My take on flix

** - Mediocre film. Show it to your enemies or that long lost Aunt Sadie from Yonkers.

The indie film directed effectively by Peter Callahan is playing both in selected theatres and on on pay-per-view through cable. It's worth a look. Joseph Fiennes (Shakespeare in Love) stars as a distraught 35 year-old man who grieves over his pregnant wife's death and decides to spend the fifth anniversary of her passing by swimming 90 miles of the Hudson River from the north to NYC before committing suicide to join her. Though a bit sentimental it's a nice three character study and co-stars Justin Kirk and Elizabeth Reaser (who was so good in Sweet Land and is excellent here). Reaser has a lovely expressive face and lends fine support as does Kirk who appropriately balances humor and pain in his role as Fiennes' best friend desperately trying to prevent his beloved pal from completing a tragic fate. Mary Tyler Moore also provides a funny and warm cameo as Reaser's socialite mother. Sometimes Callahan is a bit heavy handed in his approach and the script is sort of a 2010 version of 'Night Mother; but there's passion in the performances and Sean Kirby's gorgeous cinematography highlights the beauty of the Hudson River Valley. I like these types of films because they are willing to focus on strong themes (grieving, suicide) and thank God, are about characters and human beings conveying feelings rather than that corporate written commercial crap Hollywood continues to throw on us each week.

Actor John Krasinski's (The Office) noble attempt to film the late David Foster Wallace's 1999 short story collection is a hit and miss male version of The Vagina Monologues. Julianne Nicholson (who's a bit too intense for her own good) portrays Sara, a graduate student who copes with the recent loss of her short-lived boyfriend Ryan (played by director and writer Krasinski) by conducting interviews with various local men as a research project. Along the way toward her quest for understanding, she learns more than expected about the mysterious, secret world of men. This is tricky material to film and Krasinski's script provides no rising action or conflict to propel the story. Therefore, we are stuck with stagy monologues and use of a Greek chorus (in the form of two waiters nicely played by Max Minghella and Lou Taylor Pucci) that are more appealing to the actors than the audience. It helps that Krasinski has assembled a cast of fine actors such as Timothy Hutton, Chris Messina, Dominic Cooper, Christopher Meloni, Dennis O'Hare and Joey Slotnick to portray the various men interviewed and observed. Especially good are Meloni and Hare as two somewhat cruel businessmen who secretly ridicule a distraught woman in an airport (shades of Neil LaBute's In The Company of Men), Cooper as Sara's confrontational student and Frankie R. Fasion as a middle-aged black man in a hotel lobby restroom who imagines the humiliation his father (Malcolm Goodwin) must have went through as an washroom attendant there years back. The film concludes with Sara confronting Ryan. His rebuttal is a passionate but over-theatrical monologue by Krasinski that reads more "actor in scene study class" than effective film moment. I admire Krasinski for attempting this challenging material and gathering an impressive cast. Unfortunately this brief (it's only 80 minutes but feels longer) needs more support in the form of a unified and compelling story to unite these interesting characters successfully on film.

This new independent is currently screening at the 2010 Sundance Festival and playing in selected pay-per-view markets. Josh and Benny Safdie have written and directed a flawed but interesting antithesis of the "Kramer Vs Kramer" father son type story. Ronald Bronstein (wonderfully high strung and neurotic) is cast as Lenny, a divorced father whose efforts to take care of his sons during their annual two week visit fail at every level. I like the film because it's daring and bold and Sadfie brothers are willing to create uncomfortable moments out of familiar situations. A scene where Lenny is called into work unexpectedly without time to find a sitter turns horrific after he decides to slip a small amount of tranquilizers to his sleeping boys causing them to fall into a "sleep four" near coma sleep. These type of shocking scenes transcend the film out of the familiar domestic comedy/drama. Bronstein's character Lenny is the type of father any court would deny custody to. He's behaves in a selfish, neurotic manner yet displays an undercurrent of determination and erratic good intention. Due to Bronstein's multi-layered performance (much of it improvised a 'la Mike Leigh), Lenny is really hard to dislike despite his back and forth childish (he and his thirtysomething friends are arrested for spraying graffiti on public property) antics and emotional outbursts because Bronstein's manic physicality and vocal inflections hint that a caring provider is wrestling to emerge from an adolescent barrier. Yes, he plays with his boys, takes them out ,tries to care for them but somehow can't put their well-being before his own needs. As much as I respect this alternative take on the usual feel good family film, I began to tire of erratic use of hand held camera and scattered, unfocused situations. The script is all over the place and needs to develop the intentions of each character. We never get a sense of what makes them tick. Yes, Lenny is a unique, childish character disguised as a temporary father and Bronstein plays the hell out of him, but by the time the film reaches its awkward conclusion, it's not quite enough to make any lasting impression. This is a spider weaving a very tattered web!

Kevin Kline's spirited performance is the highlight of this interesting but bland character study. Kline portrays Henry Harrison, an eccentric man who escorts wealthy women in New York City's Upper East Side. Harrison has trouble keeping roommates so he takes in a young aspiring playwright play by Paul Dano (appropriately bland). Of course the two will spar, bond and be the better for knowing each other. We've seen this story endless times (and much better in 1982's wonderful My Favorite Year) and since directors Shari Springer Bergman and Robert Pulcini (who co-wrote the script) don't bring anything new to this familiar plot, I found myself tuning out these two off-beat characters by the midpoint of the film. Of course, Kline is always a joy to watch and obviously is having great time as Harrison but the script never allows him to develop or grow throughout the film. It doesn't help that Dano seems to be trying too hard as the lost soul writer in need of a mentor. Yes, he's sad looking and vulnerable but I felt he needed to give his character more bite and urgency. Katie Holmes lends warm support as one of Dano's co-workers and it is a relief to see a small, intimate character study among the larger-than-life blockbusters and 3D spectacles. However, this film doesn't quite contain that "extra" spark needed to give these characters life.

Beautifully shot and acted British film directed with gusto by Andrea Arnold (who also helmed the screenplay). It's an intense look at the glum existence of a 15 year-old girl, Mia who lives with her sister and drunk mother in a crowded low-end high rise. Mia's world is shaken with the arrival of her mother's new boyfriend Connor played by Michael Fessbender (Inglorious Bastards). Newcome Katie Jarvis shines as the confused and angst-filled Mia. She gives the character a real urgency and edge without ever sacrificing her attractive femininity. In some scenes she appears crazed and harsh and in others, a picture of teenage beauty. It's a fine performance, brave and raw. Fessbender is also strong as Connor. He's not afraid to show his character's passion, sexual tension or vulnerability and the sparks and intensity he creates with Jarvis reveal a substance absent from most contemporary films! What is most impressive here is Arnold's direction. She really knows how to tell the story visually. Each shot progresses the story regardless of the dialogue (which is sometimes hard to understand because of the dialect) and Arnold avoids any contrived plot progressions, instead following the desire of her strong characters in a believable manner. This fine film is in theatres and pay-per-view on some cable networks. It's worth checking out!

