Avatar

A visual orgasm for the sci-fi fan, Avatar is so much more than just a film; it is the journey into pure imagination that was attempted by George Lucas and Peter Jackson (no disrespect). Cameron blends reality with state of the art computer generated animation seamlessly, and with the help of 3D cameras, it is a truly epic journey.

Where to begin? A film of this magnitude will have unreasonable expectations, and will certainly draw criticism for minor aspects that could have been improved upon, but you have to give Cameron credit for following his vision from beginning to end without succumbing to critical pressure or corporate direction. The fact of the matter is that this film is over 15 years in the making. Over $200 million spent. It is the next film in a long line of successes from one the greatest big budget directors of all time.

Avatar takes place on a planet in the not too distant future called Pandora. It is the site of a mining operation of a precious mineral that is the only hope for the future survival of Earth. The planet itself is inhabited by various alien plant and animal life, and the introduction of these species comprise the first chapter of the film. Jake Sully (Worthington) plays a marine recruited to join the Avatar program which is a scientific endeavor using genetic replication to infiltrate the indigenous population called the Na'vi. Pretty outlandish, but Cameron doesn't waste too much time with the scientific details of the program. In fact, he downplays that angle quite a bit, simply getting to the meat of the film.

The second chapter brings us up to speed, learning the Na'vi way and exploring their world. It is a love story at heart, appealing to the Titanic crowd, and although reminiscent of Dances with Wolves and many other films where the outsider becomes one of the tribe, it has a distinctly original feel. The overtones of corporate greed, moral judgment, and environmental impact are heavy in this film, as this beautiful world is portrayed as a kind of Gaia theory, where life is all precious, balanced and intertwined.

The third chapter is what will attract the Aliens and Terminator 2 crowd. Action. War. The fundamental struggle between good and evil, with nature caught in the middle. Colonel Quaritch, played by Stephen Lang is the perfectly cast antagonist. He is a warmonger, but one who is rational and calculated. Cameron has a penchant for casting great supporting players, and Lang is a stellar choice for a film that honestly doesn't need any renowned actors at all. The rest of the cast doesn't matter as there is a magical aura to this experience.

Let's get to the gritty. the technical execution of this film is unlike anything I've ever seen. I had to continually remind myself that this wasn't real, and with the 3D camera, the visuals were stunning, remarkable, unbelievable and near flawless. Colors I have never seen before jumped off the screen. Moments of action sent bullets or rockets flying past my head, subtle burning embers fell around me, and the camera flew through the skies nearly causing vertigo.

This is hands down the best film of the year, well worth the anticipation and wait. It deserves Best Picture and Best Director on the basis of ambition and dedication alone. Much in the way Return of the King served as the catalyst for Peter Jackson's reward for his work, Avatar will reap major awards this year. Technically, from the visual effects to sound editing, and the balanced and emotional score, it will sweep as well.

This film is a must-see with something for everyone. Impressed by the world of Pandora, I was equally entertained by the battle sequences. There is clearly room for a sequel or two, and I think Cameron has the drive and the vision. The only question is if audiences will appreciate the artistic achievement. I certainly did, and despite some of the detractors, this film is absolutely excellent.

If you have a chance, see it in 3D and IMAX, if not, the 3D is a must. I am going to see it again tomorrow, the imprint of the world of Pandora is something that will stick for some time. It will be a travesty if it is not respected for its cinematic brilliance. 10/10.

Golden Globe Nominations

The nominations are in, and as expected, there are many that you would expect, and some that are out of left field. Even more interesting (and probably not surprising) there are undeserved nominations and even some snubs from this year's somewhat unremarkable lineup of films.

Because of the shift to 10 best picture nominees for the Academy Awards, the Golden Globes, which are routinely a warm-up with more basic categories and ultimately awards distributed, seems considerably more important in the prediction and dissemination of the big awards. That said, here is my prognostication for the early awards.

Best Picture, Drama - Avatar. The Cameron titanic will henceforth be known as his crowning achievement. It is the Lord of the Rings trilogy rolled into a revolutionary film making style that will usher in the 21st century a few years too late. Although two sequels are already planned, this is what will solidify lifetime achievement awards for Cameron. This is what the Phantom Menace was supposed to be. Prepare to be blown away. I have my tickets, you'd better get yours. Once released, the hype will confirm and the fans will flock. I boldly predict global box office domination well into March. This is guaranteed top 5 grossing films of all time, possibly giving Titanic a run for its money.

Best Picture, Musical or Comedy - The Hangover. Spot on casting and sharp writing, the Hangover is a modern comedy classic for the ages in the league of Caddyshack, Animal House, and Ghostbusters (Harold Ramis, anyone?). Nine is riding on the coat-tails of Chicago, and although the cast is impressive and Day-Lewis will carry it to success, both critically and financially, it won't be enough to match the brilliance of the Hangover. Piece of advice: even better the 2nd time around.

Best Director - James Cameron. No other film maker this year has put more of his heart, soul, and vision into an epic film. This shouldn't even be a contest, although I do concur with 4 of the nominations (although I haven't seen Precious yet). I am glad Tarantino is getting credit for his bold move with Inglourious Basterds.

Best Actor, Drama - George Clooney. Up in the Air. I like the Jeff Bridges buzz, he is an under-appreciated talent, but I see his role too similar to Rourke's the Wrestler last year. Clooney is in a higher profile film, and honestly, his performance was as good as Michael Clayton, and with the limited competition this year, he will win.

Best Actor, Comedy or Musical - Matt Damon. the Informant. His performance made this film what it was (no disrespect to Soderbergh). The weight gain, goofy mustache, and arrogant, yet ignorant character combined with a hilarious true story will give him the award that he most certainly deserves. Daniel Day-Lewis will come in a close second, and will probably earn an Oscar nomination while Damon will receive one for Invictus (see Winslet, 2009 - she was better in Revolutionary Road than the Reader, and won a supporting Golden Globe for the same movie she eventually won the Best Actress Oscar for).

Best Actress, Drama - Gabourey Sidibe. Precious. She stands out as the most visceral performance of the group. The role must have been gut-wrenching to play, and the competition is not of the highest caliber that it has been in years past.

Best Actress, Musical or Comedy - Meryl Streep. Julie and Julia. With 40% of the nominations in this category, Streep is the odds on favorite. As the greatest and most accomplished actress in the history of film, she improves her odds. Expect similar results at the Oscars.

Best Supporting Actor - Christoph Waltz. Inglourious Basterds. Nevermind that he speaks four languages throughout the course of the film. He is a riveting and almost respectable Nazi Colonel dubbed "Jew Hunter" yet he manages to stand out as the star. Great movie - even better the second time around. Waltz is mesmerizing.

Best Supporting Actress - Anna Kendrick. Up in the Air. Better than Farminga, and Up in the Air is the most impressively acted film of the year. Maybe I'm biased because I don't like Julianne Moore or Penelope Cruz. Mo'Nique is the other option, and I don't think Precious will sweep the female awards.

Best Screenplay - Quentin Tarantino. Inglourious Basterds. His best since Pulp Fiction, and we all know how that one has withstood the test of time among cult classics. It was simply a risky move on a highly controversial subject that ended up as an entertaining tale with the most satisfying climax of any film this year. I expect nothing less from the man who has invented a genre.

Now for the main TV categories, without the exhaustive commentary.

Best Show, Drama - Dexter. Great writing, acting, and a guilty pleasure through and through.

Best Show, Comedy - Modern Family. The best new show on TV, supplants 30 Rock and the Office as the best comedy.

Best Actor, Drama - Michael C. Hall. Dexter. Hall has made a serial killer the coolest character on television. How can you argue that?

