craving for his oddball humor like he does every week on The Office. Jay Roach, thankfully, didn't feel the need to overload the movie with too many obsenities than were needed. All he needed was a talented comic and some screwball comedy.

Final grade: B+

'The Kids Are All Right' is an absorbing presentation of a contemporary American family

"Marriage is hard. Two people, year after year. Sometimes you stop seeing the other person," says the character, Jules. In writer/director Lisa Cholodenko's The Kids Are All Right, her innovative screeplay explores the world of marriage and parenthood in an unconventional setting. It's a witty and heartfelt story about the bonds that make us a whole, both marital and familial.

The story follows a lesbian couple, Jules (Julianne Moore) and Nic (Annette Bening), living in Southern California with their two children, Joni (Mia Wasikowska) and Laser (Josh Hutcherson). Since Joni is about to leave for college, and Laser is aching to have a father figure in his life, they make a call to finally meet their "donor dad." Paul (Mark Ruffalo), an up-and-coming restaurateur, comes into the picture. The family's quiet living soon has to learn to adjust to having the children's father in their lives.

The crown jewel of this indie treasure is the acting from its gifted cast, Moore and Bening in particular. It's difficult to praise one without praising the other at the same time. They are a duo of genuine talent, setting off dramatic and humourous sparks of life. Mia Wasikowska's talent is much more noticable in the film. Seeing as she's not being upstaged by visual effects like earlier this year in Alice in Wonderland, she's given room to branch out, making her one of Hollywood's best newcomers. The acting is so natural throughout the entire cast, that it feels as though you're watching a home video rather than an actual movie.

Lisa Cholodenko's script never preaches its stance on marriage. It's not about gay or straight marriage, what's right or wrong. All it does is share a tale of family dynamics, and the obstacles and rewards of parenthood and marriage. The family shown in the film might seem unconventional, but that's not always the case. Seeing the care and love that the parents express for each other and their children is about as conventional as it gets. It doesn't matter what your views on marriage are before and after you see the film. It's still one of the finest comedies of a modern American family to treat us in a while. And that's coming from a moderate conservative.

Final grade: A

Nolan's immersive 'Inception' challenges the mind, with a rewarding payoff

One of the first terms that comes to mind when describing Inception is 'mind-blowing.' Yes, it sounds cliched, but it's really one of the only comments that perfectly compliments the experience of watching it for the first time. Director Christopher Nolan's film deserves nothing less than this type of praise, seeing as it delivers on all accounts: story, cast, visual effects, and most important, brilliance. Inception offers a vastly original look at the world of dreams, one that is as intriguing as it is striking. Nolan's vision is a marvel to explore, as we navigate a whole new world he has created with it's own unique detail and complexing rules.

Dom Cobb (Leonardo DiCaprio) is a hired thief in the area of corporate espionage who is able to extract information from the subconscious of people as they sleep. His services are valuable to many, but he plans on quitting the business in order to return home to his children. In order to have his wish granted, he must accept one last mission from a business mogul (Ken Watanabe). Rather than taking out ideas, Dom and his team will have to place one in the mind of a rival business heir (Cillian Murphy), a process known as inception. Dom then puts a team together to fulfill their mission. Included in this round-up are Dom's dream-invading partner (Joseph Gordon-Levitt), an architect (Ellen Page), and a "forger" (Tom Hardy). All the while, Dom is continually burdened by memories of his wife, Mal (Marion Cotillard), memories that he's not at all ready to part with.

Deciphering Nolan's dreamworld is not only a challenge, it's a fun challenge. The film contains an instruction booklet collection of theories, logic, and rules of the subconscious that provide us with an innovative perspective of dreaming. The director offers a fresh concept in the film, that of dreams within dreams, and dreams within dreams within dreams. Like David Lynch's Mulholland Drive, the movie wants the audience to contemplate what is a dream and what is reality. Not only is it fun, it makes for great conversation afterwards.

There isn't a single bad performance in the film. Seeing as most of the cast consists of Oscar nominees, that's a given. The two standouts are DiCaprio and Cotillard. The romance between Dom and Mal manages to be compassionate and haunting all at once, and serves as the emotional focus of the film.

The visual effects are every bit as alive as the cast. They don't bombard the audience with in-your-face explosions one after the other. They serve the story with a purpose, and that is to move it foward. The action scenes and fights are expertly choreographed. One of the showstoppers is a fight that takes place in a hotel hallway with zero gravity. Lee Smith flawlessly edits these sequences, all while cutting through each dream level, always letting us know what is happening to each character.

Christopher Nolan has become a new master of the sophisticated blockbuster. He dared to present fresh ideas to the world, and was not hesitant to have us use our heads while watching an action picture. Inception is not as difficult to follow as you would think. All it does is beg you to pay attention, and hand yourself over to the puzzle. In fact, it's a film worth seeing more than once, even if you understood it the first time. Each viewing will present something different, and might or might not change your interpretation of the film's open-ended conclusion. Despite it's 2.5 hour running time, the momentum keeps building, leaving your heart pounding as you wait to see what happens next. Inception is like a dream you don't want to wake-up from.

Final grade: A

Even with an affable cast, 'Cyrus' is a bit of a letdown with its slight lack of originality

The new indie film 'Cyrus,' written and directed by Jay and Mark Duplass, tells the tale of John (John C. Reilly), who is still trying to cope with the divorce from his wife Jamie (Catherine Keener) after seven years. In order to get him out of the house, she begs him to come to a party with her and her boyfriend Tim (Matt Walsh). Lonely and desperate, he reluctantly decides to accompany them. At the party, he meets Molly (Marisa Tomei), a woman who John immediately hits it off with. After being together for some time, he finds out that she has a 21 year old son Cyrus (Jonah Hill), who turns out to be a bit of a momma's boy. Not much later, John and Cyrus are locked in a battle of wits, both trying to win the affection of Molly.

John C. Reilly continues his streak as one of today's best funnymen. He plays John with a charming blend of awkwardness and loveability, and shows a talent for drunken karaoke as he belts out The Human League's hit song 'Don't You Want Me.' Marisa Tomei is a class act as Cyrus' sensitive and soft-spoken mother; and although Molly and Cyrus might not have the healthiest of mother-son relationships, she never fails to be there for him. The standout of the movie is Jonah Hill as the titular character. He proves that he has acting range, throwing in some fine dramatic scenes in the midst of his whacky antics.