The House of the Devil is definitely a cut above most contemporary horror fare and initially a welcome throw back to the old fashioned supernatural horror fare of the 70's and 80's . I liked the way it slowly built suspense during the first 80 minutes or so with mood, and atmosphere, however I feel the ending is an overdone bloodbath and it seemed like the director didn't know where to go with what he established at the beginning. I also feel the familiarity of the film hurts it in the end. It steals aspects of Phantasm, The Exorcist, The Omen, low budget Hammer Horror films and most of all, Rosemary's Baby but has none of the freshness and spark that made those films enjoyable. In those films, we are having fun along with the director, actors etc.... Toward the end of this film, I wasn't having fun anymore. Director Ti West manages to keep The House of the Devil interesting and his actors keep the fantastic aspects of the story grounded in reality (Tom Noonan is especially good as the creepy Mr Ulman) but unfortunately by the time it reaches it's conclusion, it becomes dreary throwing in gore and splatter in an effort to please modern audiences. It would have been stronger for West to imply terror psychologically throughout the entire film. The end is really a cop-out. This film is gathering rave reviews but I feel they are premature. Maybe horror films have become so dreadful that any ode to past glory will gain praise.

I watched an independent film called I'll Come Running tonight. Partially filmed in Austin Texas, this charming and moving film involves a Danish man named Pelle (Jon Lange) who falls for a Hispanic-American woman, Veronica (well-played by Melanie Diaz) while on vacation in Austin. They bond and leave each other phone numbers etc.... Unexpected circumstances lead the woman to Denmark in search of Pelle's family and friends. While there she connects with his life in a way she never expects. Well-directed by Spenser Parsons, this is an interesting and heartfelt film that takes its plot to unexpected places most commercial films wouldn't dare. The performances by Diaz and Lange are passionate and Christian Tafdrup is just terrific as Lange's best friend Soren who Veronica befriends in Denmark. Tafdrup has the matinee good looks of a leading man but projects an offbeat charm and vulnerability that makes his supporting character fascinating to watch. This is a nice gem of a film that explores how encounters with others can lead us to new and exciting realms. It's currently available on pay-per-view through most local cable companies. Give it a look!

Charming nostalgic film loosely based on the childhood of actor George Hamilton (who also produced the film). Renee Zellweger stars as Anne Deveraux, a Blanche DuBois-like southern lady who takes her two sons on a unique and life changing road trip after walking out on her adulterous, musician husband well-played by Kevin Bacon. Zellweger is terrific, her best performance since Chicago and Bridget Jones Diary. She really inhabits the role of this Southern Belle who uses her charm and sensuality to find a suitable husband and provider for her and her two boys. Logan Lerman portrays the teenage Hamilton with an appropriate mix of charisma and angst and Mark Rendell also shines as Hamilton's flamboyant half brother, Robbie. The scenes of Zellweger and her boys have great charm, soul and humor, they're small comedy classics and there's wonderful support from Nick Stahl as a kind hearted, chivalrous mechanic who takes a liking to Anne and Robin Weigert (Deadwood) as Anne's sad and fragile, jealous sister Hope. Weigert says more with one sharp look than other actors with pages of dialogue (she's an actress to watch). Another plus is director Richard Loncraine's affectionate and authentic look at the early 50's. Unlike Taking Woodstock, which seemed a clichéd 2009 version of "the counterculture 60's", Loncraine's recreation is alluring and real. The film is currently on pay-per-view and will soon be released on DVD. Give it a look!

Films dealing with characters who have disabilities can be tricky challenges for an actor. There's sometimes the well meaning, but contrived, calculated performances such as Dustin Hoffman in Rain Man and Tom Hanks as Forest Gump (both Oscar winners for their respective roles) or overacted sentimentality a la' Sean Penn in I Am Sam. Thankfully Hugh Dancy resists those patented mannerisms in his title role as Adam, a late 20's man with Asperger's Syndrome, a high functioning autistic disorder. As the film begins, Adam finds himself alone in his large New York City Brownstone after the death of his father. He works as an engineer but is socially unable to connect with other people due his condition. It's a lonely, confused existence until one day he befriends his upstairs neighbor, Beth (affectionately played by Rose Byrne) who is getting over a bad relationship. Dancy who was so charming in The Jane Austin Book Club and Confessions of a Shopoholic is just terrific as Adam. He never resorts to overplaying the disability of his character and instead creates a real man who is full of interesting observations and quirks and is constantly wrestling with a mind that can't adhere to simple social norms such as compliments or a sense of humor. Director and writer Max Mayer creates a quirky and unique film romance that avoids the usual sentimentality and contrivance of the typical "disease of the week" film. I liked the chemistry between Dancy and Bryne. There's a real exploration between the actors that's fascinating and winning. One minor flaw is a secondary plot involving Beth's parents (Peter Gallagher and Amy Irving). While it's great seeing the ravishing Irving back on screen looking mature and wise, the situation involving Beth's dad possible incarceration is a distraction and stops the film in its tracks with unnecessary courtroom scenes and melodramatics. That aside, Mayer and his cast should be commended for creating a refreshing romantic film that is subtle and sweet!

It's 1987 and James Brennan discovers his parents are broke and that acceptance to an Ivy League school won't become a reality unless he can find a way to fund his esteemed college pursuits. From 1971's Summer of 42 to 1986's Stand By Me, coming-of-age films have always had a special place in my heart. Maybe it's the insecure boy in me or the attraction of childhood but there's always something magical and heartfelt about a look at any breakthrough period in a young adult's life and director Greg Mottola doesn't disappoint with this well written, acted and affectionate look at the late 80's. Instead of focusing on the nostalgic aspects of the story, Mottola wisely concentrates on his characters, their development and subtle observations. Unlike most contemporary comedies, there are no big laughs, clichéd stereotypes or crass situations. Jesse Eisenberg brings a warm and winning vulnerability and good nature to James that is reminiscent of his strong work in The Squid and the Whale. Michael Zegen also is funny and sensitive as James friend, Eric who along with James works his summers at a local Pittsburgh, amusement park, Adventureland. It's also great to see leading man Ryan Reynolds as the park's mechanic, Brad. Reynolds gives a subtle strength to his role and admirably never resorts to the "star turn in the supporting role" trick to divert attention away from the leading characters. Reynolds is one of our finest leading men and I love the way he still manages to balance his popular Proposal like films with small independent gems such as The Nines, Adventureland and the upcoming Paper Man. Adventureland manages to be both an affective coming of age tale and subtle, character study, a welcome relief from major Hollywood films that tarnish the good name of comic filmmaking.