Best Actor, Comedy - Alec Baldwin. 30 Rock. He does deadpan comedy so well, and does so with such ease that would be a perennial shoe-in if not for that Carell character.

Best Actress, Drama - Kyra Sedgewick. Due to the lack of competition this year, and her longevity with the series, she wins.

Best Actress, Comedy - Tina Fey. 30 Rock. The perfect comedic yang to Baldwin's yin, and as one of the creative minds behind the humor, it adds to her viability.

Best Supporting Actor - John Lithgow. Dexter. Making this season one of the most exhilarating, Lithgow played the villain with such uncharacteristic creepiness. I can't look at him the same.

Best Supporting Actress - Jane Lynch. Glee. She is the equivalent of a comic Midas. Everything she touches is comedic gold.

Up in the Air

Jason Reitman's follow up to his wildly successful Juno assembles an excellent cast and throws them into a story involving airports and the economic decline. However uninteresting and despondent these two topics are, a gem of a story emerges.

Up in the Air has an amazing cast with George Clooney, newcomer Anna Kendrick, Vera Farmina, Jason Bateman, JK Simmons, Zach Galifaniakis, Danny McBride, and a short Sam Elliot cameo.

The film is a serious look at family, love, life on the road, and a difficult job that requires equal parts objectivity and sympathy. There is just the right amount of levity and humor interspersed to make it a very respectable and clever movie. The writing is top notch, and all of the actors bring their A game, regardless of the size of their roles.

Clooney excels as Ryan, an antiquated road warrior who is hired out to lay off workers around the nation when the companies are too scared or nervous about liability to do so. Kendrick plays the young, sharp, aspiring corporate woman with ideas that will increase productivity and efficiency within the company, but that will eliminate the nuance of the human touch. Jason Bateman, as Clooney's boss decides that he should show her the ropes on the road.

Farminga plays the female equivalent of Clooney, and the two meet on the road for trysts that inevitably turn into more. She does a nice job of being likable as well as emotionally distant, and has a very natural and admirable banter with Clooney.

The subtle subplots are the most compelling piece of this film however. Clooney's hotel convention speaking engagements where he creates the metaphor of everything in your life being carried in a backpack, and ultimately that they weigh you down, and you should lighten your load. It's poignant, and quite appropriate considering his lifestyle, but you can sense that behind the confident exterior of a man with the bravado of a lone wolf, there is a loveless and regretful life of a man approaching his 50's.

The second subplot, which I found to be pivotal to the larger plots of the film is Clooney's ultimate goal, which has to do with frequent flyer miles. When he finally reaches his goal, there is a fleeting moment of excitement, followed by a prolonged sadness as the reality of his accomplishment sinks in. The film then concludes in a predictable manner, but one which really sticks, and drives the point of the entire story home very gently,

This is a tremendously smart film, even more-so than Juno was. I foresee Oscar nominations for film and director, as well as Clooney for Best Actor and Kendrick for Supporting Actress. To this point, this is the best film I have seen this year with Hurt Locker and Inglorious Basterds taking a relatively close second and third.

Depending on Daniel Day-Lewis in Nine, I think Clooney will take the big prize in March. 9/10.

Invictus

The rejuvenation of a man, wrongly imprisoned for 30 years, only to return and lead his people to peace and prosperity. It's not Edmond Dantes, it's Nelson Mandela. The South African revolutionary who ended Apartheid now is the subject of a biopic by master filmmaker Clint Eastwood. His longstanding friendship with Morgan Freeman catalyzed this unusual genre for Eastwood, but this is the role that Freeman was born to play, complete with the bright, toothy smile and the white/grey streaks through his hair.

The film presents its heavy themes through the easily interpreted metaphor of sports. In this case, rugby. This move is simultaneously brilliant and distracting from the importance of the country's struggles. Matt Damon plays the team captain who is trying to boost the confidence of the underdog team as they enter the hallowed World Cup in 1995. What on the surface appears to be a wonderful confluence of stories, and as inspirational as it is, becomes a little divided between a sports story, and a powerful political drama.

There was tension put into play by making the newly empowered security detail a focal point of the story, as well as the racially integrated composition element. There were brief moments where assassination attempts seemed likely, and I kept bracing myself for the possibility, but the mood kept turning toward hope and peace. The post-Apartheid violence was overshadowed by the magnanimous man willing to forgive his oppressors.

Damon gives a good performance, but is very stoic and stereotypical as the leader of the team. He does not give pep talks as you would think appropriate in this type of film, and he leads them into competition, but the character angle of the sports theme is a bit dry and fleeting.

This is the perfect role for Freeman, although he doesn't have to stretch much beyond the manipulated accent. It is reminiscent of last year's Frank Langella playing Nixon, only slightly less powerful. Eastwood's trademark storytelling is clear by touching shots of the slums and divisive communities, as well as the music. Lone piano key strokes with subtle mood manipulating melodies constantly bring me back to Unforgiven and Million Dollar Baby. Not a bad thing, but not exactly what I want to think about during a 1991 racial film.

In many ways reminiscent of Remember the Titans, Invictus uses racial tension to bolster what is an otherwise relatively insignificant and common sports underdog feat. I like the dedication that Eastwood gives to the authenticity of the film, but I was left feeling a little manipulated.

I enjoyed this film, and I am sure that with this award season wide open, it will garner some nominations, but I don't see it winning anything beyond the nostalgic biopic votes (Frost/Nixon?). Definitely worth watching - a remarkable true story that warms the heart and educates on the all too recent injustices in the world. 7/10.

Reviews Coming Soon -

Coming Soon -

Early Oscar Buzz

Time for some early Oscar buzz discussion. I know, the Golden Globes are usually the first indicator of Academy Awards candidates, but after seeing a handful of films, and a clear picture of the quality of film emerging, it is time to look at the categories.
Best Picture
This is the first (and hopefully last) year of expanding the category to 10 nominees. This is not going to be the boon that the Academy was hoping for, instead there will be some relatively unworthy recognition bestowed upon some of the films.
Avatar - Absolutely the blockbuster of the year. Look for this to break box office records as well as revolutionize action cinema forever. This is my front-runner for Best Picture winner.
the Hurt Locker
This is a wonderful film that would not typically receive the recognition that it deserves, but with the extended list of candidates, it should be there. Not going to win, but definitely deserving.
Invictus
This film looks absolutely amazing, and is yet another of Eastwood's masterpieces. Who would have thought that Dirty Harry would become one of the most prolific directors around?
Nine
I am incredibly curious about this one. Daniel Day-Lewis heads an all-star cast in what can only be described as this year's Chicago.
Up in the Air
Jason Reitman is clearly a chip off the old block, but he may have more dramatic credibility.
Precious
With surprising buzz, and a gut-wrenching story, this may be the Slumdog Millionaire of 2009.
A Single Man
Receiving tremendous buzz for performances by both Moore and Firth, this one should be on the list on quality acting alone.

This brings us to the three films that would never, ever receive recognition if there were 5 candidates, but all three truly deserve recognition.

Inglorious Basterds
A Tarantino masterpiece. Great story, acting, and the ending was one of the most indulgent film fantasies this year.
District 9
Excellent story, creative effects, and overall well done.
Star Trek
Abrams again delivers, this time with the kickoff to a new generation of Star Trek franchising. The sequels will surely not disappoint.

One final possibility - depends on the opening date:
The Lovely Bones
I did not read the book, but from what I've heard, the adaptation is brilliant. Peter Jackson has been out of the spotlight since the Lord of the Rings films, but this film will be nominated if it is released in 2009.

Winner - Avatar

Best Director

Eastwood - Invictus
Cameron - Avatar
Marshal - Nine
Tarantino - Inglorious Basterds
Daniels - Precious

Bigelow and Reitman for the Hurt Locker and Up in the Air are also possible considerations, but I like Tarantino and Daniels to round out the usual suspects.