'Cyrus' is a simple, very human story. But its simplicity is also a weakness. The first half of the film is funny and enjoyable as we're introduced to the quirkiness and realness of these characters. By the time the second half rolls around, however, the film becomes predictable, and we all know what will happen in the end. If the movie was a little longer than ninety minutes, maybe there might have been a chance for the directors to tweak the story a little bit, and bring it in a direction that we wouldn't expect. But the ensemble works well with what they're given, and they make 'Cyrus' more memorable than it should be. Because of its predictability, you just leave the theater wishing for a better emotional impact.

Final grade: B

'Toy Story 3' is a beautifully bittersweet finale to Pixar's one-of-a-kind trilogy

It's hard to believe that already fifteen years have passed since Pixar reached a moviemaking milestone with Toy Story's dazzling computor animation that charmed all of its viewers. The adventures of Woody (Tom Hanks), Buzz Lightyear (Tim Allen), and their playtime friends have found a special place in the hearts of each audience member with every installment in this adored series. Toy Story 3 is Pixar's eleventh tour de force film, and never does it show that they are losing their touch. Nothing in the film feels stale. It all feels as fresh as if it has been unwrapped for the first time. Pixar can set the bar as high as they'd please, and still have the potential to have our expectations greatly exceeded. As expected, they did just that with Toy Story 3, the film that concludes the trilogy that has depicted the childhood experience and the wonders that toys can have on the imagination.

In this installment, Andy is finally headed for college. Hard to believe, right? It really goes to show how much we grew-up with him and this trilogy. The toys are stressing over their possible fate of being thrown in the trash. When Andy's mom mistakes them for being garbage, not realizing Andy's real intention of storing them in the attic, the toys feel unwanted and sneak into a box that's set to go to Sunnyside Daycare. While there, Woody, Buzz, and company deal with the importance of family, friends, and faithfulness, as well as problems such as separation-anxiety and abandonment. They then set out on a perilous journey to be reunited with the owner they love before he leaves for college.

The film has its share of colorful new characters, such as Lots-o'-Huggin'-Bear (Ned Beaty) who is the leader of the daycare toys, an eerie-looking doll named Big Baby, and most notibly, Barbie's (Jodie Benson) significant other, Ken (Michael Keaton). Watching their love for each other blossom is a treat to witness, seeing as their relationship is being portrayed on screen after their huge popularity in toy stores. What could be more appropriate for a movie series titled Toy Story? One of the movie's other highlights is an exciting sequence of the toys trying to escape the dreaded daycare center that's highly reminiscent of John Sturges' 1963 film, The Great Escape.

Toy Story 3 gives its viewers a lovely pattern of emotions throughout the adventure. There's the feeling of immense delight at the first frame of the movie when we're reunited with our favorite playtime buddies, and when Randy Newman's Toy Story anthem, 'You've Got a Friend in Me,' begins to play; as well as the feelings of gloom and apprehension that come with thinking about the possible separation of the toys from Andy along with the bleakness of their future. Between it all, there are some truly funny moments to give the thought that maybe, just maybe, Woody and his family might be all right in the end after all.

Pixar has accomplished something wonderful: creating a trilogy where all three films possess the same amount of rich storytelling magic. Given Pixar's track record, they could easily make a fourth entry in this series; however, all would probably deem that highly unnecessary, because this film provides a perfect ending for the toys' three-part epic journey. Although many of us that saw the first Toy Story as young children are now adults and have grown out of playing with toys, we could never get too old for Woody, Buzz, and their gripping adventures that have tugged at the heartstrings of anyone who has joined them.

Final grade: A

Michael Douglas's performance in 'Solitary Man' makes it better than your average fall-from-grace parable

One of the best things about Solitary Man is that directors Brian Koppelman and David Levian make sure that their film isn't overloaded with sentimentality. What could have easily turned into your run-of-the-mill redemption story is a tender and realistic film of a man trying to get his life back on track after he loses it all.

A few years ago, Ben Kalmen (Michael Douglas) had everything he could ever want: a loving family, a well-paying job, and a classy Manhattan apartment. Now, due to the inability to control his impulses, he has lost everything. Ben, however, isn't ready to give-up on himself. Even though he's divorced from his wife (Susan Sarandon), Ben is still able to keep in touch with his daughter (Jenna Fischer) and his grandson. Besides that, his new girlfriend Jordan (Mary-Louise Parker) may have the connections to get Ben's career going again. But when she asks him to take her daughter (Imogen Poots) on a college tour, Ben will be faced with the ultimate challenge to see if he really has changed for the better.

Michael Douglas's performance is the driving force of this movie. His character stays comfortably in the realm of believabilty; and never does he try to stretch beyond any further than he has to. The charm of Ben's character comes in the final scene. Through most of the movie, Ben is a morally-reprehensible character. But in the end, when the viewer finally realizes why he does the things he does, he becomes sympathetic with the snap of a finger. Jenna Fischer takes a satisfying dramatic turn away from her comedic role in The Office; and Danny Devito provides a great comic presence as one of Ben's friends from his college days.

Although Solitary Man might use a couple of cliches typically found in this type of story, it thankfully never fully descends into that trap. The film is a highly convincing portrait of a man trying to get his life straight after one too many mishaps. The emotions of the characters and original story help the film stay in the light of authenticity and never gets bogged down by formulaic plot points. It resists the predictible, and stays in the credible.

Final grade: A-

'A-Team' film is highly entertaining '80s nostalgia for the 21st century

I'll admit, I approached The A-Team with some faint hesitation, and with good reason. It was written by Skip Woods, the screewriter of last summer's G.I. Joe, a film surrounded by embarrassing dialogue and middling special effects. The last thing I wanted in this lackluster (so far) summer movie season was another second-rate action film. It was a pleasant surprise to see that Woods and director Joe Carnahan were able to adapt a t.v. series from the '80s into an entertaining adaptation, and exceed our expectations.

In a very enjoyable opening sequence, the film tells of how the four A-Team members meet each other. Colonel Hannibal Smith (Liam Neeson), Face (Bradley Cooper), B.A. Baracus (Quinton Jackson), and Murdock (Sharlto Copely) come together as a group of mercenaries who answer the call to help for those who need it. The film sends our thrill-seeking quartet on a mission to retrieve a series of American-currency printing plates that have been stolen out of Iraq. Throughout the operation, not only do we see the team carry out the task placed in front of them, but we see each of the members' given talents and personalities perfectly mesh together despite obvious, and comical, differences.