Strong on character development and atmosphere, this low-key, humorous Western is a nice break from the usual "shoot em up slam bang" treatment of a favorite Hollywood genre. After his fine work directing and starring in Pollock (2000), Ed Harris once again shows an admirable grace and ease juggling duties as director, co-writer and actor. Based on a novel by author Robert B Parker, Harris and Viggo Mortensen portray two lawmen hired to police a terrified late 1880's town from a murderous rancher (Jeremy Irons, a regal and calm villain) in addition to having their friendship tested by the arrival of free-spirited woman (Renee Zellweger, solid as usual). Harris gives the usual Western conventions (brave lawmen in a lawless town, troublesome mysterious woman and climatic shootout) a refreshing and humorous spin (the screenplay has some sharp one-liners and Harris allows ample reaction time with his actors) and then the film takes on a wonderful twist by focusing more on the friendship between Harris and Mortensen rather than the standard Western action "shoot em up" stuff. Yes, there's a showdown at the end but what's interesting is how the characters react to the conflicts and situations. I really like the low-key storytelling and the nice interplay between Mortensen and Harris. They're wonderful together on screen and there's a real passion to their friendship that's unique in this type of film Some of my friends have complained that this isn't the usual kind of Western film, yet that is part of its charm and ultimate strength. Harris is having fun with the audience (he seems to be winking at us as director and actor) by allowing us to focus on characters rather than mere action and violence. Let's hope Harris and Mortensen decide to pack their "six shooters" in another film real soon!

Sam Mendes' latest film Away We Go deals with a young unmarried couple who are expecting their first baby and decide to take to the road in search of the perfect place to raise their child. At first I thought the film was guilty of the usual clichéd indie film traits, quirky characters set to a carefully chosen alternative rock soundtrack but then something wonderful happened. I realized I was watching a rarity in today's indie comedy/drama market, a film with compassion and a big, big heart and soon I relaxed and began to enjoy a really good film filled with terrific performances. John Krasinski (The Office) and Maya Rudolph star as the young expecting couple in their 30's. They're just wonderful together especially Rudolph (Saturday Night Live and daughter of 70's R&B singer Minnie Riperton). She's an exciting, beautiful and vulnerable film presence. You can't keep your eyes off her and she lights up every scene with her heartfelt and passionate performance. The supporting cast shines in spades: Catherine O' Hara and Jeff Daniels are a hoot as Krasinski's selfish, off the wall parents, Allison Janney (who I'm not usually a fan of) is hilarious and terrific as Rudolph's drunken, openly sexual, foul mouthed former supervisor in Tucson, Arizona and Maggie Gyllenhaal is a lot of fun as an outrageous hippie wanna be cousin of Krasinski. The film manages to effectively be funny and heartfelt at the same time. We never get that clichéd "delivery scene" or over "sentimental epilogue after the baby is born. Instead Mendes allows this characters to grow and discover along the way and we as an audience enjoy taking the ride. What a pleasant surprise and definitely one of the year's best!

Clive Owen gives a very fine performance in The Boys are Back, an Australian film nicely directed by Scott Hicks (Shine). The film is based on a memoir by journalist Simon Carr who raises his young son after his wife dies of cancer and also is reunited with the teenage son he abandoned from an earlier marriage. Yes, it's a bit sentimental but then most movies based on memoirs are as they deal with someone's memory of events. Owen is really wonderful as the father and gives the role the right amount of humor, angst and vulnerability and Nicholas McAnulty and George MacKay who play his sons are terrific and believable. There's never a false note in any of the scenes between Owen and his sons and that gives the film an extra layer of depth and poignancy. In addition, the film's Southern Australian locales are breathtakingly photographed by cinematographer Greig Frasier. His shots of pristine beaches, moist grape trees, rolling hills and adorable Kangaroos blend wondefully with well-suited natural and bright light that create a domestic warmth in the interior scenes. Hicks also uses nine Sigur Ros songs that mesh nicely with the film's tone and the inclusion of Carla Bruni's cover of You Belong To Me at the film's conclusion is a gem. I like father/son stories and this Australian effort has more bite than the usual American equivalent due to passionate direction, gorgeous cinematography and expert performances.

This French film starring Catherine Deneuve (looking lovely, and elegant) and Mathieu Amalric (The Diving Bell and Butterfly) is getting critical raves all across the country and I can see why. It's a terrific film about a troubled family coming together for Christmas. If only American Holiday films could learn from this wonderful effort. There are beautifully, observed small moments in this film (it's 2 and 1/2 hours but doesn't feel that long, it moves in a necessary, efficient manner) and sometimes you don't know where it's going to go in plot and that's what makes it so appealing. Unlike American films of the sort, there are no magical revelations or over melodramatic moments, just really interesting and nicely written moments between the family members who gathered to find a bone marrow match for Deneuve's cancer stricken character in the days leading up to Christmas day. I love the way the film balances humor, sadness, passion and goes between all the emotions we feel from one moment to another. The acting is first rate especially Deneuve who's always terrific and Amalric who is just as impressive here as he was in The Diving Bell and Butterfly. He's got a slightly manic presence to his personality that I find fascinating. Finally, I like how the director breaks conventions. Sometime we have the usual fourth wall perspective of the situations with the characters but at other times they break the wall and address the audience. It's unorthodox but it works beautifully. I'm a fan of good family dramas and it's not often to find one in contemporary cinema made with so much skill and fluidity. Hollywood needs to watch this film and learn and audiences need to flock to this type of fare that challenges their minds and rekindles their souls.

Jeff Bridges terrific Oscar winning performance highlights this sturdy but familiar character study. Bridges portrays Bad Blake an alcoholic, fading country singer who revaluates his life upon meeting a journalist (Maggie Gyllenhaal) and her young son. Director and screenwriter, Scott Cooper gives the film's Southwestern locale an authentic feel (beautifully shot by cinematographer Barry Markowitz) and wisely keeps the focus on Bridges. Always a fine actor, Bridges evokes a passionate, sullen feel for Blake almost reminiscent of Kris Kristofferson and his singing reveals a gritty, melancholy style that's haunting and passionate. Cooper's script based on the novel by Thomas Cobb is solid but rather uninspiring. We've seen these characters before in other films (Tender Mercies) and I would have liked to know a bit more about Blake and in that aspect the film is somewhat sketchy. Colin Ferrell lends strong support as Tommy Sweet the hot rising country star who was influenced by Blake's work and Robert Duvall (who co-produced the film) appropriately shows up as Blake's friend Wayne. Since the film is somewhat of an update of Duvall's Oscar winning work in 1983's Tender Mercies, it feels right having Duvall around for Blake to lean on. Gyllenhaal won a surprise supporting Oscar nomination for her role here and she's good but her role feels overplayed and the scenes between Bridges and Ferrell have more bite and I would have loved to see more between them. Since the film is about country music, a strong highlight is the authentic and wonderful score by T Bone Burnett and Steve Bruton (including the Oscar winning song The Weary Kind). Despite some of the contrivances of the script, this film has a nice authentic feel to it and with Bridges' fine work, it appears the character driven film may have some mileage left after all!