Winner - Cameron - Avatar

Best Actor
Freeman - Invictus
Clooney - Up in the Air
Renner - The Hurt Locker
Day-Lewis - Nine
Firth - A Single Man

This is a loaded category this year, but I like these five for nominations.

Winner - Freeman - Invictus

Best Actress
Sidibe - Precious
Streep - Julie and Julia
Cornish - Bright Star
Mulligan - An Education

There are a handful of others who may infiltrate this category, but as I've mentioned before, the actress categories are my weakness for prediction.

Best Supporting Actor
My favorite category year after year
Damon - Invictus
Lang - Avatar
Waltz - Inglorious
Molina - An Education
Baldwin - It's Complicated

Tucci looks absolutely frightening in Lovely Bones, so he is a sure thing if the film is in the hunt this year.

Winner - Waltz - Inglorious Basterds

Best Supporting Actress
Cruz - Nine
Kendrick - Up in the Air
Mo'Nique - Precious
Moore - A Single Man
Thompson - An Education

Winner - Cruz - Nine

My official predictions will come once the nominations are announced, but for now my short list of films to see:
Nine
Up in the Air
Precious
A Single Man
Avatar
Invictus

The Blind Side

The Blind Side refers to the left side of the offensive line, where the Quarterback is unable to see the defense coming after him. It is also an appropriate metaphor for the film in which a rich, privileged Memphis family takes in a poor, black orphan and ultimately change both of their lives forever.

Based on the true story of Michael Oher, who overcame adversity to enjoy a successful career at Ole Miss, and become a 2009 first round draft pick by the Baltimore Ravens. He beat the odds of the less than .2% of high school football players making it to the professional level (215/9,000). It is an inspirational story in the spirit of Rudy, Remember the Titans, and Invincible.

Quinton Aaron, Tim McGraw, and Sandra Bullock give good performances as Michael and the family he finds. Michael is a docile, heavily disturbed by his drug addled, neglected past. Having never slept in a bed and having a 6'5, 300+ pounds frame, he is the perfect candidate for an offensive tackle, but he is ironically passive and restrained. The liberties taken in giving the audience insight into his unique mental state is a bit cheesy: Low IQ, low percentiles in all mental categories, but the one area he excels is in on standardized tests is "protective instinct". Like I said, cheesy.

Michael's development takes some major prodding by Bullock's uber-bitch wife, who is unusually compassionate and open-minded despite being a southern belle Republican Ole Miss cheerleader. She does the right thing, ostracizes herself from her social circle and ends up being heroic. It seems a little too altruistic, and the husband, as the Taco Bell franchise magnate is a little too laid back and hip for the reality of a Memphis suburb.

Bullock is not typically one of my favorites (sorry Paul), but she does a surprisingly convincing job playing this type of role (see Crash). Hmmm, this seems to be recurring.

I like the way that the film was done. Not too sappy, not too much time spent on the football field. The story was actually inspiring, and I enjoyed how the film basically ended at the beginning of his college experience. The photos were poignant, sharing intimate looks at the family who participated in this extraordinary story. Michael Oher is a fascinating young man who should be shown as a role model to young struggling athletes.

In a time of Oscar contenders and action junk, this film hits theatres at just the right time for an uplifting tale. I would recommend this movie, not for its quality, but rather for its heartfelt emotional message. 7/10.

The Road

Cormac McCarthy's latest silver screen incarnation paints a bleak and despotic picture of the post-apocalyptic world undone by man's own hand.

Without fanfare or special effects, the first time director (John Hillcoat) gives us the image of hopelessness and depression within a landscape of nuclear winter induced ash, broken and burning buildings, and emaciated soulless human shells wandering in search of food and shelter.

The nuance of emotion is one of pure fear. Fear of starvation, fear of robbery, fear of rape, and worst of all, fear of death by cannibals.

McCarthy wrote this book a few years ago, and it won the Pulitzer, and was embraced by fans who respect his craft, while panned by many who saw the dystopic view too macabre. I for one appreciated the simplicity of the book, which was translated beautifully to the screen. The flaw however is the lack of substantive action. If you are looking for a love story, action scenes, or even violence, this is the wrong film for you. If you are looking for a suspenseful piece that paints what is probably the most realistic vision of mankind's future after nuclear fallout, this is the right film for you.

The story follows a man and a boy as they wander toward presumably warmer climate and toward water. They meet fellow survivors along the way; some good, some bad, one in particular is a reminder of how great an actor Robert Duvall is.

The paradox of the film is the dichotomy of spirit. The man is a survivalist, suspicious and protective of his son who is his only link to humanity. the last remaining connection to the life he had and his love (played briefly by Charlize Theron). The boy on the other hand is an innocent optimist with no memory of a life before the apocalypse. He is the one beacon of hope amidst chaos and destruction. Always carrying the torch of goodness.

Characters come and go, and there ultimately are no happy endings for anyone, which marks the realism of the situation. From the incessant coughing, to the labored movements and even the grimy hands and yellow teeth, The Road is a terrific companion piece to the novel.

Mortenson plays the man without much effort, but does so well. The boy does a nice job convincing the viewer that he is truly ignorant and frightened. The little things make the film special. Finding a dusty can of Coke, you can imagine how sweet it tastes at the first sip. Finding an abandoned bomb shelter stocked with cans of fruit cocktail is a small victory, but incredibly poignant for the characters. Finding a place to take a warm bath, you feel their joy as the dirt swirls down the drain.

Not a bad film by any stretch of the imagination, but I don't think there is enough happiness or substance to warrant any awards consideration. I have to admit, I was curious how they would pull off a film based on the novel, and although it did not disappoint, there was a somewhat dissatisfying feel to it. 7/10.

2012

Attempting to capitalize on the current "Mayan Calendar Apocalypse" scare, 2012 shows us exactly what we have come to expect from Roland Emmerich; weak and predictable plot lines about terribly written characters who escape from impossible and clearly un-researched situations. Fortunately for viewers, this is exactly why we go see his movies.

Stargate, Independence Day, Godzilla, the Patriot, the Day After Tomorrow, and 10,000 BC round out Emmerich's hit and miss collection of calamitous adventure flicks. He has made a name for himself synonymous with someone like George Romero, Michael Bay, John Waters, or Roger Corman. Someone who creates films that are in a league of their own, yet nobody has any reason to imitate or duplicate.

2012 operates under the conspiracy theory that the world will end in a cataclysmic fireball of volcanoes, hurricanes, tsunamis and earthquakes, all in a matter of hours and days. Convenient for a disaster flick, but highly improbable.

A meager attempt to base the foundations of the theory in fact, however accelerated and misguided that it might be, seems to be Emmerich's bread and butter. For the purpose of financial gain via special effect orgasms all over the screen, he is relatively successful.

The problem that I am beginning to have with his work is that it is predictable recycled material. I can sum up the story in a short paragraph, and you would have no idea which movie I am talking about:

Strange occurrences on planet earth. Single person determines the cause and fights to survive, bringing a small group of believers with him. Massive explosions ensue and prominent world landmarks and various wonders of the world crumble in an attempt to wow the viewer. Preposterous survival, happy ending.

There are a couple of things that need to rear their evil heads no more - by Michael Bay or Roland Emmerich - Please! Eccentric characters who are heroic beneath a shroud of craziness. Families who reunite through the mutual experience of death, doom and destruction. And, finally, inopportune motivational speeches with undertones of humanity and hope. Someone just shoot me.

