True Grit

Isn't the ideal genre for creating unforgettable characters the Western? With so much freedom for speech and appearance, the Coen Brothers must have been tickled to calculate to perfection their trademark supporting cast. Of course, having Jeff Bridges, Matt Damon, and Josh Brolin as headliners doesn't hurt.

In perhaps the most mainstream and star-studded film that the genius kin have ever put out, they stick to their traditional ways; manipulating light and natural visually appealing scenery with deliberate camera pans and cuts.

The film follows the original, with the necessary deviations to modernize the outcome. It is for all intents and purposes a Western of the classic variety. A throwback to films dominated by dialogue and horseback riding. Very John Wayne.

Maddie Ross (Hailee Steinfield)is seeking justice against the murderer of her father, and finds it in Arkansas, where she comes across Rooster Cogburn (Jeff Bridges), an old drunken curmudgeon US Marshal, a throwback to the old wild west. Having lost track of the number of men he's killed, he knows nothing but tracking fugitives, so Maddie decides that he's the man for the job. A lawman with "true grit".

Cogburn takes the job and they come across LaBoeuf (Matt Damon), a Texas Ranger who has been hunting the same man who killed Maddie's father for months. Together, they set off to find Tom Chaney (Josh Brolin) and either kill him or bring him to justice.

The three have a tremendously natural rapport, and the dialogue is sharp and timed wonderfully. Bridges delivers a performance equal if not better than last year's Oscar winning Bad Blake, and Damon is both comic relief, and just plain enjoys his role.

The real star is newcomer Hailee Steinfield. Although I am not saying anything that hasn't been raved about already, she owns the screen. A precocious and determined young lady in an outlaw's world, she holds her own and shows her own "true grit".

In my opinion, this is the best film of the year, but I fear that critics may be hard on the ending. It does creep up and climax a bit abruptly, and the epilogue is a bit unnecessary and out of place. This is however, a Coen Brothers movie, and everything is deliberate and calculated.

Bridges will certainly receive a nomination, and in a year with stiff competition, he may win it. Firth, Franco, and Eisenberg will certainly push him, but it is entirely possible that he will win consecutive Best Actor Oscars.

Steinfield will also certainly be recognized, but I predict a win for her in the Supporting Actress category, although she should be up for Best Actress. It is the strongest performance by a child actor in recent memory, and will launch a successful career without a doubt.

This is everything that I hoped it would be, and although the end wasn't completely satisfying, it may have just been because I didn't want it to end. This is the real Rooster Cogburn, no offense to Wayne.

Great film, definitely worth seeing (I am going for a second time soon). A better Western hasn't been seen since Unforgiven. 10/10.

Tron Legacy

28 years after the original, Tron is revisited with the special effects that were intended the first time around. Unfortunately, the story hasn't received much of an upgrade.

Jeff Bridges links two films that may win him two Best Actor Oscars with this ambitious re visitation to the cyberworld of the "Grid". He once again plays Flynn, the gaming geek trapped in a video game. The special effects are absolutely mind-blowing, and with two major action sequences, this film is worth the price of admission to the 3D and IMAX experience. The rest of the film however, has only one bearable quality; Olivia Wilde.

Garrett Hedlund takes the torch from Bridges as the prodigal son who conveniently inherits his computer hacking skills, and embarks on an accidental adventure to find his long lost father and bring him home. Once in the world of the "Grid", the film begins to fall apart. Acting is terrible, and the CGI attempts to make Bridge's alter-ego, CLU appear younger is phony and out of place. They would have been better off scouring the earth for a doppelganger. This is no Benjamin Button.

Hedlund's lack of surprise, and unjustified confidence in this gladiatorial arena is simply unbelievable. Not that being sucked into a cyber world could be believable, but I know how I would react, and calm and confident is probably not it.

Olivia Wilde is simply gorgeous. Clad in black spandex, she is the perfect actress for the role of Quorra, a program created by Bridges' Flynn who serves as a right-hand woman and personal assistant.

In its defense, the two main action sequences (three if you count the Frisbee fight) of the cycles and jets are visual euphoria. The score, done by Daft Punk is the perfect complement for the action, and for a moment, you lose yourself in the raw special effects of the film.

Then you come back to plot and acting.

The evolution of the film takes on a sort of mystical Star Wars meets Matrix quality, and it is not true to the simplicity of what should have been. I didn't appreciate the holes and lack of continuity.

Definitely kid-friendly, and a good time for 10-15 year old boys, but not up to the potential of the budget or platform on which it was created. A must see in 3D and IMAX, and extra points for that. 6/10.

The Fighter

The Fighter has been in the works for a long time. An awards sleeper, it is another gritty Boston (actually Lowell, but what's the difference?) drama with a heart of gold. Based on the true story of boxer Micky Ward, this film focuses more on the relationship with his family, particularly his crack-addicted, former boxer brother who happens to be his best friend and trainer.

Mark Wahlberg portrays Ward with ease and a casual, natural attitude. This role isn't much of a stretch as Ward seems both kind and normal. He is basically the black sheep of his dysfunctional family. His talent and determination is held hostage by his loyalty, and the singular purpose in his life is contaminated by the irony of his family bond.

Christian Bale shows his range, yet again, as Dicky Eklund. The subject of an HBO Sports documentary, his misguided, single-minded selfish character is convinced that the "Pride of Lowell" and his comeback as a boxer is the intended content. Grasping at a moment in history, Bale shows the epitome of pathetic and is a pitiable character.

The rest of the supporting cast is amazing. Amy Adams is perfect as the sharp-tongued love interest who doesn't put up with Micky's family nonsense and plays a Massachusetts girl with authenticity. Melissa Leo has one of the juiciest roles of the year as the ignorant and overburdened mother of 6 (or is it 7? 8? More?). She is dependent on her two boys to support her and her bevy of white trash daughters. They make rude quips in lazy Bostonian accents, and make the viewer almost giddy at how brilliantly portrayed and disgusting they actually are.

Boxing takes a back seat to the interaction between the characters, and Ward struggles to prove himself as more than just a stepping stone for better fighters.

The boxing scenes are fine, but not overly realistic. More attention could have been garnered on those scenes, and although Wahlberg plays a fighter with convincing conviction, his fights seemed too choreographed. However, Raging Bull and Rocky had the same criticisms, and I couldn't do better, so I can't fault David O Russell too much for that.