Director David Fincher (Fight Club) has crafted a beautifully told fairytale that has all but disappeared from the big screen. Based on a 1922 short story by F. Scott Fitzgerald, Button soars from its opening moments where Brad Pitt's character Benjamin is born an old, feeble man and ages in reverse. It's a fascinating set up and unique look at how important moments in our lives occur based on the connections we make with others. The performances are all first rate! After his fine work in Burned After Reading, Pitt continues to shine giving Button charm, depth and passion. It's his best work as an actor and his age transformations in the film work beautifully. As Button's lifelong love, Daisy, Cate Blanchett is solid as usual and brings a glowing dignity to each scene There's also strong support from a surprisingly warm and radiant, Tilda Swinton in a small role as an English woman Button befriends in a hotel and best of all, is the talented Taraji P. Henson (so wonderful in last year's Talk to Me) who portrays Button's adopted mother with warmth, strength and conviction. It's a fine, heartfelt performance deserving of an Oscar Nomination. What also impresses here is how the terrific blend of direction, writing and performances are aided by top notch cinematography, art direction, make up and visual effects. With so many bad commercial films being dumped on us each week, it's exciting to see the kind of highly regarded Hollywood craftsmanship that used to be taken for granted as the norm (and hopefully will again). In less talented hands, this could have been an over-baked, sentimental Forest Gump, but Fincher and writer Eric Roth keep the enchanting storyline grounded and focused, creating a refreshing plotline that's character driven, a rarity in contemporary cinema and one of 2008's best films.

After the disappointing Spiderman 3, it's great to see Sam Raimi return to his horror roots with the immensely entertaining Drag Me to Hell. Allison Loman stars as Christine, a loan officer who is the recipient of a deadly, supernatural curse upon evicting an old woman from her beloved home. Christine finds she only has three days to break the spell or be cast to the deadly depths of hell for eternity. With his looping, dizzy camera shots and steady mix of humor and horror, Rami is exploring the eclectic style that made his Evil Dead films in the 1980s so unique and fun. Raimi achieves this feat by creating a slightly manic over-the-top story energetically told by actors who make the unbelievable both real and spirited! Welcome back Sam! Hope you plan on "dragging" audiences to more places like this!

Carey Mulligan shines in this terrific and beautifully realized coming-of-age tale that takes place in 1961 England. Directed with passion by Danish filmmaker Lone Scherfig, Mulligan (deservingly Oscar nominated) stars as Jenny, a 16 year-old teenager who attends a private school for girls and hopes to study literature at Oxford. Her scholarly aspirations are delayed when she meets a thirtysomething playboy David (beautifully played by Peter Sarsgaard) nearly twice her age who sweeps her off her feet into a exciting lifestyle of parties, restaurants and flashy trips to destinations such as Paris. Nick Hornby's (About a Boy) screenplay is layered with wit and depth and he and Scherfig help create an affecting romantic tale that surprises and delights. Mulligan is reminiscent of a young Audrey Hepburn in her ability to charm the audience and touch them with grace and vulnerability. Her fine work is aided by a terrific supporting cast. Olivia Williams (The Sixth Sense) shines as Mulligan's timid yet supportive teacher. Williams displays a caring compassion in her worry over Jenny's infatuation and it's evident by Williams finely shaded performance that her character was once in Mulligan's shoes and knows this delicate situation all too well. Rosamund Pike (who nails the look of a 1961 English socialite) and Dominic Cooper are solid as David's best friends and Alfred Molina (always good) is wonderful as Jenny's indecisive, worrisome father. He manages to give his well-written character, an overbearing, but likable quality and he has a poignant scene with Jenny toward the end of the film that displays his love and compassion. It's a fine performance that should have been Oscar nominated! Scherfig, Hornby and the cast breathe new life into the traditional romantic coming-of-age tale with grace, humor and poignancy. This is one of the best films of the year!

So many contemporary romantic comedies are glum, dreadful experiences with tired, cutesy plots or vulgar, crass attempts at mixing wild humor with pathos at an overlong 128 minute running time (Judd Apatow comes to mind). Thankfully, Marc Webb's offbeat, intelligent 500 of Days of Summer is a refreshing ray of sunshine in this ailing genre. The film explores the off and on 500 day relationship between Tom and Summer, two employees at a Los Angeles greeting card company. Joseph Gordon-Levitt (Brick) and Zooey Deschanel (Almost Famous) have great chemistry and shine as the couple. Gordon-Levitt uses his insecure, quiet nature to full advantage here giving Tom a likeable, forlorn quality that bounces off Deschanel's bubbly, radiance beautifully! The screenplay by Scott Neustradter and Michael H. Weber imaginatively uses creative sparks such as an omniscient narrator (a'la Y Tu Mama Tambien) and Tom's different perspective (via split screen) of a party given by Summer from Tom's expected experience to the actual reality that occurs. It's a nice bit and the whole film is an affectionate throwback to 70's comedies such as Annie Hall. What a kick to finally watch a romantic film with likable, developed characters who manage to grow over the course of 90 minutes and actually have intelligent things to state to each other and don't have to end up in a perfectly tied up neat, happy ending. Webb also throws in some nice touches such as a giddy, dreamlike dance piece set to Hall and Oats infectious 1981 hit, You Make My Dreams. This is one of the best films of the year and a timely reminder of how good a romantic film can be when there's a strong script and winning characters to follow over 500 days and more!

Watched the acclaimed Goodbye Solo on Netflix earlier today. What a terrific film! Beautifully directed and acted. Director Ramin Bahrani strips away all shades of usual drama in these type of stories and goes for guts and realism. The acting is natural, believable and thus moving because the audience feels like a fly on the wall observing these characters. The film deals with an unlikely bond between a Senegalese Cab Driver and a lonely, mysterious older gentleman who may be contemplating suicide. Character actor and former friend of Elvis Presley, Red West is haunting and appropriately sullen as the older man and Souleymane Sy Savane is terrific as the cab driver, full of passion and guts. He was nominated for a Spirit award for this and I can see why. Both actors are terrific and their scenes are very real and Bahrani knows how to keep the camera on the actors long enough to allow moments to conspire and time for the audience to comprehend them. This is one of the best films of the year!