John Cusack, an otherwise fine actor leads the cast of B-listers, and drags his family across the world in a series of near-misses to ultimately board one of a handful of "Arks" that have been built to propagate the species and ensure survival. How does one become a lucky member of this elite group of just a couple hundred thousand people? By being a billionaire of course. The not-so-subtle innuendo of class differences and government corruption pervade the films innocuous message. Wait, what is the message? Oh yes, that even you can fly a plane off of a crumbling runway not once, not twice, but three times (without knowing how to fly, mind you) and even you can hold your breath under freezing water for minutes at a time. Wait, is that the message?

In all seriousness however, the levity that is made about the BILLIONS of deaths is a bit undermining of the actual message of hope and humanity. Survival is impossible in a scenario of this magnitude, and in my humble opinion, everyone should have died a quick and horrific death. That would have been more realistic if the world were to fall apart at once.

Do you like to see the White House being crushed by the USS John F. Kennedy? Do you want to see Los Angeles fall into the ocean with all of its narcissistic plastic people obliviously falling off of the 405? Finally, do you ever wish that Las Vegas could be engulfed in flames? Maybe you'd like to see Old Faithful erupt, or an homage to the devastation of 9/11 and the Titanic in the same film! If you answered yes to any of these, this just might be the film for you.

Exactly what you would expect from the master of disaster, but as unoriginal as it is unsatisfying. 5/10.

Top 5 Movie Mustaches of All-Time

Disclaimer: This poll is in no way associated with the American Mustache Institute.

In honor of No-Shave-November, I thought I would come up with the top 5 lip ticklers of all time. These hair snakes are as iconic as they are timeless. Veritable screen legends themselves, these five soup strainers, or cookie dusters top the list, although there are some quite impressive competitors in this nose mane list. Without further ado, here they are.


Brolin's stache in No Country for Old Men is the logical choice over his other championship caliber entries from American Gangster and Planet Terror. 2007 was a great year for this facial hair farmer.



Jason Patric from Narc is probably the coolest Fu Manchu in recent movie history. It probably helps that he is a Narcotics Detective with a past drug problem. Classic film facial ornamentation.



Burt. Need I say more? The hair bandit himself is probably more famous for his lady pleaser than his sub-par acting. Although Smokey and the Bandit may not be his greatest facial display, it is memorable nonetheless.



Who can think about mustaches without visualizing the gravelly-voiced Sam Elliott? Roadhouse, Tombstone, Big Lebowski. His nasal caterpillar is a staple of his craft, and although it is difficult to decide on the particular role, I have to go with Tombstone. Appropriate and classy, like the gentleman Elliott is.



The champion of the dustbuster is an upset. You would think Tom Selleck or Hulk Hogan? Perhaps Borat or Ron Burgandy? No. Although impressive in their own right, the winner is Daniel Day-Lewis. As brilliant as his acting, his facial concoctions dazzled audiences in both There Will be Blood as well as Gangs of New York. A huge fan of Lewis, I had to choose Gangs of New York on pure girth. The beautifully upturned handles with just a hint of wax are follically charged art. What makes his victory all the more impressive is that he does not sport the stache when he is not in character. A typically clean-shaven man, he has some of the best facial farming potential of any actor in his league.

I hope you enjoy, and I welcome your comments and disagreements.

The Men who Stare at Goats

No Goats, No Glory! This is the tagline for the story so ridiculous that it is probably mostly true which stars an all-star cast including Academy Award winners Kevin Spacey and George Clooney and 4-time Oscar nominee Jeff Bridges. Director Grant Heslov hits a home run with the confidence of his production team and backed by what is probably the best ensemble cast of the year. What originally seemed like an Oscar caliber idea quickly dissolves into a farcical attempt to satirize the competence of the US military.

Set to the perfectly complementary Boston, the story focuses on a reporter (McGregor) who stumbles on a story of psychic soldiers in the post-Vietnam Cold War era. After exploration, he tags along with the quirky Sergeant Cassaday (Clooney) who reveals the exploits of his black ops jedi warrior clan.

What makes the film difficult to take seriously is the absurdity associated with the psychic warfare angle. What eventually brings the viewer in is the endearing and intriguing demeanor and dedication of the men involved. You feel that their fight for success in winning the war on terror peacefully is validated after spending time with their characters.

Humor abounds in what is a snapshot of a piece of actual experimental military science. The final scenes prove how much a drop in the bucket this program probably was, and subconsciously causes a cynical outlook on the wasteful bureaucratic nature of government. To approve a program so completely beyond the realm of logical is simply typical.

My newest favorite actor, Stephen Lang, shows up as the Brigadier General who is in charge of the secret program, and seeing him on screen fuels my excitement for his role in Avatar, where I truly think he will be a dark horse supporting actor contender come March.

This film is as original as it is quirky, and I found myself sitting in a crowded theatre appreciating the humor more than any other viewer in the audience. Laughing out loud at inappropriate times just comes natural in this light-hearted romp.

Cleverly billed as a film that clearly doesn't take itself too seriously, goats although not a critical part of the plot do add a very astute symbolism to the film. An arbitrary creature that is hilarious (gut-busting prolonged camera shot of an innocent goat) as a way of demonstrating the tone.

George Clooney shows that he is capable of just about any role out there. His range is wider than any actor in the business today as will be evident in his Oscar win for Up in the Air later this year. The rest of the cast is strong and appropriate, and although critically panned (see EW's F grade) this film hits the target where it aims.

I probably liked it more than others, but I appreciate its originality and humor. Stephen Lang is entering a second phase of his career that will land him choice roles in the coming years much like Brolin's role in No Country for Old Men did for him. Definitely not great, but go see it for the absurdity. 6/10.

Couples Retreat

It seems that Hollywood is being taken over by powerful groups of friends. First it was Clooney, Pitt, Damon, and Soderbergh. Then it was Apatow, Rogan, Sandler, and Rudd. Now it is apparently Vaughn, Favreau, Bateman, and Billingsley. Do they have the staying power? Sadly, no. The buddy genre will continue, but the allure is sadly gone. Couples Retreat is exactly what it appears to be; a fun movie to make with a fairly intriguing theme. What shows up on screen is a somewhat banal comedy with some unnecessary plot points and character traits that only amuses at times, and when least expected.

The plot has many holes in it that makes this romantic comedy (for lack of a better categorical definition) shallow and flaky. Bateman is disappointing because he is given the role of the serious stiff of the group. He isn't given the opportunity to show his comedic chops and so he just comes off as annoying. Favreau is just plain despicable, as is his wife, Kristin Davis. Kristen Bell is cute, but unbelievable as a barren corporate tightwad. The only bright spots are the perky Malia Akerman and Vince Vaughn as the only couple without some major marriage issues. I haven't enjoyed Vaughn in years. It seems that his head gets bigger, and although he has brilliant natural comedic talent, he seems like a bit of a douche bag. He impressed me with his humble approach to the role and made some very well-timed deliveries on top of some of his usual loudmouth antics.

Good supporting roles are played by John Michael Higgins and Ken Jeong as therapists working on the island resort, working with the couples to try to guide them toward the path to recovery. Additionally, Carlos Ponce as the sexually charged yoga instructor, and Colin Baiocchi as the youngest of Vaughn's sons give the film the levity and humor that it is missing from start to finish.

The plot is predictable and weak, but what would you expect from a movie about couples in an island paradise; comedians and hot women. It is quite lackluster and predictable and The only saving point is that as the film comes to an end, it doesn't climax too soon. The ending passes without much fanfare, but it has its moments and isn't altogether awful.

I was expecting much more from a Jason Bateman film, but maybe I was expecting too much. He is too funny to be stifled by a lame character and boring dialogue. My prediction is that Colin Baiocchi will achieve child actor status of such industry legends as Haley Joel Osment and Jonathan Lipnicki. If you didn't sense the facetious tone, I will say that seriously he has potential.