I enjoyed this film. It was gritty and depressing, but came through with a very favorable ending. I left feeling like the underdog had won, and the character transformations were hear-warming and endearing.

I imagine that this film will collect an assortment of Oscar nominations, but I like Melissa Leo and Christian Bale. I wouldn't be surprised if it sweeps the supporting awards, because God knows Christian Bale is one of a handful of actors who has deserved an Oscar nomination for years, and surprisingly is receiving his first Golden Globe nod this year.

Inspirational like a Disney sports film, yet shows verisimilitude to the plight of the working class. Well done film. 8/10.

Black Swan

I would pay good money to see Barbara Hershey and Natalie Portman as mother/daughter in a dysfunctional relationship again. They are chilling in this interesting psychological thriller by the unpredictable Darren Aronofsky.

The story is based on the premise of Swan Lake, but kicked up a notch with lesbianism, drug use, self-mutilation, and eerily transcendent character portrayals. Natalie Portman is spot on with her meek, passive, and submissive Nina. Nina is a simple girl living in New York with her mother, isolated from the rest of the world by her obsession with perfecting the art of ballet. Her mother does her no favors as a washed up ballerina herself, encouraging her daughter to forgo the pleasures of life in favor of the emotional and physical pain associated with the art.

Nina is hiding a secret that soon emerges, and ultimately leads her spiraling down a surreal blend of visual, auditory, and emotional hallucinations. The film is dark and basal. Aronofsky pulls no punches with his work, this is much more Requiem for a Dream than it is the Wrestler.

The transformation from the proverbial "White Swan" to the "Black Swan" is the whole purpose of the film, and to set it amidst the beauty of art, dance, music, and the graceful movements in spotlight and stage brings a sincerely watchable element to the film.

It is the little unpredictable moments that sneak up on you and dig under your skin in these films. Deliberate shocking moments or jolts in the middle of a peaceful scene. It is particularly effective when the protagonist (I use this term loosely) is so fragile and manipulable.

Vincent Cassel plays the creepy ballet instructor with a predatory agenda nicely. There is an authenticity to his French, aggressive demeanor. Mila Kunis on the other hand seemed a little out of place to me. A carefree flirt whose freedom causes the envy and jealousy of Portman to emerge. I don't see the award rationale on that one, but can see the polarity of the characters charging the film.

Overall it is a strange movie that has absolutely no appeal to the masses, but it does cause the viewer to scratch his head after viewing, and even a week later, I find myself thinking about certain plot points, trying to decipher if it was part of some sort of fantastical dream, or if it is the brutally pathetic life of a lonely young woman with emotional scars so deep that she can never recover.

I liked this movie, but I like dark, and I like original. Portman gives the performance of her career, and I would be surprised if her paradoxical dark and light personae don't earn her the first Oscar of her career. 8/10.

127 Hours

The harrowing true story of Aron Ralston resorting to primal survival instincts is a captivating gem of a film. The story is no mystery, as it is based on real events from the media amplified event of 2003. A project like this has little room for error, as it is virtually a one man movie. Danny Boyle uses his trademark unconventional camera angles and peculiar music to enhance the tension while adding a little much-needed levity.

Before I discuss the film's triumphs and shortcomings, I would like to say that this adaptation could have taken a much darker, suspenseful tone. Why Boyle chose to add humor and inspiration to such a grim story is testament to his vision as a filmmaker. I will return to this later.

The setting couldn't be more beautiful. The Moab desert in Utah; the perfect landscape filled with caves and canyons older than civilization itself. Hues of red and brown with smooth walls carved from millenniums of erosion and weathering. Untouched by humans except for hikers, climbers, and other adventure enthusiasts.

From the opening credits, there is a barrage of foreshadowing and irony. A frenetic montage of humans in their communal element. Running of the Bulls, Crossing urban intersections, basically interacting en masse. Cut to Aron who is getting ready for his solo adventure, escaping the company of his species. Boyle lingers the camera teasingly on a bottle of water, a small drop of condensation rolling down its lip signifying that every last drop is precious. Aron grabs his food and drink for his journey, the remaining choices a subtle reminder of the sustenance rejected. He reaches into the dark closet shelf for his knife, finding only a cheap, imitation Leatherman and leaving his pristine Swiss Army Knife on the shelf, just inches from his blind reach.

It is clearly going to be a movie of sublime imagery.

He embarks on his journey with reckless abandon, driving through the night until he finally reaches his destination; a small campsite outside of Blue John Canyon where he curls up in the bed of his truck. The morning jolts the viewer awake with his adventurous spirit in high gear, riding his bicycle into no-man's land. After an already exhausting biking and hiking, he comes across two young women, and we get to see James Franco begin his true transformation into Aron Ralston.

There is a sort of morbid anticipation for the tragic events that befall Aron, but as we see into his personality and his undeniable free-spirited optimism, we get a sense that everything will be alright.

From the moment that his arm is pinned under a boulder until the shocking climax, it is like the second act in a movie, but the buildup is short enough, and anticipation managed with an artful crescendo. The simplicity and humanity of the story works. Brilliantly.

As I stated earlier, there is levity thrown in that numbs the viewer from what might have been an unbearable and visceral terror of claustrophobia and moribund realization. Franco gives his last words into the camera, jumping between self-aware humor and reflective remorse and brightens his own spirit with a mock interview of himself in a delirious state. The timing of these intervening quips bring the viewer back to the reality that we are sitting in a theatre and that this is just a movie. Without it, the intensity would border on unbearable.

There is no false sense of bravado or heroism. Franco captures the spirit with a raw emotional sincerity rarely seen. He handles his predicament with grace and rational problem-solving intent, but as his strength and hydration wear down, so does his spirit. We follow a strong, young man down the spiraling inevitability that a primal choice must be made. Filming himself chronicling his experience, and watching the pallid complexion fade away, it is cinematic magic.

At the first nine screenings of this film, there were nine victims of the graphic realism who passed out. I won't lie, it is heart-pounding intensity. The amputation scene which is obviously the climax, is the most realistic and rawest I have ever seen. There is a beauty embedded deep in it however. Almost indescribable, once free of the arm that is slowly killing him, there is a sigh of relief. A feeling of freedom after 127 hours of captivity. Franco's Ralston utters two simple words while staring back at his prison; "Thank you."