Each cast member brings something to this table of explosions, close-calls, and chase scenes. Liam Neeson depicts his next-great-action-star persona impeccably. Just like Harrison Ford, he continues to prove that age is just a number. After a few comedies, Bradley Cooper is a welcome addition to the action genre, and adequately brings some of his comedic skill to the wisecraking Face. Although we all miss Mr. T, wrestler Quinton Jackson is a decent fit for the character, and surprisingly brings some emotion to the role on one or two scenes. And Sharlto Copely is hilarious, and hilariously insane, as the death-defying Murdock.

The action scenes, though quite preposterous, are original, and very fun. Sometimes, however, they are quickly edited, so it's a little difficult to comprehend what's going on, but it's still highly entetaining. Thankfully, they don't overstay their welcome too much, and this allows for the characters to build upon their already established friendships when they aren't in the midst of gunfire and explosions; and the plot is able to move foward. There's also a nice little plot-twist thrown in the later half of the movie. The cast and whizbang action are evenly balanced to make a film that's more fun than mindless. Exactly what a summer movie should be. Director Joe Carnahan didn't make a spectacular action film, but it certainly isn't a mediocre one.

Final grade: B+

'Please Give' is a simple, yet effective story of love, family, life, and death

Written and directed by Nicole Holofcener, Please Give is a comedy-drama that tells a bracingly original story of an NYC woman burdened by guilt underneath her success. The film is a lovely package of varying themes that range from love, to life, to self-image, and is as uplifting as it is gently heartbreaking, and comes with a small dosage of dark irony.

Kate (Catherine Keener) is a Manhattan resident who shares a thriving business with her loving husband Alex (an enjoyable Oliver Platt) selling vintage furniture. She is a caring mother to an image-conscious teenage daughter Abbey (Sarah Steele), and is worried about her daughter's insecurities. On top of it all, Kate puts her family at unease as she has trouble enjoying her success while others are living out on the streets. Nextdoor to them lives an elderly woman named Andra (a humourous performance by Ann Morgan Guilbert), who is cared for by her two granddaughters played by Rebecca Hall and Amanda Peet. Kate's family plans to buy Andra's apartment after she passes away; and in the meantime, tries to develop a friendly relationship with the rude grandmother and her two granddaughters.

Catherine Keener is the picture of a compassionate mother and good-samaritan. Rebecca Hall, Amanda Peet, and Sarah Steele portray their characters with such fragility as they try to confront the dliemmas that life has dealt them, that in the end, the results are all too real and relevant. The characters aren't just relatable to the audience; they also relate to each other through varying themes over the course of the story. As these connections are better identified, the bonds between the characters, along with their respective theme, become stronger.

Please Give handles its characters and subject matter with delicacy. The film delivers its messages with subtlty and never seems preachy. Despite the diversity of its themes, Nicole Holofcener successfully intertwines them, rather than just leaving them in separate pieces. There is a lot of truth to this film, and that is what gives it that extra punch.

Final grade: A-

'Robin Hood' lacks adventure, grandeur

The story of Robin Hood has always been one of the great adventure stories. It told of the famous archer and his brigade of Merrymen from Sherwood Forest who assisted him as he righted the wrongs of Nottingham and stole from the rich to give to the poor. His times of living as an outlaw, his daring journeys, and opposition of his enemy King John always left a feeling of exileration to anyone who heard the story. It's hard to believe that Ridley Scott, the director who graced us with Gladiator, could take all feeling of adventure out of this classic tale. What should have been a thrilling expedition through Nottingham is reduced to nothing but a costume-adventure that's mostly a bore, and leaves the audience feeling empty.

Robin Longstride has been fighting in the Third Crusade for ten years under the leadership of King Richard the Lionheart. Not wanting to fight anymore, he runs away with a trio of friends who decide to abandon their army. The four of them travel back to Nottingham to report the death of a fellow soldier, Sir Robert Hoxley (Douglas Hodge). It is here where Robin Hood meets the beautiful Lady Marion (Cate Blanchett) and a relationship begins to blossom.

Meanwhile, King John (Oscar Issac) is focusing on his new duties as King of England, and is after any and all tax payments from his subjects. Little does he know, his childhood friend Godfrey (Mark Strong) is conspiring against him with King Philip of France, with the intention of starting an invasion of England. Forget about Robin Hood's famous feats of stealing for the poor; because this film is all backstory, and that's not a good thing. It practically ruins the movie.

The real Robin Hood story is out of the question at this point, being reduced to an average medieval period-piece rather than a soaring adventure. But one of the more disappointing aspects of the film is Russel Crowe's performance. He seems to be mimicing his Gladiator role for the whole movie, it's distracting. Cate Blanchett is decent, but somewhat forgettable as Lady Marion. Her character would have been a great deal more interesting if this were the Robin Hood story we're all familiar with, and would have depicted her relationship with him more vividly. Although there are glimpses their romance, we fail to see any sparks ignite. Two of the lone standouts in the film are Oscar Issac, who plays King John with convincing fierceness, and Mark Strong as the traitorous Godfrey.

What should have been a fun medieval quest turns out to be a dull origin story. What made Gladiator so gripping was with its 2 hour and 30 min. running time, it was able to balance dialogue with wonderful battle scenes. Although Robin Hood has about the same running time, it doesn't make good use of it. We get a battle in the film's opening, segments of near-nothingness, some sword-clashing and arrow-flying thrown in on the side, and a less-than-stellar battle in the finale. The very end of the movie show's the sentence "And so the legend begins," but at that point, we feel like Ridley Scott is the King of England and we're his subjects: he took our beloved hero, and we were robbed of the epic that was promised.