Came for the comedy, left dissatisfied. Peter Billingsley is no Judd Apatow. 6/10.

A Serious Man

The Coen Brothers are back with their latest about a Jewish Minnesotan in the 1960's. Only the Coens can take something so mundane and banal and turn it into an enthralling study of a single man's decline into an abyss of guilt and anguish.

Larry is a middle aged man at a crossroads in his life. The cleverly cast Michael Stuhlbarg portrays the math and physics professor anticipating tenure when his personal life is pulled out from under him with typical detailed Coen subplots. He of course has no idea that things are going poorly, and is forced to cope with problem after problem. The supporting characters are all Jewish, save the subtle neo-nazi neighbor, and there is a heavy theme of a man lost, finding his place in the confined world of his own life.

A Serious Man hearkens back to a simple time, a very linear and basic plot, and although not a great film by any stretch, it is a bearable and interesting piece with notable nuances indicative of the unique genre that has spawned out of the Coen's minds. Actors with uncharacteristically pronounced flaws or idiosyncratic tendencies. Settings and props that are quirky enough to cause notice. Prolonged scenes and awkward yet brilliant conversations.

I will religiously watch anything that the Coens create. Ever since No Country, I am a believer that they are true trailblazers in cinema in the way that Tarantino/Rodriguez and Cameron are, but the Coens hit a more visceral nerve in the viewer. They take ownership of their work. Writing, directing, editing, they do it all from start to finish.

The little things make this film great. The nervous tick in Larry's eye. The Gary Cole in Office Space-esque tenure committee chairman. The phone conversation with the subscription music clearing house. The slow walk of the receptionist down and back from the rabbi's office. All of these details are the trademark of the Coen Brothers, and although not a classic in their library, it is well done, down to the ambiguous and dissatisfying ending.

This one may not receive much critical acclaim besides the writing. Of course, with 10 Best Picture nominees this year, I wouldn't count this film out. Probably the 4th best film I've seen so far this year (Hurt Locker, Inglorious Basterds, the Informant) but there are a handful on the horizon that could easily knock it from its spot. Of course, it is the Coen Brothers...

I am looking forward to their next film, a 2010 remake of True Grit with Matt Damon, Josh Brolin and Jeff Bridges on board. They have been itching to tackle this project for some time and it looks like it will finally come to fruition. Like I said, they can do no wrong in my eyes, although I am disappointed that Cormac McCarthy's Blood Meridian fell from from Coens to Ridley Scott to Todd Field, and is taking so long to find it's way to the screen. It would have been gold (and probably still will be if ever shot).

The coming months are bringing only a handful of prospective Oscar candidates. For some reason it seems to be a down year for the Academy. Precious, Men who Stare at Goats, Up in the Air, the Road, the Messenger, Brothers, Nine, Invictus, Lovely Bones and Avatar are the only remaining films on my list, and many of those will certainly prove disappointing. My biggest disappointment is Shutter Island being pushed off to February. Oh well, Leo will have to wait for his Oscar another year.

A Serious Man: good, but not great. Definitely worth watching if you are a fan of the Coens. 8/10.

Paranormal Activity

Fight or Flight. This is the summary of the human condition in response to an adrenaline-inspiring external force. Let me begin by saying that this film is not all that it is hyped up to be. That said, it is extremely inventive and curious. For a film shot on a budget of $11,000, it will almost surely become one of the most profitable films of all time.

The premise is that two average people; a student and a day trader (convenient for the staying home all day angle) are noticing paranormal activity during the night. A pretty straight-forward back story of the girl having a history of haunting, and the psychic coming in to explain the difference between a ghost and a demon (thanks doc) builds tension over the course of about two weeks . The style is done as an almost exact replica of the Blair Witch Project only they are in a house instead of the woods. The characters are pretending to be authentic, and to make my movie going experience even better, upon conclusion, the girl behind me asks out loud "was that for real?" The answer to that is an obvious and resounding "no".

This film, along with Blair Witch and Cloverfield follows the pseudo-reality format, only the characters do not follow what a normal, real person would do in this situation. If there was creepy stuff going on in your house, to quote Eddie Murphy, you should "get out". Additionally, I would probably use lights as a demon deterrent and/or close the bedroom door maybe. I don't know, if the psychic said don't communicate or provoke, I might listen to him as well.

What works about this film is the ambitious semi-realism and the female lead, although she does resemble Pam from the Office just a little too much to take seriously. What doesn't work is how idiotic the male lead is. And that they don't take any discernible action to resolve their plight.

I went into this film with high hopes because of the hype and public response, but I was let down. There were certainly moments of heart-pounding tension, and it was the anticipation of something happening that made the film intriguing and scary. Frightening? No. Disturbing? A little. Watching things happen to people while they sleep is a fear that everyone can relate to. Helplessness and ignorance are scary concepts to deal with. However, if you leave the bedroom door open, you are kind of asking for it.

I liked this movie at times, but I couldn't get on board with half of the cast at all. The fact that they stayed in the house and continued their quest to figure out and solve these phenomena proved that they were not so hapless victims. 5/10.

The Informant!

Steven Soderbergh's latest film carries many of the same nuances that have put him in a class of his own in the decade since giving us the underrated Out of Sight. There is the familiar Section Eight production team headed by close friend George Clooney, and Matt Damon in the type of lead role that we haven't seen from him to this extent before. The hip, anti-establishment visual swagger is evident in the overdone yet subtle costumes, the ridiculously inappropriate musical accompaniment and the witty dialogue that paints a beautiful picture of bizarro corporate 90's Midwest life.

The Informant! is a lighthearted film that takes a massive corporate scandal and makes it seem almost secondary to the delusional egocentric behavior of biochemist VP of a corn company; Mark Whitacre, played by Damon. Damon drives the film's attitude with an extra 30 pounds, a perfectly meager mustache and a toupee to top it off.

The film works mostly because it doesn't take itself too seriously. It's like Erin Brockovich (also Soderbergh) or a Civil Action, but with a little bit of Coen Brothers style of speed and humor. The supporting cast is great - a handful of comedians fit the roles of FBI agents, corporate executives and attorneys with straight faces, allowing the absurdity of the story to take the brunt of comic relief. Mostly however, it is Damon who shines as an exponentially spiraling amount of trouble befalls a doofus with a legitimate mental illness.

This is one of the first great films of Oscar season, and Damon will almost certainly get his second Best Actor nomination to go with the Best Picture nod. Soderbergh bounces back to life as an A-list director in his first work of art since Traffic. The past few years have been spent cultivating his relationships with Damon, Clooney and Pitt with vehicles that look like about as much fun as a director can have, but he's back on track with some quality work now.

I would recommend this film strictly for its wit and timely sardonic depiction of the vice presidents and general asinine culture of modern day corporate America. Damon is fantastic as well. 8/10.

Extract

Mike Judge, the creator of Beavis and Butthead, King of the Hill, and Office Space forays back to the silver screen with a simple tale about an extract company owner (Bateman) who is dissatisfied with his marriage, and has to deal with incompetent and apathetic employees at work while trying to avoid a pending lawsuit that is stalling his attempt to sell the company.

Judge has a knack for portraying the everyman and puts a genuinely interesting and humorous spin on the plights that a monotonous life can concoct. Much in the spirit of Office Space, Bateman's character is likable and pathetic, and his interactions with the interesting individuals around him are pedestrian, but somehow captivating. A great placement of supporting characters JK Simmons, David Koechner, Ben Affleck and Kristin Wiig creates a mood of levity that I surmise is exactly what Judge was going for.