In Gran Torino, Clint Eastwood sort of reinvents an older version of his 70's characters such as Dirty Harry. He portrays Walt Kowalski, a recently widowed, retired Michigan auto worker who spends his days drinking beers and reading the paper on his front porch observing the world at a distance and with a rather feisty racial distrust of his Asian neighbors. Think Dirty Harry meets Archie Bunker and you'll get the idea. Eastwood is at his cranky, crabby, humorous best here and the film is quite entertaining especially for audiences members like me who grew up with Eastwood's tough "Dirty Harry" type characters. He's still tough, but his walk and bounce is a bit slower and age and years of smoking have effected Kowalski's health in a negative way. I like the way Eastwood isn't afraid to show his age here (78) and Kowalski is the most likable of film bigots. However, once his character becomes friendly and emotionally involved with his Hmong neighbors, the film takes a contrived turn from which it never fully recovers. Kowalski's neighborhood is ruled by gangs and one Asian gang in particular wrecks havoc on Walt's new Hmong friends and then it's time for the "Dirty Harry" side to take over. Part of the problem is that Nick Schneck's screenplay maps out every event in advance. I saw the conclusion coming toward the middle of the film and I was right on the money. In addition, after the first hour or so Kowalski's overuse of racial slurs seems excessive and merely used for a quick laugh and I started to believe less in the characters, a shame considering the promising beginning. Finally, the film's ending seems heavy handed and forceful on the symbolic side which was also a problem in 2004's overrated Million Dollar Baby. I love Clint Eastwood and he's a lot of fun in Gran Torino and you'll definitely be entertained but I somehow expect more out of Eastwood, one of our finest filmmakers and most entertaining actors. If the film remained a comic character study of acceptance rather than an explosive "Dirty Harry" social lesson, Eastwood's Kowalski may have felt like a real character rather than heroic stereotype.

Last year's Tropic Thunder was such a refreshing outrageous comedy because it wasn't timid or scared of offending audiences with its likable vulgarity and crude humor. Happily, Todd Phillips (Old School) new comedy The Hangover provides the same pleasurable experience. The film deals with three groomsmen on a bachelor party-style last minute fling in Las Vegas whose drunken night of partying set off a domino effect of misadventures and humorous chaos. Phillips doesn't hold anything back with a his bold comedy style. There's everything from male nudity (a naked martial arts character jumping out of a car trunk is a hoot) to extreme physical humor( Helms is a dentist who discovers his tooth has been knocked out) and his cast is sure up to the challenge. Bradley Cooper, Ed Helms and Zach Galifianakis (a hilarious turn) give spirited performances and manage to create a believable bond that provides a compassionate subtext to the crazed situations. What's refreshing here (and was lacking in Phillips' Old School) is the sense that these characters really care for each other. Phillips and his cast aim for the comedic jugular vein but still manage to keep the heart of the story intact and that's a hangover worth having!

When Drew Barrymore appeared in 2007's delightful Music and Lyrics with co-star Hugh Grant, I found it to be that rare genre in Hollywood currently, a decent romantic comedy. It seems Tinseltown has all but forgotten how to write and produce a believable, passionate comedy. So I had some hopes of lightning striking twice when seeing the trailer for He's Not That In To You that included the warm and radiant, Barrymore among a cast of high octane talent including Ben Affleck, Jennifer Aniston and Bradley Cooper. Unfortunately this adaptation of the best-selling self- help book is a bland and contrived mess only marginally aided by a good cast. The film follows a group of characters in desperate search of that age old question of "how to find true love." Usually this is the stuff of study romance but in the hands of writers Abby Kohn and Marc Silverstein and director Ken Kwapis, we instead get a dull look at several lonely singles and couples who never seem to develop over a lengthy 129 minute running time. Aniston and Affleck portray Neil and Beth, a veteran couple who can't seem to tie the knot because of Affleck's fear of commitment. We've seen this conflict in dozens of films and Kwapis doesn't exam any new ground here and sadly Aniston (so wonderful in last year's Marley and Me) and Affleck (on a career high after his terrific work in Hollywoodland) have little chemistry together. Even more dull is the stained relationship between Janine and Ben, a married couple wrestling with Ben's sudden infidelity. Bradley Cooper, an energetic and interesting actor, does his best to make his character come to life but the writing and Jennifer Connelly's bland performance (who seems lethargic in every role) as Janine never allow any spark to develop. It doesn't help that Scarlette Johansson is once again cast as the over-sexual "other woman" out to destroy a marriage. Johansson showed some promise in Ghost World and Lost in Translation but in those films she was playing an extension of herself and since she's really not much of an actress, her recent roles have been forgettable to say the least (Thankfully she didn't do any damage to Vicki Cristina Barcelona because of the fine talent surrounding her). Barrymore does thankfully appear in a few scenes as the lovelorn Mary and her attempts to find a mate through technology (myspace, texts etc.....) are warm and amusing but her role is really an extended cameo and more a tease. I also liked Justin Long's performance as Alex, a wisecracking, intuitive bartender who befriends the lonely Gigi (Ginnifer Goodwin, too cute for her own good) in her search for the right man. Of all the characters in the film their relationship is the most contrived and thus, tough to swallow, but Long gives Alex the right amount of charm and humor to allow us to see Gigi's attraction and is one of the few likable characters in the film. Ultimately this is an uptight and glum film experience that becomes mean-spirited because the writers and director are so general in their character development and introduce us to mere stereotypes rather than full-fledged characters. This film reminds me of all those horrible daytime talk shows where couples are yelling at each other and families are pointing fingers of blame. He's Not That In To You creates a world of men who are out to hurt women with cruelty or lack of commitment and somehow the women in this film's universe are willing to take that shitty treatment. Maybe the filmmakers here need to write a new self-help book on respecting their audience. After watching this crap it doesn't seem that they are really "that into to us."

Kathryn Bigelow does a terrific job directing this harrowing look at the everyday lives of members of an elite American bomb squad in Iraq. Each sequence goes for the jugular vein in a bold and gutsy manner not often seen in conventional war films. I also admire how she keeps the tone of the film consistent. It never resorts to clichés or over baked emotional scenes and the scenes depicting the war in Iraq and the effect on these soldier's lives have a horrific reality to them that makes the situation even more frightening. The film doesn't have a political stance and merely is a reflection of the every day life of the members of this bomb squad. However, this lack of political bias actually turns the film into a stronger anti-war message as a needed shot of reality of the horrific aspects of war and its devastating effect on the lives of all involved. The entire cast is strong and Jeremy Renner and Anthony Mackie create vivid and strong portrayals that are real and devastating. Both are worthy of Oscar nominations as is the film, one of the year's best!