Final grade: C-

'Iron Man 2' offers some fun, but isn't as sleek as the original

Two years ago, moviegoers were introduced to Iron Man, one of Marvel Comics' lesser-known superheroes. After that, we were all on board for this new and very exciting franchise. Just like the reporters at the end of the first installment wanted to know more about Iron Man after Tony Stark revealed himself, so did the audience want to see more from this hero's story. The original presented Tony Stark as a comical, fast-talking, and slightly egotistical weapons-dealer with a heart of gold (um...paladium to be exact), and Robert Downey Jr. played it to fun and near-perfection. It was a superhero movie that emphasized that you don't need ongoing action scenes to make a fantastic, heroic story. Most of the time, engaging characters and sharp dialogue will mean the difference between good and bad; and that was just what the first installment had, along with a few winning action sequences. As for the much-anticipated sequel, the opposite seems to be in order. While most of the leads are enjoyable, some of the characters aren't used to their greatest ability; the dialogue still retains some of its cleverness, though some of it's weak; and the story tends to sometimes go in more places than once.

It is now six months after Tony Stark (Robert Downey Jr.) has disclosed himself as Iron Man. He is enjoying the fruits of his labor and is claiming he "privitized world peace." He is the world's newest celebrity and knight-in-shining-armor, and is enjoying having it all. Soon, he comes up against his latest foe Ivan Vanko, or Whiplash (Mickey Rourke). He's aching from the fame and fortune that escaped him after his father and Tony's father worked on scientific breakthroughs, with Mr. Stark ending up with everything later on.

The story also gives us a second villain in Justin Hammer (Sam Rockwell), who is a corporate rival of Tony's, and has the annoying habit of saying things more than once. His issue with Stark has him trying to persuade Tony to hand over his technology to the government. In the meantime, Hammer is trying to build bigger and better iron suits to show-up Stark, and hires Ivan Vanko to assist him.

Away from that, some of the movie involves Tony trying to find a substitute element for paladium, the element that's keeping our iron-clad hero alive, but is also slowly killing him.

And yet, ANOTHER story thread involves the development of the superhero group, the Avengers. Samuel L. Jackson has an amusing role as Avengers leader Nick Fury. Although this is an interesting plotline, it takes up a lot of the film's second act and doesn't allow the film to stand on its own as an Iron Man film, since the Avengers are also fighting for the spotlight.

Both Iron Man films have terrific actors playing the main villains. While Jeff Bridges was used to his full potential in the first movie, Mickey Rourke seemed to be underused. That's kind of ironic, seeing that he was offered this role in the midst of his critically-acclaimed performance in 2008's The Wrestler. Between the sequel's two villains, Whiplash is by far the more interesting one with his emotional baggage and vendetta against Iron Man. Although Justin Hammer is a passable villain, he unfortunately gets more screentime than Whiplash.

In a superhero film, we want to see a relationship between the hero and villain. In Iron Man, Robert Downey and Jeff Bridges shared many scenes that hepled build the hero-villain relationship and the tension that accompanied it. In Iron Man 2, Downey and Rourke share one meaningful scene together, then everything else between them are just the rock 'em-sock 'em fights, not leaving any time for the characters to build a good vs. evil connection for us to care about.

As for both the new and returning characters, Gwyneth Paltrow is just as feisty reprising her role as Stark's assistant Pepper Potts; Scarlett Johansson is a welcome addition to the franchise as the charming and alluring Natalie Rushman, a.k.a Black Widow; and of course, Robert Downey Jr. is still humorous and quick-witted, but a little too egotistical this time around. Terrance Howard was greatly missed as Stark's military pal, James Rhodes. While Howard's portrayal of James Rhodes possessed a tough exterior equal to Tony Starks's, Don Cheadle (while a good actor) downgraded the character and made him seem weak and uninteresting.

While Iron Man 2 offers some passable Summer entertainment, it couldn't reach the realm of superior comic-book sequels such as X-Men 2, Spider-Man 2, and The Dark Knight. The acting is up-to-par, and the action scenes offer some neat visuals; but one of the main problems is the replacement of dialogue with more action, as well as multiple plots. Sure, we all want action in our superhero movies, but there isn't a point to it if it's going to eclipse true character interaction. And if you have one or two good central plots to work with, you can make a terrifc movie; instead of having too many and making a mediocre one. Here's hoping for a better third installment.

Final grade: C+

Summer Movie Preview 2010

Summer is here once again cinema fans, and we all know what that means: a ton of new blockbusters are coming our way to help us escape for a little while and take the heat off our minds. I know that during the Summer we all have jobs, family gatherings, days planned with friends, and maybe some of us will be taking a Summer class if we're in college. Of course, that's all understandable, but why not also take advantage of all the big-screen adventures that the season has to offer?

As with every Summer, the new releases will offer something for everyone: for the guys, we have the return of a certain iron-clad superhero, director Ridley Scott and Russell Crowe reunite to bring the classic hero of Sherwood Forest to life, and Dark Knight director Christopher Nolan is back with his latest, and literally mind-bending thriller. For the younger audience, they will be treated to the fourth outing of their favorite fairy-tale ogre, as well as the much-anticipated return of Woody and Buzz Lightyear. And for the ladies, they will surely enjoy the return of Sarah Jessica Parker and her girlfriends, and will undoubtedly come out in droves to experience the next installment of an ever-so-popular human-vampire-werewolf love-triangle. These releases will certainly bring in huge box office business, but they aren't the only films to get excited for. There are many more included in this Summer movie preview. Let's get started, shall we?

Iron Man 2 (May 7) Tony Stark (Robert Downey Jr.) is back in this second installment of the hit Iron Man franchise. In this chapter, the government wants Stark to hand over is technology to the military. He is unwilling to do so, worrying that it might fall into the wrong hands. Iron Man is soon faced with a powerful new opponent called Whiplash, played by Mickey Rourke. Also starring in the film are Gwyneth Paltrow, Don Cheadle, Scarlett Johansson, and Sam Rockwell.

Robin Hood (May 14) After their success with Gladiator and American Gangster, director Ridley Scott and Russell Crowe team up to bring the Robin Hood legend to the big screen. In the story, our hero returns home to his English village after fighting in the Third Crusade. Using his military skills and intelligence, he sets out to conquer the tyranny and corruption that has taken over, while also trying to win the love of Lady Marion (Cate Blanchett).

Prince of Persia: The Sands of Time (May 19) The popular video game is now an adventure-epic starring Jake Gyllenhaal. Dastan, a street urchan in sixth century Persia, is adopted by a king to be his heir, and soon joins forces with Princess Tamina to rescue the Sands of Time, a godly gift that controls, you guessed it, time. Ben Kingsley portrays the wicked Nizam. Gemma Arterton and Alfred Molina also star in this film from the producers of Pirates of the Caribbean.