What I like about it is that there is no intentional gratuitous camera work. The focus is on the emotional decision, and the arm itself becomes an afterthought. The circulation dead already, the pain and bleeding are minimal, and although gruesome in its own right, Boyle and Franco handle it with the utmost grace and professionalism.

I would highly recommend this film for the message of the strength of survival, and for the combination of Boyle and Franco. It is reminiscent of Into the Wild, a film that was overlooked by many, and which had a decidedly more tragic outcome. This is an adventure of another kind. Go see it, but be prepared. 10/10.

The Social Network

A two syllable compound word. An idea so revolutionary, yet so obvious that it has become the icon of the technological age. A dot-com success story that has withstood the flash-in-the pan glitz and glamor of imaginary money and has come out on top, with the likes of Google and Yahoo!.

It may sound dramatic, but Facebook is worth an estimated twenty-five billion dollars just a few years after its creation, and with its eccentric and a little bit autistic founder, Mark Zuckerberg, it makes a fantastic story.

Rewind to 2003, Harvard University. The campus was brimming with money-hungry future leaders just salivating to hit the job market and make millions with the next big thing. The commercial possibilities of the Internet was gaining speed like a freight train, and social networking was limited to a few dating sites and Myspace. Mark Zuckerberg, a sophomore genius, through a series of deliberate, yet chance encounters and interactions with his colleagues (because he doesn't truly have any friends), created the phenomenon that now boasts over five hundred million members worldwide.

The movie plays like something that is too good to be true; suspense, brilliant dialogue courtesy of Aaron Sorkin, truly interesting characters, and best of all, it is mostly a true story. The writers had to take some liberties due to the refusal of Zuckerberg and others involved to grant interviews. The public records however, through the lawsuits and statements of those steamrolled in the rise of the juggernaut company have pieced together enough of a story to be just believable enough.

David Fincher, one of my favorite directors since the mid-nineties, crafts this seemingly harmless story into an amazing journey and character study of Zuckerberg. He manipulates the audience's emotional response from intrigue, to abhorrence, to ultimately a sense of understanding and sympathy. Fincher hits the mark and will certainly be recognized with the minimum of a nomination.

You would think that a story like this would fail to captivate a large audience, but the writing is so excellent, and the events are portrayed so comprehensibly that it works. The details are what trap the viewer like a car wreck.

Jesse Eisenberg, Andrew Garfield, Justin Timberlake, and the twins (who aren't actually twins to my surprise) Armie Hammer, and Josh Pence do an amazing job in an ensemble cast. Nobody stands out as miscast, and the lack of true star power is a tribute to Fincher's vision and confidence.

Eisenberg particularly captures the essence of his character with his quirks and clear signs of Aspergers Syndrome. He is distracted by rain on a window, runs through the snow in flip-flops, pounds away at his computer for 36 hour sessions, and ironically, due to his deficient social skills, develops the largest social networking site this planet will ever see.

This is the first truly great film of 2010. It is hard to imagine that it won't be a serious contender, and with the travesty that Fincher experienced in 2008 losing his Oscar to Slumdog Millionaire, this might be his year. If not, I will gladly stand in line to see anything he creates from this point forward.

Go see this movie. It is a barometer of where technology and the Internet stand in our fast paced, always changing world of business, and is done without bias or malice. 10/10.

The Town

Ben Affleck's sophomore effort is no slump. He solidifies himself as a director to be reckoned with at the helm of the star-studded film The Town. Set in Charlestown, a neighborhood in Boston that is notorious for its disproportionate number of bank robberies, Affleck is back in his element, letting the accent run wild and donning the cinematic Boston uniform like a bastard; the wicked track suit and hoody. (I had to try). Boston's sports team logos are given as much screen time as the stars, but I can't hold that against a guy.

Affleck runs a crew of very good bank robbers and locks horns with a zealous and a little bit shady, but in a respectable way FBI agent played by John Hamm. The tension builds, surprisingly through dialogue and character development more than traditional cops and robbers action and end up in a suspenseful standoff worthy of Michael Mann's approval.

In a move that is very Eastwood-esque, Affleck takes the starring role and although he does a commendable job, his talents are better served behind the camera, although he did manage to give himself the gratuitous shirtless workout scene and he got ripped for the role. Jeremy Renner stands out as the gritty best friend with a chip on his shoulder and a proclivity for violence. He pulls off Boston pretty well for a California kid, and and is truly becoming a strong leading man after his breakthrough role in The Hurt Locker last year. He has no less than three huge projects lined up for the next two years: Teaming up with Tom Cruise in Mission Impossible IV, working with Paul Thomas Anderson (Top 2-3 directors around today) and Philip Seymour Hoffman in The Master, and playing Hawkeye in the heavily anticipated 2012 Marvel flick Avengers. Didn't I call a rise to stardom after SWAT?

John Hamm takes a break from Mad Men to play the FBI agent tracking the robbers, and he is given the best lines of the bunch. This is the role that must have been coveted in Hollywood, and as much as I enjoy Hamm as Don Draper, I would have chosen someone a little older and a little more intimidating. That role itself could have propelled someone to an Oscar and the film itself to the top of the awards pile.

The rest of the cast is just average save one brilliant five minute cameo. Pete Postlethwaite, Rebecca Hall, and Blake Lively contribute to the film, but it is Chris Cooper who plays Affleck's imprisoned father who owns the screen in a prison visitation scene. He is simply captivating.

Critics tout this as being The Departed meets Heat, and I couldn't disagree more. The only thing it has in common with The Departed is the setting. Heat? Perhaps, just without the epic appeal, cat and mouse, and prolonged gunfight sequences. The Town is less cerebral and more visceral. The characters have nothing to lose and seem to be magnetized to their neighborhood with some sort of pride and sense of obligation that is completely lost on me. It is a pathetic criminal existence that brings up a lot of questions.

There was one particular flaw in the development of this story that made me scratch my head a little. If an area of town truly had the reputation as the bank robbery capital of the country, wouldn't there be some sort of additional precaution taken by the banks or armored transports? More armed guards or a heightened state of alertness? Wishful thinking that would have decimated the effectiveness of the movie.

I liked this movie very much, and respect the hell out of Affleck as a director and a writer (although the word range is yet to be added to his lexicon). It may have been released prematurely to be seriously considered, but it was definitely the first contender out of the gates. Go see this for Renner, Cooper, and the suspense of the last thirty minutes alone, appreciate the story and the action. 9/10.