What makes this film work is the simplicity of the story and the slow, innocuous dialogue as well as the banality of the characters' lives. From Simmons calling all of the employees "Dingus" because he can't remember their names, to Affleck suggesting drugs as a remedy to all of Bateman's problems and Koechner simply pestering his neighbors with his painfully prolongued plea for them to attend a benefit with him. These are all conversations that we have had in our lives, so there is that element of connection that is often missing from contrived dialogue.

Jason Bateman is the most naturally gifted comedic actor in the business. From his days in Arrested Development to his bit parts as the scene-stealing cameo or supporting player, he is able to evoke laughter with a perfect sense of comedic timing and innuendo.

The film itself was not great however. Although funny at times, it did delve into the realm of inside jokes that Judge and his friends might appreciate a little more than the general audience. There was also the sub-plot (or perhaps the primary plot depending on perspective) of Bateman's sexual frustrations with his wife, Kristin Wiig. It seemed entirely unrealistic as the two shared a rapport and chemistry that could only be described as loving and sincere.

There were just too many things going on to appreciate the film for its originality and humor. The testicular accident was unnecessary. Mila Kunis, although funny and beautiful seemed an unnecessary distraction to the rest of the film, Brad the gigolo held far too much screen time, and Gene Simmons was absolutely awful as the dial-a-lawyer looking to capitalize on the accident.

In the end, this was an entertaining film because Bateman can do no wrong in my eyes. If you are expecting the iconic cult status of Office Space, you will be a little disappointed, as Judge will never be able to duplicate that gem. However, Extract is still a funny, light-hearted comedy that hits dead-on almost as much as it misses the mark. 7/10

Gamer

*Disclaimer* Any movie that has Marilyn Manson and Frank Sinatra on the same soundtrack should be avoided at all cost.

If the Running Man and Gladiator had a threesome with Blade Runner, and there was a child created, it would most certainly have ADHD and would be named Gamer. This is the most concise way that I can explain the train wreck that is Gerard Butler's latest pseudo-action flick.

Butler oozes testosterone as Kable, a death-row avatar being played in a real mortal combat game called Slayers that draws billions of fans in a mindless bloodthirsty pay-per-view frenzy. The inmates are implanted with nano-cortex technology or something like that, and they are immobilized from determining their own physical movements. The gamers then control them and try to work through obstacles and combat to reach a save point.

I am a fan of first-person shooter video games, but to substitute flesh and blood is just a little morbid. The idea on paper is kind of fascinating, but on the screen it is just a gratuitous mess of pointless violence.

There were times that I thought I was watching a Russell Crowe doppelganger, and the staging before battles was stolen from Gladiator point-blank. I was curious to see Michael C. Hall, as I am a big fan of his performance in Dexter, but he disappointed me as the billionaire creator of the hit game who supplanted Bill Gates as the richest man in the world. Likely? No - his Southern drawl depicts him as nothing more than a cute idiot. And his song and dance routine was as random as the Sims world that people were living and working in.

There were lingering questions after watching this film. Like why did the kid get to control Kable? There are about a dozen inmates per outing, and billions of viewers. How did those dozen get so lucky to actually control the guys? It was never even touched on. Maybe I was the only one in the audience thinking about that.

The other "big" name was Ludicris who was ludicrous as the revolutionary who hacked into the broadcasts to spread the moral high ground message. I have to say, I have no idea why he is in movies. Every single role he has played, he has disgraced the title of actor and made a mockery of film. The talentless rapper has no business being cast.

All in all, this film was a valiant effort to revive the futuristic sci-fi death-as-entertainment genre, but fell short with its scattered sub-plots and an overall lack of emotional connection. Butler's Kable is a hardcore warrior, but the wife and daughter angle just didn't leave me caring, and there was never a feeling like he was in danger because battle success was just so easy for him and his handler.

I like Gerard Butler, and he is a great potential action star. I think his intentions were great for this role, as the movie could have been cool. The story was original enough, but there were just too many elements that were disappointing; Overshadowing the others was definitely Michael C. Hall's performance.

Mediocre action, too much gratuitous violence and blood, and an ambitious failure of a delivery by hopefully last time directors of Crank and Crank 2, Taylor and Neveldine. 5/10.

Top 100 - 2009 Edition

As promised, here is my annual top 100 list, 2009 edition. There is a new number 1 as well as a few new additions that weren't on the 2008 edition. Comments, challenges and questions are welcome as always -

My list has different criteria than the AFI - I appreciate humor, originality, vision and a good old fashioned story. Acting, directing and cinematography also impact my decisions. In addition to the criteria listed above, this list also has some personal favorites that take me back to the awe and feeling of the cinematic magic that I felt when I first saw the film.

Without further ado - here it is from #1 - 100.

1. Dr. Strangelove
2. The Godfather
3. The Graduate
4. The Shawshank Redemption
5. Se7en
6. The Departed
7. Apocalypse Now
8. Patton
9. Aliens
10. A Clockwork Orange
11. It's a Wonderful Life
12. No Country for Old Men
13. American History X
14. One Flew Over the Cuckoo’s Nest
15. Citizen Kane
16. Casablanca
17. Saving Private Ryan
18. Brokeback Mountain
19. Braveheart
20. Taxi Driver
21. Forrest Gump
22. Schindler's List
23. Fargo
24. The Shining
25. Seven Samurai
26. The Exorcist
27. Pulp Fiction
28. Rear Window
29. The Sixth Sense
30. Scarface
31. Caddyshack
32. Raiders of the Lost Ark
33. Gladiator
34. Return of the Jedi
35. Annie Hall
36. The Apartment
37. Fast Times at Ridgemont High
38. Heat
39. Duck Soup
40. The Silence of the Lambs
41. Godfather 2
42. Cool Hand Luke
43. Rebel Without a Cause
44. Fight Club
45. LA Confidential
46. Dazed and Confused
47. Enter the Dragon
48. Raging Bull
49. American Beauty
50. Modern Times
51. Unforgiven
52. The Dark Knight
53. This is Spinal Tap
54. North by Northwest
55. 2001
56. M.A.S.H
57. Sin City
58. Tombstone
59. The Thing
60. Full Metal Jacket
61. Deer Hunter
62. Alien
63. Jaws
64. Rocky
65. Good Will Hunting
66. Mystic River
67. Glory
68. Bonnie and Clyde
69. The Fellowship Of The Ring
70. A History of Violence
71. Empire Strikes Back
72. To Kill A Mockingbird
73. Butch Cassidy and the Sundance Kid
74. Star Wars
75. The Big Lebowski
76. On the Waterfront
77. It Happened One Night
78. Vertigo
79. The French Connection
80. A Streetcar Named Desire
81. All Quiet on the Western Front
82. Boogie Nights
83. Training Day
84. American Graffiti
85. Dog Day Afternoon
86. High Noon
87. Psycho
88. Animal House
89. The Wall
90. Titanic
91. The Manchurian Candidate
92. E.T.
93. Primal Fear
94. Into the Wild
95. Return of the King
96. Platoon
97. Chinatown
98. Road to Perdition
99. A Christmas Story
100. The Matrix

Inglourious Basterds

The much anticipated new Tarantino film depicts a group of 8 Jewish soldiers going undercover in Nazi occupied France to disrupt the Third Reich and wreak as much havoc as possible. The Tarantino-esque intersecting storylines eliminates the monotony or potential stale plot development, and the segmented "chapter" format is once again used, proving to be his bread and butter.

It is uncharted territory for Tarantino, as the majority of the film is subtitled with the dialogue in either German or French. The feel however, is familiar. Long, drawn out scenes with clever if not innocuous dialogue that produces many uncomfortable laughs due to the building tension of the story and the almost absurd interactions. It is this that makes it a Tarantino film. People wouldn't discuss such things for minutes at a time, but there is a compelling aspect to it that can't be denied.