Though not as extreme, 1980's and 90's martial action star Jean Claude Van Damme has the same weary, painful look in JCVD as Mickey Rourke in The Wrestler. All those years of action, martial arts, and recent "direct to video" films have taken some toll on his handsome face and he's all the more interesting because of it. This clever, French satire directed by Mabrouk El Machri casts Van Damme as a fictional version of himself. At 47, he's exhausted from mindless "straight-to-DVD films, losing major roles to Steven Seagal ( now willing to cut his famous ponytail) and is in the middle of an ugly custody battle in Los Angeles for his daughter. He decides to return home to Brussels to visit his family and rest. Unfortunately he steps into the middle of a bank robbery and becomes a hostage who is used by the real culprits as a decoy for their own actions. El Machri uses this set-up as an opportunity to examine the career of Van Damme and other similar action stars who eventually become a parody of themselves yet maintain star status and worship of adoring fans. Van Damme's mix of angst and weariness make for a fascinating portrait of a star who's fame is slowly dissolving away while his personal life crumbles. Late in the film, Van Damme breaks the fourth wall and delivers a haunting, painful and tearful monologue in regard to his life, broken career and how his path is far from the one he once dreamed. It's an original and heartfelt moment and proof that the "muscles from Brussels" has fine acting chops with energy to spare. There's definitely some kick left in this old boy and let's hope, like Rourke, he continues to fight his way in this direction.

Watched Julie and Julia tonight and thought it was well done. Nora Ephron (Sleepless in Seattle) can sometimes be a bit heavy handed with her direction and forced emotion through use of music, scenic locales etc... However, in Julie and Julia she backs off and let's her fine actors do their thing and the film works (there's a few scenes where her presence looms but thankfully they are quick). Most critics have lauded Meryl Streep and Stanley Tucci as Julia Child and her beloved husband Paul and they're right on. Streep is terrific! She creates an infectious, joyous character and instead of merely imitating Child, she instead invests in an affectionate homage to her spirit and it's quite lovely. Her scenes with Tucci (brilliantly underplaying Streep) are sweet and whimsical in a manner not often seen in contemporary films. They are delightful. Streep is a sure bet for an Oscar nomination and may win her third statue. Some critics weren't as kind to the Julie, Amy Adams section of the film and I don't know why. Adams is appealing, vulnerable and humorous as always and I feel her section bounces off the Julia Child bits quite well. They're meant to compliment each other and they do. Chris Messina shines as her supportive husband and continues to give one fine performance after another (his supporting role in Away We Go was memorable). It's not a great film but it's well made, affectionate and thankfully aimed at adults and like all great cooking, a recipe worth savoring.

Poignant and beautifully acted allegory set against the West Bank Israeli/Palestine conflict. Hiam Abbass (The Visitor) gives a terrific performance as Salma, a widow who cares for the lemon tree groves she inherited from her father that lie on the border of Palestine and Israel. All is well until the Israeli Defense Minister moves in next door putting up a security tower and fence and asking Salma to cut down her beloved lemon groves as they pose a security threat. The remainder of the film (based on a true story) involves Salma's brave fight to keep her lemon groves taking the case all the way to the Irsaeli Supreme Court. An interesting aspect to this intriguing film is the parallel story of the Defense Minister's wife (Rona Lipaz-Michael in fine form) who sides with Salma's angst over the lemon trees and begins to feel like a prisoner in her husband's secure fortress. The two women have much in common and Israeli director, Eran Riklis does a good job balancing the human aspect of the story and allowing us to feel these characters' plight. Abbass is indeed an actress to watch. Her haunting face is lovely and she digs deep to create a woman who has strength, guts and passion. It's quite touching and I feel that with this and her wonderful work in last year's The Visitor, she is an actress who can become an international star. Let's hope the Oscars will recognize her fine work here next year. It's that good. Riklis doesn't attempt to give any easy answers to the sad political state in the West Bank, but instead develops and observes his characters effectively enough to show the tragedy that already exists and how no winner emerges when a country results to might over right.

Sean Penn's terrific and passionate Oscar winning performance is just one of many reasons to see this intriguing and beautifully made look at Harvey Milk, our nation's first openly gay man elected to public office who tragically was murdered in 1978 by San Francisco Board of Supervisor member, Dan White. Director Gus Van Sant does a fine job with his terrific ensemble cast. Josh Brolin (Oscar nominated and deservingly so as White), Diego Luna, Emile Hirsch and James Franco all shine in supporting roles and Penn gives his finest performance as Milk. While always strong in his characterizations, Penn has sometimes bordered on overacting in films such as I Am Sam and Mystic River, but in Milk he just disappears into his role and is so believable and inspiring every minute he's on screen that I forgot I was watching Sean Penn and totally immersed myself in this look at an innovator for gay and human rights. Aside from the magnetic performances, I also admire how Van Sant mixes actual footage with faithful recreated scenes that it's sometimes hard to tell the difference; they really blend in that well together. Screenwriter Dustin Lance Black's Oscar winning screenplay allows this important, factual story to come alive through full fledged characters we care about. A must see and one of 2008's finest films!

Michael Keaton's directorial debut is a quietly effective, subtle character study of an unlikely friendship between an aging hitman (Keaton) and a lonely wife (Kelly McDonald, terrific as usual) running from her abusive husband during the holiday season. Keaton does a fine job establishing a bleak winter setting where two characters connect and find hope beneath a fragile undercurrent of darkness that lies beneath their hearts. I've always enjoyed Keaton as an actor and he is aging in a dignified and interesting manner. His performance here is quite fine with shades of both strength and angst and he and McDonald are wonderful together. Their scenes have a haunting beauty and effective sense of exploration Keaton is a generous director with his cast and allows them to shine. Tom Bastournes also is strong as a lovelorn, protective police officer investigating McDonald's abusive husband. This is a really fine effort, subtle yet rich with character observation and development and one of the best films of the year. Keaton is certainly a director to watch!

In 2002 director/choreographer Rob Marshall brought the Hollywood musical back to its glory with his energetic, imaginative adaptation of Chicago. Winning six Academy Awards including Best Picture, the film's success brought forth other fine musical adaptations over the past decade including Rent, Dreamgirls and Hairspray. In a morbid, ironic twist of fate, it appears the same man who brought the musical back to twenty-first century audiences may also be the cause of its demise.

I never was a big fan of the 1982 Tony winning musical Nine based on Fellini's 1963 classic, 8 & 1/2 and always found the music somewhat predictable and dry. However, when I heard that Marshall was on hand with a cast including Daniel Day Lewis, Marion Cotillard, Sophia Loren, Penelope Cruz, Nicole Kidman and Judi Dench, I had high hopes that under his sure hand, musical lightning could strike twice. After finally catching the film this week, I suspect I was clinging to a pipe dream. The film is such a blasted mess that I don't even know where to begin. Lewis is one of the finest actors of his generation but Marshall has miscast him as the Fellinisque Italian director Guido. In the original Marchello Mastroianni was a charismatic lead whose confusion and angst brought out an interesting and charming vulnerability and it was easy to see why so many women were drawn to his path. Unfortunately, Lewis portrays the character as brooding and sullen without revealing any shades of passion or magnetism. Normally, Lewis' extreme dedication can allow him to become any character, but this has to be within reason. With his dark, gallic looks, he just doesn't read believably as an Italian man and his attempts to sing and dance are over cautious and bland (it doesn't help that Marshall's staging of the musical numbers are uninspired but more on that later) and I couldn't help but think that Marshall's original choice, Javier Bardem, would have worked so much better in the film. Bardem's soulful eyes and ethnic machismo would have accentuated the role of Guido and given the film a much needed injection of life. With an actor of Lewis' caliber attempting to stay afloat, it becomes almost painful to watch.