The Expendables

Sylvester Stallone. 64 years old and still kicking ass in his own cinematic style. The man behind Rocky and Rambo assembles an all-star action cast in a nostalgic throwback to the cheesy, yet magnetic mercenary films of the 1980's. I have to admit, the twelve year old in me has been excited about this one for almost a year, and I wasn't disappointed.

Stallone approaches his projects with one sole objective in mind; entertainment. Rambo, Rocky, Staying Alive. Wait, scratch that last one. All kidding aside, this film delivers exactly what it advertises and more. Macho male bonding, brilliantly ridiculous one-liners (particularly Dolph Lundgren in what may be a career role; did you know he speaks English?), and fast-paced unbelievable action sequences.

The story plays to each of the actor's strengths (which are all kind of the same). Jet Li gets his martial arts scenes, Terry Crews gets to show off his enormous muscles, Stallone gets his slow motion run-and-dive scenes, Mickey Rourke gets to pontificate with his low, gravelly voice, and Dolph Lundgren gets to be... big. Jason Statham is typical Statham; probably the only one of the bunch who is capable of carrying a big-budget action movie on his name alone.

Randy Couture and Steve Austin round out the muscle, and Eric Roberts gives an exceptionally giddy-inspiring performance as the bad guy.

The unexpected angle is the ultra-violence, but that also leads to much of the juvenile cheers and the high energy level of the film. From the opening sequence (Warning Shot!) to the grand finale, the explosions and blood pours out from the screen. It is a classic action movie the way that it's meant to be.

Don't expect greatness, but you may be pleasantly surprised how accurately this film transports you back to the height of action cheese. There is even the obligatory cameo by Schwartzenegger and Bruce Willis to cap off the testosterone.

Go see this movie for one reason. It is fun. Dream team of a cast as well. The only two missing were Steven Seagal and Jean Claude Van Damme. 8/10.

Predators

Do you ever have one of those movies that you are super excited to go see on opening day, even though you know it will be a major disappointment? Predators is that movie for me this summer. A true fan of the Alien and Predator franchises (and admittedly their retarded hybrid children as well), I thought Robert Rodriguez would bring life back into this series and make the sequel that we have all been waiting for since 1987. Unfortunately it's not so much a sequel as a remake.

The plot can be surmised from watching one of the previews. A group of warriors and one doctor (I know, Topher Grace in an action flick?) are dropped on an alien planet to serve as prey for three predators who are probably on safari. You have the Russian heavy gunner, the death row inmate, Yakuza assassin, African freedom fighter, Mexican drug enforcer, etc. and finally, Adrien Brody.

I know, Adrien Brody? This is his first try at action to the best of my knowledge, and he overplays the gravelly accent worse than Christian Bale's Batman, though he did add some considerable weight for the obligatory shirtless climax battle scene.

The rest of the cast is recognizable, but not memorable. Laurence Fishburne is an absolute waste of screen space as a crazy hermit surviving in this alien planet, and Topher Grace and Walton Goggins are thrown in for comic relief, but both of their roles seem a little out of place when contrasted with the rest of the killers, especially Grace. I am still scratching my head as to why he was there in the first place. There is no real explanation aside from an opportunity for a flat twist.

It wasn't all that bad though. The music was almost identical to the original, and there are many references to that film throughout this one, either through dialogue, homage, or just plain imitation. In the jungle, die one by one, leader takes his shirt off, man defeats the predator. Just not the most likely of stories.

They could have done a lot more with the alien planet. It seemed like a typical jungle with some photoshop done to make plants look extra exotic. They also added some new creatures and technological advancements on the predators, but they were unimaginative and needed a little more screen time. You would think I hated this movie by this point, but it was the second best of the series...

Brody will take a little getting used to, and he needs better dialogue and delivery if he wants to make it in action (my advice to an Oscar winner...). Arnold he is not, but it looked like he had fun doing it.

Perhaps the bar was too high, or perhaps I expected more from a director whose best work so far is a toss up between Vacancy and Armored. There just is so much potential with this franchise and this story, and it keeps disappointing. Oh well, I will still go see the sequel. 6/10.

Inception

Chris Nolan's latest endeavor places Leo DiCaprio and his team in a Matrix-like world where dreams can be shared and influenced by the visitors. Sounds a little hoky and confusing? Perhaps a little redundant or overly ambitious? It's actually not.

Unlike the Matrix, which relied on breakthrough visual effects and incredible choreographed fight sequences, Inception follows a more mainstream approach with a deep, layered story and A-list actors. The sci-fi element is unbelievable, but they do a nice job masking that with the dialogue and acting.

Inception refers to planting a seed of an idea into a dreamer's head thus deliberately influencing their subconscious into making decisions that benefit the client. Leo plays Cobb, an expert extractor, or team leader who goes into other dreams to get valuable information. His supporting cast includes Joseph Gordon-Levitt, Ellen Page, Michael Caine, Cilian Murphy, Tom Berenger, Marion Cotillard, Ken Watanabe, and Tom Hardy.

Most of the film is setup for the big extraction, or in this case the inception, and the introduction of the various characters and their roles in the job. There is the architect, the chemist, the dreamer, etc.

Particularly effective are Joseph Gordon-Levitt as Leo's right hand man, Arthur, and Tom Hardy as Eames, a sort of chameleon operator. Levitt is a rising star even though he is approaching 30. He's been cast in some choice roles lately, and will continue with an upcoming action flick, and a Seth Rogen cancer comedy (that's not a typo). Hardy on the other hand, has been on my radar since his stunning role in the little known 2008 biopic titled Bronson, about a psychopathic inmate with a serious penchant for violence. He is a great actor, and gives Inception just the right jolt of action and some quick one-liners.

Leonardo DiCaprio, one of my favorites, just seems to go through the motions with this one, overshadowed by Nolan's haunting score and vivid scenes (see Dark Knight) the true beauty of this film lies in the dreamworld visual effects and the intrigue of the story. The supporting characters pick up the slack (if you could even call it that) and are the perfect assemblage of talent.

Truly original and suspenseful, the viewer gets sucked in as the team dives deeper and deeper into dreams within dreams, until the brilliant climactic conclusion. Some people may balk at the Sopranos-like ending, but it was perfectly complementary to the style and tone of the rest of the film.