At an impressive 2 hours and 30 minutes, it is quite the tale. Tarantino adds to his mystique and reputation as writer and director, but there is much less innovative cinematic delivery as there is a fantasy parallel universe revenge story. It is a lingering theme, I mean, who hasn't fantasized about killing Nazis indiscriminately and without mercy? He has the clout to do just about anything he wants, and as writer and director, it is admirable that he has tackled such diverse subject matter, as well as actors.

The cast is mostly German, but has Brad Pitt, Mike Myers and Diane Kruger as the star power. I must admit, I am a huge Pitt fan, but he started this film out weakly. His character grew on me however, and by the end, I was on board and could see and appreciate what he had created. He was a hardcore Tennessee Lieutenant with battle scars and a country bumpkin drawl that overshadowed his true grit. Mike Myers had a small cameo and played a British General with a bit of sardonic flair. Kruger was in her element as a German movie star, but blended with the rest of the foreign cast mostly unremarkably.

The Americans were mostly unimpressive save a few well-timed lines, and some great background noise to the more compelling story. The credit goes to Tarantino however as any Jewish-looking black-haired actor would have shined in the American roles, and he chose a bunch of regular Joes, including his friend, director Eli Roth, who shouldn't quit his day job.

The real stars of the film in my eyes were two of the German stars; the evil Colonel Landa who gained the moniker "Jew Hunter" but had a personable element to his demeanor that was disarming and endearing. He is truly deserving of all of the acclaim he is receiving, and I wouldn't be surprised to see him end up with a Supporting Actor nomination at year's end. He somehow makes an SS officer into a likable yet feared man. Not physically imposing in any way, he psychologically assumes the aura of authority and conveys the passion for his job which is the attempted genocide of a race of people, yet can be somehow accepted by audiences. That is one of the most difficult roles possible, but he pulled it off brilliantly. The other standout in my humble opinion is Til Schweiger, who is recognizable in films such as Driven, Tomb Raider II, King Arthur, and a plethora of German films. He plays the Nazi traitor who joins the Basterds. It is a subtle role, but extremely effective. Not much dialogue, but the glares and body language is daunting in its efficacy.

In typical fashion, the film is broken into chapters that set up the big finale, and in this case, it does not disappoint. The tension builds throughout the whole movie, and how could it not? It is about the atrocities of WWII and focuses on the battle against the Nazis from inside occupied territory. Full of espionage, double crossing and secret identities, it is a great escape into a fantasy world, but instead of happy endings, it is a more realistic fantasy that still delivers a satisfying feeling at the end.

It is a classic story of good and evil, and in this case the evil is the ultimate 20th century villain which makes it almost too easy. Tarantino makes it very personal however, as he always does, and presents the uncomfortable subject in a unique and awe-inspiring way. The build up to the climax is a little slow, but as it nears, there is a real sense of tension and anticipation. He delivers it in a way that is not contrived or formulaic, but rather goes off on its own path and satisfies in the way that only a Tarantino movie can.

I can't say enough about how the credit belongs to the writer and director for composing what can only be called a successful symphony of cinema. Tarantino is a revolutionary who has carved a niche in the film industry and will never see an equal. He is different and unorthodox, but he is proud of that. He takes personal past obscure film experiences that have left an impression on him and modernizes them with a twist without disgracing or diminishing their impact. It is truly original and regardless of the content of the film, he has to be respected for his sheer confidence and visionary creations.

This is the resurgence of Quentin Tarantino after relative disappointments Kill Bill Vol. 1 and 2 and Death Proof of the wildly entertaining Grindhouse which in this critic's opinion was heavily weighted in Robert Rodriguez's favor. This is easily his best film since Pulp Fiction, and it puts him back on the map as the most innovative and anti-establishmentarian director in the game. I have always respected and looked forward to his work, but after this, I have a renewed sense of faith in his films and future potential. 8/10.

Greatest Actor of the last 50 Years Poll

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• Jack Nicholson
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Part Four - Jack Nicholson

Part IV - Jack Nicholson

The consummate actor's actor, Jack Nicholson has created memorable characters, sometimes out of nothing at all. He has played cops, colonels, criminals, jokers and an obsessive compulsive, anti-social curmudgeon who brings out the soft spot in anyone who sees him. Often imitated (Christian Slater) but never duplicated, he is the original cinematic bad boy. Devious grin from ear to ear, and the Devil's eyes he has a truly unique look. His smile is infectious and capable of disarming even the most guarded viewer. Okay, maybe I'm exaggerating a little, but everyone is captivated by Jack.

A career spanning 53 years and counting, he has aged gracefully, winning an Oscar in the 1970's, 1980's and 1990's. He should have won one in the 2000's, but that is another story for further down this article. Among the films not mentioned here are Easy Rider, Five Easy Pieces, The Last Detail, Terms of Endearment, Witches of Eastwick, Batman, A Few Good Men, and About Schmidt. To have 5 stellar performances on top of those is an achievement in itself. Let's take a closer look at the man who makes stargazing at Lakers games a sport in itself.

Chinatown (1974)

Having already established himself as a viable actors in such films as Easy Rider, Five Easy Pieces, the Last Detail and a slew of other television appearances and smaller films dating back to 1956, Jack took the lead role as Detective Jake Gittes in controversial director Roman Polanski's sleazy political drama.

Gittes is enlisted to investigate a simple case of suspected adultery, and what follows is a rabbit-hole of a conspiracy that ends with a shocking and unexpected climax. Darkly mysterious, Nicholson lends a swagger to a hip 30's era film that inspired the more recent LA Confidential, which is a great film in its own right.

Already having secured 3 Oscar nominations, he had a voice and an attitude that was completely original and compelling and would later break through genres and leave a lasting impression on the film industry forever. Not necessarily the handsome leading man that audiences were used to, he seduced us with his charm first and foremost, and his hair-trigger temper second. So emotional and explosive, he can take any part and animate it better than any other actor, with Al Pacino a close second.

One Flew Over the Cuckoo's Nest (1975)

My favorite performance of Nicholson's vast array of roles. Randle McMurphy is a clever social deviant who avoids hard time by pretending he is insane at his trial, and he is thrown in the loony bin. It is fitting, as the mid-1970's was a very pivotal time for psychotherapy and developments in both medication administration and behavioral modification.

As he stirs up his fellow inmates, we realize that they are not crazy at all, they are just mistreated and misunderstood. He is the only one who realizes this, and there is a strong bond between the eccentric characters that forms as he finds that a mental hospital is not quite the vacation that he thought it would be. The evil Nurse Ratched runs the ward with an iron fist and a silver tongue. One of the more subtly sinister characters in film, she complements Nicholson's happy-go-lucky McMurphy and their struggle between order and chaos is a great subplot filled with tension.

What makes Nicholson so great in this film is that he is thrust into an environment that is so contrary to everything his character believes and knows. He adapts beautifully and makes a selfless change at the end that is both tragic and beautiful. It is truly a wonderful performance that encapsulates Nicholson in his younger days.

Nicholson wins his first Oscar in his fifth nomination for Randle McMurphy, and the film picked up another 4 awards including picture, director, actress and writing. Definitely a must see, again and again.

The Shining (1980)

Perhaps Stephen King's best film adaptation to date, there is nothing particularly remarkable about the story - family moves to a haunted ski resort to work as caretakers, and the expanse of empty space and solitude drives Nicholson's Jack Torrance's sanity to slowly unravel. Who can forget him breaking through the bathroom door that his wife is hiding behind and shouting "Here's Johnny!" He plays crazy brilliantly, and that is the mark of an exceptional talent.