Shrek Forever After (May 21) Shrek returns in his fourth, and sadly his last, adventure in the land of Far Far Away. After becoming a family ogre, Shrek longs to live just one more day as a "real" ogre. He then strikes up a deal with Rumpelstiltskin to make this happen. In exchange, Shrek must give him a day from his own life. Unfortunately for Shrek, Rumpelstiltskin chooses the day when he was born, meaning that since Shrek had never been born, he doesn't exist. He is then stuck in an alternate Far Far Away, and must find a way to bring everything back to normal. Starring the voice talents of Mike Myers, Cameron Diaz, Eddie Murphy, Antonio Banderas, Julie Andrews, and a whole myriad of other actors and comedians.

Sex and the City 2 (May 27) After the first movie struck gold with the female audience two years ago, a sequel was almost inevitable to the film adaptation of the hit HBO comedy. Sarah Jessica Parker, Kim Cattrall, Kristin Davis, and Cynthia Nixon are back again for another installment of their high New York City society lifestyle.

Get Him to the Greek (June 4) Jonah Hill plays a determined college graduate working as an intern at a record company in this spinoff to 2008's Forgetting Sarah Marshall. He is given the task of bringing British musican Aldous Snow (Russell Brand reprising his role from FSM) to the Los Angeles Greek Theater where he is scheduled to perform. Also starring Elizabeth Moss, Rose Byrne, Sean "Diddy" Combs, and Aziz Ansari.

The A-Team (June 11) Based on the '80s television series, the film follows a group of four members of the U.S. military who are now mercenaries. After three of them are arrested for a crime they didn't commit and are called war criminals, they escape and join forces with their pilot, Captain H.M. Murdock. Starring Bradley Cooper, Liam Neeson, Sharlto Copley, Quinton "Rampage" Johnson, and Jessica Biel.

Toy Story 3 (June 18) Pixar studios has graced their audiences with masterpiece after masterpiece, so it isn't any surprise that they're giving us the second sequel to their much-beloved Toy Story. In this installment, Andy is about to start college, but isn't sure what to do with the cherished toys from his childhood. After the toys accidentally get sent to a local daycare center, Woody, Buzz, and the rest of the toys try to get back to Andy before it's too late. Starring the voice talents of Tom Hanks, Tim Allen, Joan Cusack, Wallace Shawn, John Ratzenberger, and many other celebrity voices.

The Twilight Saga: Eclipse (June 30) The emotions of the love-triangle between human Bella, vampire Edward, and werewolf Jacob, reach the boiling point in the third chapter of Stephanie Meyer's insanely popular series of novels. As Seattle is being plagued by several mysterious killings, the vampires and werewolves must reluctantly join forces to take on the malicious army of newborn vampires. On the sidelines, Bella must choose whether to live a life of eternity with her soulmate Edward, or live a normal, human life with her best friend Jacob. Starring Kristen Stewart, Robert Pattinson, and Taylor Lautner.

Inception (July 16) Director Christopher Nolan follows his massive success of The Dark Knight with his new action-thriller that takes place in the architecture of the mind. Leonardo DiCaprio plays Dom Cobb, an agent who has a team of individuals that have a technology that allows them to enter the minds of people as they dream. After a heist goes wrong, Dom and his team must track down a CEO (Ken Watanabe) who has his own ideas of how to use this technology. Also starring are Joseph Gordon-Levitt, Marion Cotillard, Ellen Page, Cillian Murphy, and Michael Caine.

Dinner for Schmucks (July 23) After Paul Rudd starred in last year's comedy I Love You Man, and Steve Carell starred in the recent Date Night, both of which were critically-acclaimed (and for good reason), the two comic-actors are now co-starring in what is sure to be one of this Summer's biggest comedies. Tim (Paul Rudd) is a successful executive who must find the right guest for his boss's monthly event, which is called a "dinner for idiots." Whoever brings the biggest moron to the party receives a promotion as a prize. Steve Carell plays Barry, an IRS employee who Tim tries to encourage into accompanying him to the dinner event.

The Expendables (August 13) A group of hired guns travels to South America on a mission to defeat the malevolent tyrant who has taken over. As the mission becomes a lot more serious, the group realizes that nothing is what it appears to be, and that there may be a traitor among them. Starring Sylvester Stallone, Jason Stratham, Mickey Rourke, and Jet Li.

So readers, there's my guide to some of this Summer's sure-to-be hits. There are obviously many other films coming out between May and August to suit everyone's interests, but the movies listed above are those that you might want to check out, depending on what you like. The Spring movie season is soon coming to an end, and there were some releases I enjoyed, particularly Shutter Island and Date Night (check out my reviews for them). In two weeks, Iron Man 2 will start off the Summer with a bing!-bang!-boom!, and I'm sure many of us are waiting in anticipation. I'll be posting my reviews for the Summer films that I have the chance to see, and I'm positive that I'll be seeing many of them. After each review, feel free to leave a comment and let me know what you thought of whichever film the review was for. I'd love to hear your feedback. Until then, have a delightful Summer, and enjoy the movies!

A 'Date' With Comedic Royalty

You don't need me to tell you that a majority of today's romantic-comedies are not what they used to be. Many of them are presented without any imagination, and that takes the fun out of watching them. For some time now, they have become too dull and formulaic. Sometimes the viewer has to question, is the film's lack of energy at the fault of the writing or the actors? Nowadays, it's mostly the writing that's the problem, with the actors as casualties. Once in a while, however, the romantic-comedy genre can surprise us, like with the films of Judd Apatow. It's latest surprise is Date Night, the new film by director Shawn Levy, starring the charming Tina Fey and outrageous Steve Carell. Since Fey and Carell star in two of today's most successful TV comedies, 30 Rock and The Office, it was only too appropriate to have them in a film together. The result is a refleshingly hilarious comedy.

Steve Carell and Tina Fey are Phil and Claire Foster, an average, middle-class couple from New Jersey. Day by day, they go to work, keep their house in order, and take care of their two children. Lately, they have been feeling that their marriage is in a rut. The couple just goes with the flow as their lives become more and more predictable (much like the rom-com genre). Urging for something different, the couple goes to an upscale restaurant, but can't get a table. Not willing to give up, they steal a reservation from a couple called the Tripplehorns. They don't know, however, that the Tripplehorns are wanted criminals. Of course, as with anything starring Carell and Fey, much hilarity ensues. What starts out as the Foster's weekly date becomes a night of mistaken identities as the Fosters race to clear their names. And it's a riot.