All in all, this is a great film. If you enjoy the mindbending entertainment and can put on your disbelief suspenders, you will love it. We haven't seen a story this original in the action genre since the original Matrix, and probably won't again anytime soon. It was an excellent project for Nolan to slip in between Batman's, and I can't wait to see what he comes up with for that one in the next couple of years.

My only complaint, albeit a minor and insignificant one, is that Ellen Page seemed wildly miscast as the young, cynical architect joining the group. I can't get her cute, silver-tongued Juno out of my mind, and I really think the film would have benefited from a young male actor. This would have obviously cut women almost completely out of the picture, which was clearly a conscious decision on the Nolans' part, but I think for the story it would have been both more appropriate and more believable (take that very lightly).

I really enjoyed this film. Great film to kick off July. 9/10.

The A-Team

The latest Hollywood nostalgia remake project is Joe Carnahan's possible ticket to the big show, and if you are looking for a mindless action romp with some A-list stars, the A-Team is for you. The cast is a makes you scratch your head a little, and they stick to the absolutely ridiculous nature of the show, but there is a lot of light-hearted action comedy that makes this a perfect summer movie.

Headlining the film are Liam Neeson as Hannibal (he's done better), the journeyman military strategist who just loves it when a plan comes together, but doesn't seem to be as smooth as people think he is. Bradley Cooper is in his element as Face, the good-looking ladies man who always seems to be the point man in the operations, but who isn't particularly intimidating. The infamous Mr. T role is played by Quentin "Rampage" Jackson, and you can imagine how that goes. Only so many times does him saying "Oh, Hell no" seem cute. He plays BA Baracus, arguably one of the most cherished television action character of the 1980's as a complete idiot meat head. The mohawk is a little more 21st century, and the gold chains are gone, but the bad-ass attitude remains. I'm a little sad that he lost his fight recently against Rashad Evans, because Jackson's acting career is going nowhere.

Sharlto Copely of District 9 plays Murdock (my favorite). His South African accent comes out a few times, and he even gets a chance to show off his Swahili. He does have some great lines (more about that later). Jessica Biel is quickly reaching her acting expiration date. A terrible actress through and through, she looks good at times, and extraordinarily average at others. Finally, Patrick Wilson plays the villain.

Wilson has been a favorite up-and-coming actor of mine ever since seeing him in Little Children and Hard Candy. He has traditionally played more serious roles with underlying psychological disorders. This role is much more fun, as he plays the nameless CIA agent with an attitude, and ends up with most of the comic relief for the film. He ends up as the villain (obviously) and is still a rising star with a good eye for role selection.

The writing and dialogue is hot and cold. Much of the military-speak is cliche and banal, but many of the jokes are right on and the mood stays light and entertaining. The action is intense and over-the-top and to be honest, it kind of brought me back to the Lethal Weapon and Die Hard days. There haven't been enough successful action flicks in the last few years of that nature, and I'm glad that the A-Team worked out.

Obviously this is not at all realistic, and the story is ridiculous topped with ridiculousness. The audience will appreciate the wistful aura, especially fans of the original series. 8/10.

Prince of Persia: The Sands of Time

With the Pirates of the Caribbean franchise getting stale, Bruckheimer and Disney have turned to a new project (No disrespect to National Treasure, but it's weak). This potential series is about an orphaned Persian adopted by the King named Dastan who must protect a mystical dagger with the power to turn back time. The first problem is Jake Gyllenhaal. His doe-eyed Caucasian look seems somewhat out of place, and coupled with the unrefined attempt at a British accent just makes him the wrong choice for the role. Maybe I am being too picky, but one of his brothers is more Greek while another is all Scandinavian, so I guess the attention to geographic consistency in casting is a conscious oversight. I will say that Jake bulked up his physique considerably, and that feat in itself is impressive to say the least.

Ben Kingsley looks like the reincarnation of Flash Gordon's nemesis and does his best to make it appear that he isn't trying very hard. Gemma Arterton plays the princess convincingly, but it's hard to keep the redhead images of her as James Bond's tart, Strawberry Fields out of my mind. The chemistry is deflated by the ambiguous direction of their romance, and Jake's laughable accent.

The effects were secondary to impressive stunt work, and the time shifting sequences were less original as they were annoying. A sixty second reverse is all it takes to avert certain death, a poisonous snake attack, and to prove the powers of aforementioned magical dagger. The climax takes us back to the beginning of the film where the evil plot can be foiled by Gyllenhaal and his newly acquired knowledge. It's a pretty linear story without much imagination or originality.

I am easily excited by summer blockbusters and Oscar dramas alike, and to be honest, this film caused me to doze off a little due to the slow moving plot and the boring characters.

The one high point was the use of assassins and their trickery with projectile weapons. There were some cool fight sequences but the overall action factor was low. I typically like Jake Gyllenhaal, but to be honest, he is no action star. Stick to the Independent dramas and more serious fare.

I am ready for the summer season, and Iron Man 2 was impressive, but I'll wait until A-Team for the next potential source of entertainment. 6/10.

Iron Man 2

There has been a lot of hype since the surprising success of the first Iron Man movie, and for a sequel, this did not disappoint one bit. Robert Downey Jr. plays the part perfectly with his sharp wit and I don't care attitude. He isn't necessarily the star of the show, however. The typical sequel flaw is the lack of an original storyline; An attempt to hang on to the commercial success of the first movie and just release something that resembles a day-old baby's diaper. Jon Favreau stated that the first film was such a success because of the lowered expectation and overshadowing by the Dark Knight. This may be true, but with all eyes on him during this summer blockbuster season-opening weekend, he came through the right way. With an interesting story.

The characters aren't too bad either. For my money, I would have preferred Terrence Howard to Don Cheadle, but things like that can't be avoided. Cheadle had limited screen time, and he was given some of the best lines of the film. Scarlett Johannson is a terrible actress, let's get that out of the way right now. Her character took on an eye candy role, and she did just fine. Paltrow was back as Downey's assistant/love interest, but her role expands to something more substantial. Sam Jackson is back as well as the thin line connecting all of the Marvel films together. I have to say, his attitude was entertaining back in the Pulp Fiction days, but it is just getting really old. He was given too much face time for a shadow character, but there is still the excitement of seeing him introduce flashes of future films (Captain America, Thor) through Clark Gregg's Agent Coulson, who is a very likable character.