Those familiar with the far superior (but overrated) original film, know that the Guido is a stressed, hurried film director who recalls the major events of his life and of course, all the women who were there to share each step of the way. In the musical update, Penelope Cruz, Sophia Loren, Kate Hudson, Judi Dench and Nicole Kidman (her most stiff and uninspired performance) all are asked to sing one number without any real character development, so we really don't care how they relate to Lewis' crisis filled character. It's hard to believe that five former Oscar winners are used so unimaginatively. These aren't characters but instead serve as "prop up" clichés who exist to belt out one unmemorable song after another and disappear. Black Eye Peas star Fergie is in fine voice for her one number but it's so poorly staged (as all the numbers are) that I cringed. The lone bright spot is Marion Cotillard passionate turn as Lewis' wife (she also saved the boring Public Enemies). She's the only actor who creates a character with feeling the audience can empathize with. As he did in Chicago, Marshall once again stages all the musical numbers in the imagination of a single character. While that device worked in Chicago, it falls flat in Nine and becomes tedious to point of nausea. It's almost as if he's embarrassed to be making a musical so he wants to hide all the numbers on stage rather than having the actors sing as inner monologues for their characters It's a timid directing choice and a mistake. The entire fault really can't lie on Marshall as the musical itself is problematic. While presenting the women in Guido's life musically might have worked on the live stage, it feels hollow and boring when viewed visually. It probably doesn't help that Maury Yeston's score isn't too memorable (with the exception of Be Italian). It's doubtful any audience member will feel the need to hum the score on their way out of the theatre. In the future, Marshall needs to break out of the over-theatrical stagy musical numbers and allow the songs and dance to further the story in exciting and alluring ways. I really love musicals but watching Nine tried my patience. I think they are forwarding the number of the original film in the wrong direction, this is closer to a 4 and 1/2.

I looked forward to watching this year's comedy hit, The Proposal because I always enjoy Sandra Bullock's spirited comedic style and co-star, Ryan Reynolds is a likeable, charismatic leading man. Their infectious chemistry certainly help, but ultimately can't save a weak, contrived script and pedestrian direction by Anne Fletcher (27 Dresses). The main problem here is that we've seen this "boy hates girl, boy loves girl" set up so often in romantic comedies that it's not fair to call it a cliché anymore. It's moved beyond that point. If only the filmmakers would have given more time to develop the characters. Bullock is cast as Margaret Tate, a cold, bitchy boss who makes her employees miserable especially her younger assistant Andrew played by Reynolds. Unlike Meryl Streep in The Devil Wears Prada, it's never apparent why Bullock is so despised and her character doesn't have the nasty edge needed to make her eventual sweetening believable. As given away in the trailer, Tate is a Canadian citizen whose threat of deportation forces her to blackmail Andrew into marrying her in return for a promotion. The rest of the plot is probably obvious to all fans of the romantic comedy genre. It's just too bad that Fletcher and writer Peter Chiarelli didn't allow Bullock and Reynolds time to develop their affection for each other. It's also a shame that Fletcher wastes the talents of Mary Steenburgen and Craig T. Nelson as Andrew's parents. These are two of our finest supporting actors, yet they rarely have a scene that allows them to connect with Bullock and Reynolds, instead they are used as background. Fortunately, the ageless Betty White overcomes the weak script and shines as Reynold's feisty grandmother. White is a true pro and knows how to make even slightest gag or comic line work. She's great fun and so are Bullock and Reynolds. Let's hope they propose a better film in the future for their charming talents.

Watched Public Enemies tonight and was disappointed. I thought Johnny Depp was charismatic yet miscast as John Dillinger. I never quite believed him as Dillinger. His performance is composed of poses and quiet stated angst but doesn't seem to ever reveal the wit or charm that made this criminal a legend. Faring even worse is the usually reliable Christian Bale. He's as dull as stale white Wonder Bread. It almost seems as he is sleepwalking through the part on sedatives. Is this the same actor who was riveting in American Psycho, The Machinist and 3:10 To Yuma? Sadly, there's no tension between him and Depp and their scenes go nowhere. This type of "cop hunts down criminal film" needs an eclectic pulse to drive the action. Instead, director Michael Mann gives us endless scenes of sullen faced actors speaking in hushed tones (Depp is nearly impossible to understand in many scenes) or overproduced gunfights and action chases that are staged like production numbers in a feature musical. I also found the film is too long (it could have easily been cut by 20 to 30 minutes) and Michael Mann is trying too hard to make the film contemporary and hip to modern audiences which takes away from it being an effective character study of Dillinger and Billie and the cops that took him down. I didn't like the use of shaky, hand held shots and alternative rock musical score. Those elements did not feel right for this type of film and broke any illusion that the film took place in 1930's depression America. The lone highlight of the film is a terrific performance by Oscar winner Marion Cotillard as Dillinger's girlfriend, Billie. Cotillard is probably one of the most talented and beautiful actresses in films now and she gives her character a urgency and sensual passion that gives a temporary spark to the otherwise sluggish action. Mann has made some really fine films from 1986's underrated Manhunter to the taut and powerful Oscar nominated The Insider (1999), but in Public Enemies he seems to be sacrificing his talent as a filmmaker to please the ever shrinking attention span of corporate run modern Hollywood.