This film holds a creepy place within the genre. Not gruesome enough to be horror, and not unrealistic enough to be true fiction. It is a psychological character study among the three family members, with a little Steven King twist thrown in the mix. Nicholson is haunting and chilling. I only wish he had done more good horror films.

As Good as it Gets (1997)

This surprise hit by James Brooks sparks chemistry with Helen Hunt as Nicholson is the older and neurotic anti-social bigot who has a heart of gold. Despite decades of age difference, the two are exactly what each other needs at that time in their character's lives. Two lonely and struggling souls that emote their wildly opposite plights.

The moral of the story is two-fold - no man is an island, and no matter how despondent you are, it can get better. This film marks Nicholson's third Oscar win as an actor, which ties him with Walter Brennan for most ever by an actor. Brennan won three supporting actor Oscars and Nicholson two best actor and one supporting actor. Interesting bit of trivia - there is controversy surrounding Brennan's wins in 1937, 1939 and 1941 - actors voted for the award, and since he was a popular extra during the time with a good reputation, many speculate that he won the awards not because he deserved them, but because he had many friends.

I digress. Nicholson's Melvin Udall is given wonderful lines by Brooks, who wrote and directed and seems to be Nicholson's favorite director to work with as they have collaborated four times resulting in two Oscars for Jack. They are also currently working on a project that has an outstanding cast attached - due out 2010.

The Departed (2006)

If you were to tell me that Little Miss Sunshine's Alan Arkin would win Best Supporting Oscar in 2006 and Nicholson wouldn't even be nominated for his performance in The Departed, I would tell you to go fly a kite (had to use that one for the kids). Easily the best film of the decade (maybe not easily, but edges out No Country for Old Men, Brokeback Mountain and Gladiator), and Scorsese's crowning achievement, Nicholson was the anchor that added the kick that it needed to go from great to spectacular. Basically, it is a fast-paced and chilling drama about an undercover cop and undercover criminal trying to uncover each other before being discovered. Try saying that last sentence 5 times fast.

A remake of a 2002 Chinese film titled Infernal Affairs, the American version has more grit, and Nicholson's crime boss Frank Costello puts real fear and tension into the mix. In spite of DiCaprio, Damon, Sheen, Wahlberg, Winstone and Baldwin, Nicholson rose like the cream to punctuate the film's excellence.

There are multiple instances where he was clearly given the liberty to improvise his dialogue, and the words that came out, although not always remarkable, were memorable because of how he said them, and the passion that came out of the character. That is the mark of a great actor.

It looked like Jack was having fun the whole way, and there is a larger than life presence that seems to grow with each role he takes. Although slowing down with age, he is not fading out of the spotlight like so many, nor is he wavering in his commitment to giving great performances as he has for years. He should have been nominated, and won an Oscar for this particular role.

Jack Nicholson won 3 Oscars out of 12 nominations between 1970 and 2003. He has won 7 Golden Globes in 17 nominations from 1970 - 2006 including 1 lifetime achievement award.

District 9

Peter Jackson presents a film by Neill Blomkamp is the most brilliant way to get people to see a film by Neill Blomkamp possible.

Joking aside, the advertising campaign for this one was well done. A mysterious alien film that was shot under the radar in South Africa for a paltry 30 million with no star power doesn't sound like much. Throw in Peter Jackson, great special effects and a pseudo-political theme, and it becomes the sleeper action hit of the year.

Intentionally shrouded in secrecy, Blomkamp cast his friend, Sharlto Copely as an agent in a parallel present day South Africa where aliens have been residing for nearly 30 years. Copely is charged with relocating the nearly 2 million aliens from their dilapidated and dangerous slums into a more "cozy" and safe concentration camp. Sound familiar? The aliens are also incapable of leaving due to a broken piece on their mothership that just sort of hovers over their slums.

The cool thing about the film is the way that the aliens are presented. They are not the ferocious creatures that we have seen so many times, and although they do have the cliche advanced technology (which I suppose they would need to get to earth) there is a segment that is skipped by having them reside with us for nearly 30 years. There is a fearlessness on both sides, and the communication gaps are filled. It is almost as if they are an accepted part of society. And that is the intent.

Because of their differences, most evident to us by their appearance, they are segregated and relegated to an enclosed confinement, aptly named District 9. It is a slum that makes Mumbai look almost pleasant - they are creepy crustacean-looking creatures who scavenge through garbage and enjoy cat food, and are unaffectionately nicknamed "prawns" by the people of Johannesburg.

What happens during the relocation process sets off a chain of events that leads to the uncovering of a government conspiracy, and ultimately a bloody battle.

The story is set up in documentary style, with interviews of witnesses and scientists, and more than anything else, it is a clever way to quickly tell the back story without going into too much technical detail. There are additionally some interesting camera angles throughout - some reverse first-person shooter when the paramilitary group is closing in on the protagonist, and the film jumps back to documentary at the conclusion.

It has the feel of 2008's Cloverfield without the headache. In the manner that it is presented, there is a feeling that although entirely preposterous, it becomes believable. The alien technology provides us with some of the highlights of the film - explosions and bloody gore.

Copely had given Blomkamp his first job nearly 15 years ago, and he is receiving a huge favor in return now. I'm not sure about the connection between Jackson and Blomkamp, but they likely share an interest in the creation of this project.

Not for the squeamish, District 9 is ultra-violent and causes plenty of cringes with human explosions and nasty prawn alien sequences. I would highly recommend this for its originality alone. But the effects are pretty cool too. 9/10.

The Goods: Live Hard, Sell Hard

This is the funniest used car sales comedy ever. Period. This might not be saying much, but this all star cast is perfectly assembled to complement each other and the gut busting laughs come whizzing by at a mile a minute.

the story focuses on a used car lot in Temecula that is struggling. The owner, in dire financial straits decides to bring in a group of professional "mercenary" salesmen and woman led by Don "the Goods" Ready.

The car sales angle is the perfect backdrop for an endless barrage of jokes and more subtle humor, and the characters' personalities are almost farcical in their delivery. Reminiscent in some ways of Anchorman, it is from the same production group - the anti-Apatow (although he did have his hands in Anchorman) crew that in many ways surpasses his regular group's humor by dumbing it down and throwing everything at you at once from all sides. Adam McKay, and Will Ferrell are two of the masterminds behind this little bit of comic brilliance, and Jeremy Piven heads a cast that I could rave about for days.

This film marks the coming out performance for Kathryn Hahn who is the female salesperson whose witty banter with the salesmen and customers and attempted seduction of a 10 year old boy (it's not as bad as it sounds) is comedy gold. Equally great is James Brolin who takes a chance as the owner who has a hidden agenda that inspires at the very least a smile just about every time he is on screen. Then there is David Koechner. Working tirelessly since starting his career in TV and film in 1995, he's been in nearly 100 shows or films since then. His breakout role came in Anchorman, and as a staple of the McKay/Ferrell team now, his role as the slick finance specialist is exceptional.

I have to say I was pleasantly surprised overall with the quality of this film, but there was one thing that detracted from the non-stop laugh-fest. Jeremy Piven is a funny man. Although possibly arrogant and egotistical in real life, his Ari Gold character on Entourage is one for the ages, and his supporting roles have always been energetic and have added substance to the films he has appeared in. However, as the star of this movie, I found myself getting tired of him. He should stick to the supporting roles, he just isn't leading man material. You can't blame him for taking the payday, and he chose a great film to headline, but it just didn't seem right.

The writing was outstanding. Reminiscent of the Zucker or Farrelly movies of years past (whatever happened to the Farrelly brothers?) where the dialogue had layers of humor that just never stopped. There were some lines that were placed so intentionally that it is almost comic science at its best.

I would go as far as to say that this film rivals the Hangover for most fun so far this year. Of course, I have a soft spot for dirty humor. 8/10.