Mickey Rourke steps into the bad guy's shoes as the Russian thug/physicist Ivan Vanko. He does a great job, but there is still a slightly unsatisfying feeling to his performance. I'm not sure what I was expecting, but after the Wrestler, I had high hopes. His role was critical to the film, but there wasn't very much action besides some great Computer Generated whip scenes, and some deep-voiced laughing with flashes of gold teeth. The Russian tattoos were a nice touch, but I didn't buy him being a brilliant scientist. Sorry Marvel.

Sam Rockwell, on the other hand, stole the show in my opinion. Playing the smarmy, bratty weapons expert who is salivating to get the Iron Man suit contract with the DOD. He plays this type of character so well, and is truly still one of the most underrated actors around.

Favreau does a great job of not taking himself too seriously. The franchise is meant to be entertaining and fun, and that is exactly what comes across. Witty dialogue, humor, geek toys, action, and hot women. Perfect combination for any comic book adaptation. Additionally, he could have easily jumped on the 3D bandwagon, but he chose not to, which is a wise choice. This film is great just the way it is, and would have succumbed to the pitfalls of sub-Avatar quality that killed Clash of the Titans. The post-production 3D trend is going to die, mark my words. Reserve 3D for Pixar and computer animated films - that is where they belong. Live action is not quite conducive to 3D right now.

The best thing about the Marvel movies is that they openly tease the audience with hints of what is coming. The SHIELD back story is beginning to come full circle, and with Thor, Captain America, Avengers, and probably more Iron Man installments, the comic book superhero universe is going strong.

This is the official beginning of the summer season, and it is kicked off with a big bang. Go see it - even better than the first one. 9/10.

Shutter Island

Not since the 1991 remake of Cape Fear has Scorsese tackled the psychological thriller genre. Shutter Island is nothing like that, but in a good way. This is new territory that resembles something that Frank Darabont would direct, but there is the trademark Scorsese gratuitous gore and over-the-top violent imagery. Shutter Island is arguably the most well-written book by one of Hollywood's current popular author-turned-screenwriters (Mystic River, Gone Baby Gone). It is a departure from his typical Boston crime drama motif, and delves into a period piece in a secluded mental institute for the criminally insane.

Set in 1954 on a remote island off the Massachusetts coast, Leo DiCaprio is US Marshal Teddy Daniels searching for a missing patient in a mysterious hospital shrouded in secrecy and intrigue. It is as suspenseful as it is mysterious, and evokes nostalgic cinematic emotions of other prison/mental institute films of the past.

Teddy is searching for a lost prisoner, and as the clues come together, there is a confluence of clarity and confusion that leads to the climactic revelation which makes the whole film chilling and memorable. It is truly an original and sinister story for which Lehane deserves kudos.

A great cast was assembled for this film starting with DiCaprio. I am a huge fan of anything he does, and his choice of films keep getting better and better. Ben Kingsley and Max Von Sydow play the doctors at the institute, and Emily Mortimer shines as the missing patient, Rachel Solando. Although the cast is well-placed, the story is the true star. Well-timed musical placement and jumpy scare tactics make this as much Alfred Hitchcock as it is 21st century psycho-drama.

Having read the book a few summers ago, I have been excited about the prospect of the adaptation for some time. After learning of Scorsese and DiCaprio's attachment, even more so. This film did not disappoint at all. Staying true to the important elements of the original story and highlighting every moment that stands out starkly from reading the book, my hat is off to the creative team that transitioned the book to screen almost perfectly. No easy task with the demands of fickle moviegoers.

I have a feeling that this film will be widely successful at the box office, and although there may be some naysayers decrying the ending, I for one was not disappointed in the least. My only qualm is having known the outcome prior to seeing the film. It seemed that the probable ending was tipped a little early. I would like to see audience response of someone who hadn't read the book, but either way it is worth watching.

There are some heavy themes,and some haunting visual imagery, but it is important to maintain the authenticity of the setting and genre. I enjoyed it quite a bit, but I may be biased as I have an affinity for the director, actor, and story. Best movie of 2010 so far. 8/10.

Crazy Heart

Jeff Bridges, in the role that will certainly go down as his greatest in a long line of characters, plays Bad Blake, a washed up, alcoholic country star struggling with the impending twilight of his career.

The role has won critical acclaim and Bridges has been nominated, and won scores of awards. The film is essentially a combination of the Wrestler and Walk the Line, with a dash of Leaving Las Vegas. The surprise for me was how little of a role that alcoholism plays in the film. Bridges does well, but the story lacks the tragedy required of a film with this tone.

The film is good, and there is ample levity to make it less of a sob story, and more of a realistic fictional character study. Maggie Gyllenhall is a good choice as the younger love interest, and Robert Duvall plays the older mentor with his typical natural charm, but actually, it is Collin Farrell who makes the biggest impact in a relatively small role as Tommy Sweet, Blake's protege who tries to help rejuvenate his dwindling career, much to Blake's chagrin. Farrell has a great country singing voice that makes Bridges' weak, pitchy one pale in comparison.

I liked the character played by Bridges, but the singing angle is unbelievable. The songs are catchy and generic and there is a surefire Oscar for "The Weary Kind" but the songs also have that old country simplicity that bring an upbeat quality to the film.

Whether Bridges will win an Oscar depends entirely on the Academy. They tend to reward haggard, hard drinking, hard smoking, graying stubbled actors. I think that he will win his first in five nominations. The film doesn't resonate as anything more than an entertaining flick with some good music, and an unexpected happy ending, but it is worth watching. 7/10.

Golden Globe and SAG analysis

The Hollywood Foreign Press and the Screen Actor's Guild have spoken, and they lend some surprising clues toward who may win the Oscars come March.

First, the awards that were both anticipated, and uncontested. Avatar for Best Picture and Cameron for Best Director. These will undoubtedly be repeated at the big show. Not that it is the best story, or even maybe film of the year, but the fact remains that 15 years in the making, revolutionary film making technology, and the potential to be the first film ever to gross 2 billion dollars worldwide are worthy of recognition. It is an achievement never before seen, and it will win all technical awards as well. The Hurt Locker, Inglourious Basterds, and Up in the Air were exceptionally well-made and entertaining films, but they lack the momentum and buzz of Avatar.

Christoph Waltz and Mo'Nique for Supporting Actor and Actress. Waltz was incredible in Inglourious Basterds, and although I haven't seen Precious, the ladies from Up in the Air will hurt each other's chances to win. Nine is too weak of a film, and the fifth nomination is yet to be determined.