Never is there a dull moment whenever our two leads are on screen, because they have established themselves as true comic actors years ago, and can practically carry a movie all by themselves. Fey and Carell make their comedy seem effortless as they play-off of each other, which makes their entire romp through the Big Apple a joy to watch. The Foster's adventures are complete with some amusing characters, even if they are only seen for a few minutes. Kristen Wiig is a friend of the Foster's whose marriage is also on the rocks. As with her roles on Saturday Night Live, she continues to prove that she can offer plentiful laughs for only a few moments of screen time. James Franco and Mila Kunis have a greatly comical scene together as the white-trash Tripplehorn couple. In a comedy where Fey and Carell dominate, the pairing of Franco and Kunis don't have any problem having their wit shine as bright as our two leads when they all share a scene together.

In the end, it's Fey and Carell who make this comedy work. They make the film watchable when any other pairing of actors would have made this a disaster. One might consider them today's king and queen of comedy; and with such prestige, the two made what might have been a stale narrative feel new to the audience. When they are not busy making us laugh on their popular sitcoms, Fey and Carell should take the time to do a few more rom-coms. In doing so, they can easily help in making the genre as enjoyable as it once was.

Final grade: B+

The Journey of Redemption for a Musical 'Heart'

One of the best parts of a film about a musician is that the story can be told through straight acting, and through the songs performed by the musician. What makes telling parts of the story through song so gratifying, is that the musician is using his given talent to let the audience know what he has experienced. The backgrounds of musical icons will usually contain some sort of tragedy or misfortune that was suffered through in life. By the escape of music, however, these musicians will find salvation through their lyrics, and will share their talent and lives with the world. Director Scott Cooper has adapted Thomas Cobb's novel, Crazy Heart, to tell the story of a once famous country-music star Bad Blake, played by Jeff Bridges, who sets out on the road to redemption after an extended history of regretable life choices.

Bad Blake's life is slowly falling apart. He's almost broke, an alcoholic, has been in and out of marriages, can't seem to find new material to write about, and his fame is nearly gone, which leaves him playing in bowling alleys. He eventually crosses paths with an aspiring journalist named Jean Craddock, played by Maggie Gyllenhaal, who just like Bad, is trying to forget about her past mistakes, and makes a comfortable living with her son. What is so intriguing about her character, is that what starts out as interviewing Bad for a story, turns into her becoming a catalyst for Bad Blake wanting to turn his life around. But this doesn't come without its setbacks.

The songs performed in the film blend perfectly with the events played out in the story. They describe heartbreak, ruined futures, and the neglect of the special things in life. The film's main ballad, "The Weary Kind," tells of the need to be strong of heart, and give as many tries as you have to in order to get your life back on track. The lyrics tell of what has happened in Blake's life, and hint at what's to come. The way how the music continually reinforces the film's messages makes the songs all the more effective in the storytelling.

Even though the movie is about the journey of redemption for a troubled life, it also emphasizes that as humans, we're all capable of hitting the occasional speedbump on the way. Whether we are like Bad and need to set our lives straight, or even if we're like Jean and our lives are going smoothly, it is natural for everyone to make mistakes. What's important, is that we recognize them, and try to rebuild our lives.

Jeff Bridges' performance is the gem of the film. His singing and musicianship is as breathtaking as the southwestern landscapes through which he travels. His portryal of a broken-down soul trying to save himself can relate to anyone, and shows that it's never too late to turn your life around. In the end, Jeff Bridges more than succeeeds in getting his message across. He makes us inspired.

Final grade: A-

A 'Wonderland' That's Short on Wonder

The name of Tim Burton has long been synonymous with the capability of creating lush, imaginative worlds for the screen, and pairing them up with strangely mystical stories. These stories can be considered to be in the same realm as the classic Grimm's fairy tales, and are every bit as immersive as they are darkly beautiful. Most people will argue that some of his films like Charlie and the Chocolate Factory, Corpse Bride, and Sweeney Todd fit that criteria all-too perfectly. Burton's latest undertaking, adapting Lewis Carol's timeless children's story Alice in Wonderland, seemed to be another perfect pairing of story and director. Who else but Tim Burton would you expect to bring Carol's fantastically bizarre Wonderland to the screen? Burton creates another enchanting world with colorful visuals a plenty that's hard to divert your eyes from. Alas, that's all this movie has to offer. A film with little story is hardly the case when one thinks of Tim Burton. Sadly, Alice in Wonderland is that type of film.

This latest trip into Wonderland is the first starring-vehicle for Australian newcomer Mia Wasikowska, who plays the title-character. Alice grows tired of her mundane life and the expectations put upon her by family and friends. In an attempt to escape an arranged marriage, she chases the White Rabbit (voiced by Michael Sheen), and eventually falls down the rabbit-hole into the dreamlike Wonderland. There, she meets the Mad Hater, played by non other than Burton's other half, Johnny Depp; and is told that she must find what's known as the Vorpal Sword to slay the dragon-like creature known as the Jabberwocky, in order to restore the rule of the White Queen (Anne Hathaway) from the Red Queen (Helena Bonham Carter). You'd figure there would be more story to be offered in-between these main plot points. Don't be fooled. This is just about all there is.

Given the much-beloved source material, it is expected that a movie like this would retain the magical touch that made the original novel a joy. The beauty of the world is surely at play, but it doesn't help make the film any better when it seems like many of the CGI characters have more life than the human characters. The Dormouse has her ongoing spunk and swordmanship, and the Caterpillar, though rather rude, is an insect of knowledge. The standout of all the CGI creatures is the Cheshire Cat, with his devious personality and smooth-talk.

This being Wasikowska's first major role, she plays the part of Alice as we all would like it: adventurous, intelligent, and quizzical of her new surroundings. Unfortunately, since the visuals are the film's only high points, and the make-up effects of other characters are so demanding of attention, it takes away from Alice the opportunity to shine. But the CGI effects aren't all that's to blame. Since the story lacks in content, it also is deprived of any memorable dialogue. A majority of Alice's dialogue is comprised of asking questions such as "What am I doing here?" "Why was I brought here?" "How do I defeat the Jabberwocky?" and so on. As for the Red Queen, let's just say you could make a drinking game based on how many times she screams "Off with their heads!"