Jeff Bridges has cleaned up the major awards with his come from nowhere film Crazy Heart. I see this as the equivalent of last year's Wrestler, which probably should have won Mickey Rourke the Oscar. It was a small film, and there were some skeptics, but Bridges has more recognition and has proven his acting value with four previous nominations. He should win over Clooney and Renner, although both of them deserve the recognition for brilliant performances and have added an array of critics prizes over the past month or two.

Sandra Bullock is the big surprise for me. She has received none of the best acting awards except for the Golden Globe and the SAG. She wasn't on my radar, and I think it is more unlikely that she will lose the Oscar in a relative upset. Sidibe, Mulligan, and Streep all are more viable candidates in my opinion. I wouldn't be at all surprised if Meryl Streep wins her 3rd Oscar in her 16th nomination. (Not a typo - 16th Oscar nomination). This would put her in the elite company of Ingrid Bergman, Walter Brennan, and Jack Nicholson. Only Katherine Hepburn has won more acting Oscars (4). Streep may tie or beat that before her career is over.

Up in the Air seems to be a lock for Adapted Screenplay. The category is weak, and it was one of the best films of the year. Loved by critics (and myself), it stands out like a sore thumb.

Inglourious Basterds should win Original Screenplay. It is fresh, creative, and has the Tarantino touch. The only possibly competitors are Avatar for obvious reasons, or the Hurt Locker. I would be happy if any of the three win the prize, although Avatar is too visual and not substantive enough to truly deserve it.

Those are the categories worth singling out. Check back in the next couple of months, and see how accurate my predictions are.

Book of Eli

Denzel Washington takes on the post-apocalyptic nightmare in the Hughes' brothers' fifth film (and they really haven't impressed since Menace II Society), the first in almost a decade. This time around, they clash a spiritual theme with a more secular and violent delivery. Interesting, right? If done right, the answer might be yes.

Washington plays Eli, a lone wanderer protecting the last remaining bible on earth while making his way to the West through wastelands and Mad Max inspired characters. We have seen this paradigm before. Good guy walks into trouble, finds a head honcho baddie, and leaves a trail of havoc in his wake. The problem with this type of model is that the bad guy generally is not believable as the mastermind and muscle. In this case, it is Gary Oldman, who returns to his Fifth Element mantra as a loud and verbally abusive boss. Only thing is, he appears weak and ineffective when lined up with his rugged and ruthless henchmen.

Throwing another wrench in the mix is Mila Kunis. She is a gorgeous young actress with an annoying voice and little talent beyond her looks. The antithesis of the type of girl you would see in this horrible dystopian future, she sticks out like a sore thumb.

Washington salvages the acting however, although dialogue is not a focal point. Instead, a bleak landscape with impressive sets and slow-motion camera shots are more the star. Long lulls interspersed with short pockets of action are not enough to keep the film afloat. Washington's talent is misused in this film as well, as there is little action, little dialogue, and little story.

The ending, although not as predictable as it could have been, is a cop out in the context of the story. The religious holier-than-thou message is misguided and a bit condescending. The Hughes' should have spent a little more time with the frenetic fight scenes. They are laden with great camera shots and good choreography, but they are ultimately flaccid and unsatisfying.

Much more uplifting and hopeful of a theme than last year's The Road, but I think the post-apocalyptic film genre needs a little break and revamping before it resurrects the Road Warrior. There are just so many times you can root for one man in the face of adversity, especially when there is no justice or real endgame. Denzel took a leap of faith with this role, and although the box office may prove otherwise, it is just not very good.

Interesting idea, but falls flat. 6/10.

10 Must See Movies of 2009

After reading Stephen King's list in Entertainment Weekly, I thought I would publish my own list of the 10 movies that you absolutely must see from 2009. These films range from comedy to action, drama to sci-fi. Some are mainstream blockbusters, and some are more obscure. Without further ado, the 10 movies you absolutely must see from 2009.

10. The Informant!

Matt Damon showing comedic range as a corporate whistle blower in this piece of non-fiction. Soderbergh does a fantastic job with the levity of satire while maintaining the integrity of what is ultimately a seriously entertaining film.

9. Moon

Sam Rockwell as a solitary miner on the moon. Far and away the most original piece of science fiction this year, a great simple story with a haunting conclusion.

8. A Serious Man

The Coen brothers continue to etch their place in cinematic history with another plot that is little more than prolonged dialogue and quirky characters.

7. District 9

Amazing film for the budget. Timeless racial overtones and international flavor combined with futuristic weaponry and aliens. A recipe for pure entertainment.

6. The Hangover

By far the funniest film of the year. The trio of Zach Galifianakis, Bradley Cooper and Ed Helms complement each others' strengths and give birth to what is most likely going to become a trilogy or more. Unfathomable box office success and DVD sales, this movie has become one of the highest grossing comedies of all time. Galifianakis is emerging as a comic superstar.

5. Star Trek

A huge gamble in resurrecting an historic and fading franchise pays off with an injection of youth and coolness. Throw in new technology with great special effects and a director who blazes his own trail, and there is action galore.

4. Inglorious Basterds

Tarantino. His name is synonymous with wickedly clever screenplays, and tackling one of the most taboo film genres of the 20th century doesn't disappoint. His bold perspective makes for an epic cult classic in the making.

3. The Hurt Locker

Katherine Bigelow may take home the Oscar for direction, and Jeremy Renner leads a small but visceral cast in the edge-of-your-seat film of the year. Bomb defusing in an unforgiving war zone never seemed so real.

2. Avatar

The titanic 3D Imax extravaganza will resonate in the minds of cinemaphiles for years to come. Unlike anything ever seen before, this is the epitome of magical film entertainment. It will be a long time before something this monumental occurs again.

1. Up in the Air

Clooney will notch another Oscar for this light and airy dramedy. All around great, it manages to cause serious reflection on life, relationships, and the baggage that we all carry with us everyday. Jason Reitman will take home serious hardware before his career is finished.

Youth in Revolt

Quirky and awkward. Aloof and dispassionate. Michael Cera has the market cornered for dry, sardonic teen humor. His latest pits him as a lovestruck kid from a dysfunctional family who finds himself doing abhorrent things to impress the girl of his dreams.

The premise may pique some interest, but the delivery leaves much to be desired. Cera is Nick Twisp, a teen who has too sharp of a wit, and too broad a vocabulary to be taken seriously. His mother is a slut living off of his child support payments, and his father is chasing twenty-somethings. Nick leads a miserable existence, and worst of all, he is a virgin.

After realizing that women fall for bad boys (how unique), he creates an alter-ego named Francois Dillinger. What contributes to the comedic failure of the film is how Dillinger is not given the opportunity to let loose. His deadpan confidence is amusing, but his dialogue is shortened in contrast with Twisp's nerdy, voice-cracking mumblings.

The film attempts to capitalize on the success of American Pie, Superbad, and the other teen romp-comedies of the past ten years, but does so in an original way, which is frankly not very funny. Cera has a natural humor about him, but with the exception of a few good lines, the film falls flat.

Miguel Arteta, the director has been directing TV for the past decade, but this is his first high profile film. The attempt is valiant, but falls flat. Some of the humor is crude and ill-timed (I know - am I getting old, or what?).

Cera's acting talent is being wasted on typecast roles. I would love to see him take on something more seriously, which he dabbled in with Nick and Nora's Infinite Playlist, and Juno. He will be around for a long time (only 21), but I am waiting for the leap to more adult roles.

The supporting cast is mostly disappointing; Steve Buscemi, Zach Galifianakis, Ray Liotta, Fred Willard, and Justin Long all have limitless potential, but every one of them were given mediocre at best roles.

Forgettable story, brief pockets of humor, but otherwise terrible. 5/10.

Nine

Rob Marshall's musical follow-up to the wildly successful and Academy Award winning Chicago is a slightly less original, and far less musically inspiring rendition of the Broadway show Nine.

A very intriguing story finds Daniel Day-Lewis as an Italian director and Lothario who is planning his next masterpiece in the early 1960's, while the story within the story shows how various women have inspired him throughout his life. It is just segmented enough for the viewer not to become too bored, and the introduction of various A-list actresses in their respective roles in the director's life are just short enough for the most ADD of us to keep focused.

Lewis is amazing, but the Irish actor is playing Italian in English, which translates to a bit of a weak singing voice. The women in his life; Kidman, Cotillard, Dench, Loren, Hudson, Fergie, and Cruz all show impressive vocals and choreography, but the material is just plain flat. It must have been a fun film to make, especially for the women, but it is nothing more than some fantastic costumes, singing, dancing, and crying.

There would have been a much different feel to the film if it would have been adapted to a more local venue. Nothing against the Italians, but I didn't feel vested in his relationships or the cultural relevance of this iconic man. there was a sort of disconnect between the time and place, and it was presented in a much more whimsical manner. Additionally, the music was just plain bad. The actors and actresses gave it their all, but the combination of things led to a less than memorable experience.

The star of the film is Daniel Day-Lewis as Guido, his country's cinematic treasure. From the hotel bellhop to the Catholic Bishops, he is revered for his once brilliant craft, although his star is fading. The opportunity to create a new masterpiece has everyone buzzing, and he begins to implode from the stress.

The idea of the film with the vignettes performed by each of the women representing a piece of the man's scattered and affected mind is wonderful, and I got chills during the final scene as he gets back on the proverbial horse and his memories congregate behind him on a scaffold to help him perform his duty. It felt like it was wrapped up nicely in the end, and I admire Lewis for his bold aspiration.

Marshal has found a niche in the musical genre, reinventing the silver screen allure of song and dance, and his attachment to the new Pirates of the Caribbean should be nothing short of interesting.

Before the buzz, I was very excited to see this film, but after hearing some of the critical panning, I have to say it was precisely what I was expecting. I foresee Oscar nominations for Daniel Day-Lewis and Marion Cotillard, but I don't see anything more than costumes or choreography to potentially win.

Good effort, but a little vanilla. 6/10.

2010 Top 100 Movies List

I thought I would do something a little different this year - instead of going through the painstaking task of ranking films, I will simply list my top 100 in alphabetical order. Besides, how does one compare the Shining to Seven Samurai, or Heat to Duck Soup? It is emphatically subjective. You may notice some new additions to the list this year (Avatar, Up in the Air, Inglorious Basterds). I hope you enjoy, and appreciate your comments.

2001
A Clockwork Orange
A History of Violence
A Streetcar Named Desire
Alien
Aliens
All Quiet on the Western Front
American Beauty
American Graffiti
American History X
Animal House
Annie Hall
Apocalypse Now
Avatar
Bonnie and Clyde
Boogie Nights
Braveheart
Brokeback Mountain
Butch Cassidy and the Sundance Kid
Caddyshack
Casablanca
Chinatown
Citizen Kane
Cool Hand Luke
Dazed and Confused
Deer Hunter
Dog Day Afternoon
Dr. Strangelove
Duck Soup
E.T.
Empire Strikes Back
Enter the Dragon
Fargo
Fast Times at Ridgemont High
Fight Club
Forrest Gump
Full Metal Jacket
Gladiator
Glory
Good Will Hunting
Heat
High Noon
Inglourious Basterds
It Happened One Night
It's a Wonderful Life
Jaws
LA Confidential
M.A.S.H
Modern Times
Mystic River
No Country for Old Men
North by Northwest
On the Waterfront
One Flew Over the Cuckoo’s Nest
Patton
Platoon
Primal Fear
Psycho
Pulp Fiction
Raging Bull
Raiders of the Lost Ark
Rear Window
Rebel Without a Cause
Return of the Jedi
Road to Perdition
Rocky
Saving Private Ryan
Scarface
Schindler's List
Se7en
Seven Samurai
Star Wars
Taxi Driver
The Apartment
The Big Lebowski
The Dark Knight
The Departed
The Exorcist
The Fellowship Of The Ring
The French Connection
The Godfather
The Godfather 2
The Graduate
The Manchurian Candidate
The Matrix
The Shawshank Redemption
The Shining
The Silence of the Lambs
The Sixth Sense
The Thing
The Wall
There Will Be Blood
This is Spinal Tap
Titanic
To Kill A Mockingbird
Tombstone
Training Day
Unforgiven
Up in the Air
Vertigo

Narrowly missing the list this year are the following films - they may rise in 2011.

Blade Runner
Copland
Crash
Curious Case of Benjamin Button
Die Hard
In the Bedroom
Into the Wild
Milk
Monty Python and the Holy Grail
Office Space
Return of the King
Slumdog Millionaire
The Hurt Locker
The Searchers
Traffic
True Romance
Usual Suspects