Sadly, even Johnny Depp wasn't that much of a standout as the Mad Hatter. When Depp plays characters such as Willy Wonka, Sweeney Todd, and Captain Jack Sparrow, you become swept away by his talent, energy, and by the new heights to which he brings his characters. As the Mad Hatter, he didn't do anything new or exciting; he just wore distracting make-up, mumbled a lot of nonsense, and performed an embarrassing dance to celebrate the end of the final battle.

Tim Burton is certainly a master of his craft, and when he wants to tell a darkly entertaining and striking story, he can surely bring it to life. Every director, however, has at least one movie that can't quite measure up to his or her most treasured works. Too bad for Burton that it had to be his adaptation of a dearly loved classic.

Final grade: C

A Twisty-Turny 'Island'

Federal detectives, a secluded mental-institution on an island, an escaped patient, strange doctors hiding the truth, this sounds like a cinematic work from the mind of Alfred Hitchcock. Well, yes and no. The new thriller Shutter Island certainly has that mysterious atmosphere that was present in many of his films, but the story is actually from a novel by Dennis Lehane, and was brought to the screen by one of today's Hitchcock equivalents of filmmaking genius, Martin Scorsese. This being his first psychological thriller since 1991's Cape Fear, Martin succeeds in bringing a sense of fear to the story he wants to tell. This time, Scorsese reunites with his frequent collaborator Leonardo DiCaprio, for a story of conspiracy and paranoia.

The story opens in 1954 with our two leads, U.S. Marshal Edward 'Teddy' Daniels (DiCaprio), a tough-as-nails detective from Boston, whose past is plagued with tragedy by the death of his wife (Michelle Williams), and is accompanied to the island by his new partner Chuck Aule (Mark Ruffalo). They are sent to the mysterious Ashcliff Hospital for the criminally insane on Shutter Island. The hospital shelters 66 inmates that are said to be there because it was impossible for them to be treated anywhere else. The head psychiatrist Dr. John Cawley, acted by Ben Kingsley with a disturbing blend of calm and creepiness, fills-in our two detectives of the escape of inmate Rachel Solando (Emily Mortimer), who has been placed in the institution for murdering her three children. As Teddy and Chuck begin their search for the woman it becomes clear that, as with all psychological thrillers, there is something much more going on in the background than our two detectives are aware of.

As Teddy and Chuck question patients and visit several sectors of the island looking for evidence, the audience is provided with snipets of Teddy's troubled past in the form of dream sequences and hallucinations. While his dreams do add significantly to the story in most cases, it gets to the point when some of them are a little too long, or slightly unnecessary. They are, however, disturbingly and beautifully realized. As the story progresses with the detectives exploring deeper into the island, the stunning aerial shots of the area help expand on the growing fear and isolation of the charatcers.

Patricia Clarkson shows up in the later half of the movie as an exiled escapee, and truly makes the most of her few minutes of screen time, offering a couple startling plot twists. And Max von Sydow is wonderfully frightening as an evil, Nazi-like psychiatrist. Clocking in at 2 hours and 18 minutes, the film tends to drag in the middle; but the big twist (or several twists) in the end make the movie worth sitting through, even though the plot revelations come at a somewhat overwhelming rate in the end. This being Martin Scorsese's second psychological thriller, Shutter Island is a daring break from his gangster epics, such as The Departed and Goodfellas. In the end, it's truly a mystery worth solving.

Final grade: B+

Countdown to the 2010 Academy Awards

Well Oscar fans, we now have about a week until the most anticipated movie event of the year. This being my first ever blog, let me just say that I'm an avid movie fan, and I practically live to watch movies and the Oscars. Would you say I'm completely obsessed? Well, not really obsessed. Movies are just a passion of mine. As we creep closer and closer to March 7th, the excitement just keeps building up.

This year's Oscar ceremony will be the 82nd, and the academy is making some good changes, and some bad. Among the good, as you all have probably heard by now, the academy has decided to nominate 10 films for the Best Picture prize, instead of the usual 5. Something like this hasn't been done since the first couple of decades of the Oscars, and it will be very interesting to see how this plays out. This year's ceremony will also welcome not one, but two hosts. And they are non other than the insanely funny comedic pairing of Steve Martin and Alec Baldwin. Since these two are also the most frequent of Saturday Night Live hosts, there's no denying their hilarious talent. One of the major disappointments, however, is the decision to not have the Best Original Song nominees performed. That's a shame, since I would have loved to see Crazy Heart's nominated song "The Weary Kind" be peformed. Oh well, we can't have everything, and with the festivities being 3-4 hours, I'm sure there are some hidden surprises.

All throughout my winter break, my brother and I probably went to the movies 2-3 times a week. Of course being a film fanatic, why wouldn't I? Given nearly five weeks of break (got to love college) I was able to see nine movies, a couple of which I saw twice. Since around this time is when all the award-contender movies are released, I try to catch as many as I can. Every week I would eagerly await for the new weekend schedule to come out online so I could see which of the independent films were finally being released in my area. It was a huge sigh of relief when I found out that Crazy Heart would be playing at my local AMC theater. After hearing so many critical raves about Jeff Bridges' performance, how could I not see it?

Before you ask, the answer is 'yes,' I also saw the big blockbuster movies known as Sherlock Holmes and Avatar. I had a lot of fun at both. Sherlock Holmes was pure, popcorn enjoyment, and Avatar was the most visually-arresting film I've seen since the third Lord of the Rings film. These were also the two films that I saw twice. Sherlock Holmes was worth the second viewing because since I already knew the clues from my first time seeing it, it was fun watching it again and spotting the things that I missed, and putting in place the clues that I remembered. Avatar I couldn't help but see more than once, because who wouldn't want to be absorbed in the world of Pandora?

Back to the Oscars. Since the winners will be announced next Sunday, this will be an excellent opportunity to look at the eight major categories, and decipher who will win, and who should win. Let's get started:


Best Adapted Screenplay: District 9, An Education, In the Loop, Precious, and Up in the Air

Will and Should Win: Up in the Air- Back around when this film was released, it seemed to be the movie-to-beat for Best Picture with its enormous critical praise and outstanding performances. It's almost too perfect how this movie relates to our times. It is a perfect blend of comedy and personal tragedy. Its chances for Best Picture have sadly declined, and this seems to be the only award for which it has a decent shot at winning. After winning screenplay awards at the Broadcast Film Critics Awards and the Golden Globes, I think this movie is a lock in this category.


Best Original Screenplay: The Hurt Locker, Inglourious Basterds, The Messenger, A Serious Man, and Up

Will Win: Inglourious Basterds- Quentin Tarantino's funny, edgy, (and really bloody) World War II film is his new masterpiece, and the academy loves a director like him. A story of vengeful Jews hunting down Nazis is crafted in such a way that probably only Tarantino could have accomplished. This will surely be another win for him.

Should Win: The Hurt Locker- Written by Mark Boal, one had to wonder at the fact that this was a War on Terror movie that actually worked. Not since Saving Private Ryan has a film brought the audience horrifically close to the frontlines of war. The movie is a tension-filled story of how addictive war can actually be, with scenes of near heart-stopping suspense that made the experience much more viceral than any other film I've seen this year.


Best Supporting Actor: Matt Damon for Invictus, Woody Harrelson for The Messenger, Christopher Plummer for The Last Station, Stanley Tucci for The Lovely Bones, and Christoph Waltz for Inglourious Basterds

Will Win: Christoph Waltz for Inglourious Basterds- Waltz has been a wide receiver of awards buzz ever since the film's release. His role as an SS nazi isn't just evil, but also quite funny and original. He has already won at the BFCA, Golden Globes, and Screen Actors Guild Awards. It looks like this will be another win for the Basterds.

Should Win: Stanley Tucci for The Lovely Bones- Being the only Oscar nomination that this film received, I guess you could say that Tucci practically stole the movie; and in a way, he did. Tucci was terrifically creepy in his role as a child killer in a suburban town. Every time he appeared on screen, one couldn't help but squirm and coward in fear at his foreboding presence.


Best Supporting Actress: Penelope Cruz for Nine, Vera Farmiga for Up in the Air, Maggie Gyllenhaal for Crazy Heart, Anna Kendrick for Up in the Air, and Mo'Nique for Precious

Will and Should Win: Mo'Nique for Precious- If there is any sure Oscar winner this year, it's first-time nominee Mo'Nique. Her role of an abusive inner-city mother has left auidences speechless and flim critics raving. It's easy to award a performance for an actor playing a character one can root for. But what Mo'Nique does is simply fearless, and she deserves all the praise that comes her way.


Best Actor: Jeff Bridges for Crazy Heart, George Clooney for Up in the Air, Colin Firth for A Single Man, Morgan Freeman for Invictus, and Jeremy Renner for The Hurt Locker

Will Win: Jeff Bridges for Crazy Heart- As any film critic can tell you, this is Jeff Bridges' year. After years of solid work and this being his fifth Oscar nomination, it's about time the academy recognizes him for his excellent work as a country-western singer on a path of redemption. His acting and singing describe a broken-down soul who wants to prove that it's never too late to turn your life around. And he more than succeeds in getting his message across.

Should Win: Morgan Freeman for Invictus- Watching this film was literally like watching history happen, mostly because I couldn't see anyone else playing Nelson Mandela. Freeman takes on the part of one of our world's greatest leaders, and embodies the spirit of a man who achieved the impossible: uniting a racially-torn country through the language of sport. His performance left me awed, breathless, and most importantly, inspired.


Best Actress: Sandra Bullock for The Blind Side, Helen Mirren for The Last Station, Carey Mulligan for An Education, Gabourey Sidibe for Precious, and Meryl Streep for Julie and Julia

Will and Should Win: Sandra Bullock for The Blind Side- Just as this is Jeff Bridges' year to win, the same can be said for Sandra Bullock. She is probably one of Hollywood's most underrated actresses, partly because she'll turn out great performances in other films such as Crash and The Proposal, but will then star in several bombs, like last Fall's All About Steve, for which she has been nominated for a Razzie, which are mock 'awards' for the year's worst films. The Blind Side happens to be one of her best performances, where she plays an all-American mother who with the help of her family, takes in an abandoned teen and encourages him to play for his high school football team. This movie is an example that shows when Bullock picks a good script, she really can prove herself to be an astounding actress.


Best Director: James Cameron for Avatar, Kathryn Bigelow for The Hurt Locker, Quentin Tarantino for Inglourious Basterds, Lee Daniels for Precious, and Jason Reitman for Up in the Air

Will and Should Win: Kathryn Bigelow for The Hurt Locker- She has lost the Golden Globe to ex-husband James Cameron, but she has won awards for Best Director from the Producers Guild and Directors Guild of America. If the academy has enough love for her, Bigelow can make Oscar history by being the first female to win Best Director. There have only been three other female Best Director nominees, none of whom won.


Best Picture: Avatar, The Blind Side, District 9, An Education, The Hurt Locker, Inglourious Basterds, Precious, A Serious Man, Up, and Up in the Air

Will and Should Win: The Hurt Locker- About a month ago, I would have said that the only other film that could beat this was Avatar. Now, it's pretty clear who's going to win. It's won nearly every guild award, including Producers, Directors, and Writers, and received the highest of critical acclaim. It had a limited release back in July, and was never given a wide release. Thankfully, it came to my area; and honestly, there aren't many movies that have me rush back and see two more times. For a limited release movie like this to come out during the summer, and still have the academy buzzing about it, this film is not going to leave the voters' minds anytime soon. In my opinion, this is simply one of the best films of 2009. With its unflinching look at the horrors and addiction of war, along with a frightening view of the impacts that fighting a war has on a soldier psychologically and physically, The Hurt Locker is nearly flawless.

There you have it readers, my Oscar thoughts and hopes. I do wish that I'm right for most of my predictions. But no matter the outcome, March 7th will still be a night to celebrate the cinema's highest achievements of 2009. There are sure to be many surprises, because that's how we all love our awards shows. So I hope many of you tune in to watch the 82nd Academy Awards. I'm sure it'll be a great one. On an end note, enjoy the upcoming movies that 2010 has to offer, and be sure to find time to seek out some independent films. You'll be pleasantly surprised at what you might find.

*This is my first ever blog. I truly hope that you enjoyed reading it. Please feel free to leave your comments. I'd love to hear what you have to say. I hope to return very soon with film reviews and other movie news. I just hope my college work allows me to.