Earlier this year, Remember Me opened to mostly negative reviews although some critics stated the film was bold and more intense than the usual romantic, potboiler so I figured I'd give it a look on pay-per-view. The cast consists of some fine actors such as Chris Cooper, Pierce Brosnan (the film's only believable performance) and Lena Olin. Even the always watch able Martha Plimpton appears unaccredited in a cameo during the film's opening scene. However, these fine performers are all betrayed by a ridiculous, contrived script by Will Fetters, uninspired direction from Allen Coulter (Hollywoodland) and a histrionic leading performance by heartthrob Rob Pattinson. I haven't seen Pattinson in the Twilight films but judging from his overwrought, James Dean imitation in Remember Me, I might avoid him at all costs. Pattinson portrays, Tyler Hawkins a 21 year-old angst-filled young man whose family life seems to stem from one tragic event after another. Tyler can't seem to connect with his workaholic father (Brosnan) and still grieves over the suicide death of his 22 year-old brother in the mid 90s. It's now six years later, summer 2001, and Tyler is still an emotional mess. After sparring with an overzealous cop (Cooper) after a night of drinking, Tyler discovers Cooper's daughter Ally (Emilie de Raven) is a classmate at his college and foolishly bets his roommate that he can get her to go out with him. Obliviously it's love at first sight and guess what, Ally and her father have also experienced tragedy ten years earlier with the shooting death of Ally's mother in a Brooklyn subway station. This has all the ingredients for an intense, emotional soap opera and that could be enjoyable if Coulter and Fetters created well-developed characters and a passionate love affair. Instead we are subjected to endless scenes of Tyler brooding and exploding. Pattinson is no James Dean or Montgomery Clift and his overzealous pouting and brooding are layered on so thick that I was expecting a sequel to Cronenberg's Scanners complete with head explosions. In addition, the film never allows this so-called passionate affair to come alive. Fetters' script doesn't provide any depth to their relationship and Pattinson and de Raven (blandly noble) have such little chemistry together it's a wonder they survive their first date. Ultimately, what really mars the film is an overwrought conclusion that shamefully uses the 9/11 tragedy as a last minute plot device to masquerade as a powerful ending. It's exploitative and ugly. A well-made film would create credible characterization to draw the audience into the events of the film, but since Remember Me has a stinky, contrived script and histrionic acting (except for nice work by Pierce Brosnan) and direction, it has to use a cheap, exploitative device to appear bold which is as offensive as bad filmmaking gets. I found it ironic that a few years back my students had a hard time with the release of Paul Greengrass' United 93, a terrific film depicting the bravery of the passengers of that flight in a noble,realistic manner but they'll accept a manipulative romantic drama using the same tragedy for a big emotional finish? This film is for audiences who like sadistic Nicholas Sparks imitations. Give me 1970s Love Story any day!

Well-meaning and sweet ensemble comedy that follows an eccentric group of likable characters who live on Route 30 near Gettysburg in Southwestern Pennsylvania. The film contains three interconnecting stories. The first two episodes deal with two couples who are close friends. The husbands, Ned and Tork hunt (Deer, what else?) together and in the second episode are convinced they've discovered a type of Bigfoot creature lurking the woods where they hunt. Nathalie Boltt (District 9) shines as Tork's sensitive wife who conducts tours in nearby Gettysburg and is obsessed with Jenny Wade, the only civilian killed in The Battle of Gettysburg. In addition, she dreams of pursuing her dream of singing on stage in Broadway style musicals. Meanwhile Ned's wife June (Christine Elise) is thinking of making pornographic films for the internet starring herself and a mortified Ned. Unfortunately, the film never develops this kinky sub-plot and we are left with lame suggestive jokes that go nowhere. The third sequence starring David DeLuise (son of Dom) as a failed writer from Hollywood who moves to the area in hopes of finding himself and his creativity is the most promising . DeLuise is a likable film presence and his first person narrative, though contrived, is funny and winning. Best of all, is Dana Delany who plays DeLuise's Amish old maid neighbor who loves to sneak beer and pizza, curse and conveniently (for the plot that is) dreams of someday watching a live musical performance in a theatre. Of course, since Boltt's character wants to sing one day for stage, it's easy to figure out how these two characters will eventually cross paths. Unfortunately, that's the problem with this sweet film. It's predictable and wants to please so much that is often drains the life out of interesting ideas and situations (the porn film idea is funny if only the filmmakers would have gone all the way with it). We never really get to know these characters in detail, merely their dreams and pursuits. Boltt gives her underdeveloped character an injection of warmth and sub-text and Delany creates a wonderful, funny character with Martha, the most radical of Amish women. It's just too bad the script doesn't give these two talented women and cast more to play with.

Jude Law and Robert Downey Jr. are two of our finest actors thus, I had some hopes of enjoying Guy Ritchie's (Snatch) update of Sir Arthur Conan's classic English detective. Law and Downey are watch able as always but unfortunately, Ritchie's action induced interpretation reads more Harry Potter meets Indiana Jones than imaginative tribute to one of literature's greatest detectives. Downey's Holmes and Law's Watson (it would have been stronger for the actors to switch roles, Law really resonates more Holmes than Watson) must stop a crazed, black magic madman from destroying England. The whole plot feels more James Bond than Holmes and Ritchie even opens the film with a Bond-like action prologue to excite the testosterone of the intended audience. As the movie progresses, Ritchie stages so many endless fight sequences done in an obnoxious slow/fast contemporary manner that I kept waiting for Ed Norton and Brad Pitt to appear as a follow-up to Fight Club. The normally effective Rachel McAdams also fails to impress here as Holmes' love interest. She's too contemporary and modern in her walk and line readings and it's never believable for one minute. In fact, that is the film's most detrimental flaw. I never felt like I was swept up in the time period of the late 1890's and thus could care less about the the film's characters or flimsy plot. My big question to Ritchie and the producers here is why make the film a Sherlock Holmes adaptation? Law and Downey Jr. are an interesting, likable team and could have easily starred in a contemporary action, thriller with humorous overtones. Watching this film disgusted me because it's further evidence how contrived and safe Hollywood has become. They will take any established property and slickly alter it to fit a target audience of 12 to 17 year-old males. What happened to films for adults? Why cast two of our best male actors in shit that lacks any creativity or conviction. That's a case only the traditional Sherlock Holmes could crack?

Katherine Heigl and Gerard Butler are such a charming and charismatic duo in The Ugly Truth that it's a shame the filmmakers couldn't create a better vehicle to highlight their appeal. "Truth" is the latest in a long line of contemporary romantic comedies that falls flat because of a weak script, uninspired direction and all too familiar situations. We saw this same "boy hates girl, boy loves girl" this summer in The Proposal and like that flawed film, The Ugly Truth never allows its characters to develop enough for the audience to care whether they live happily ever after or at least try to. Heigl portrays a Sacramento news producer who is forced to aid a vulgar, cocky public access personality played by Butler to increase ratings for a local morning news program. Of course, the two will despise each other at first for foreplay and then fall hopelessly in love by the closing credits. This is the plot of many a sturdy romantic comedy and can work if the script allows the audience to get to know the characters through witty, sharp dialogue and humorous misadventures and situations. Director Robert Luketic and writers Nicole Eastman, Karen McCulla-Lutz and Kristine Smith seem to channel this through an endless array of phony foul language (the characters are never believable when they talk dirty in this film, it seems a Hollywood version of "potty mouth") and missed comic opportunities. There's real promise in a scene where Heigl is wearing a pair of vibrating panties during a dinner party as sort of a hilarious homage to Meg Ryan's classic orgasm moment in When Harry Met Sally. Heigl is certainly energetic and game but the filmmakers never allow the moment to build and unfortunately we are left with another quick gag aimed at audiences with cell phone and text attention spans. It's too bad because Heigl is such a likable and witty actress and Butler is well-cast here as a crass, blunt man on the surface who has a kind, vulnerable interior. If only modern comedy filmmakers would stop trying to create comic possibilities around tired, immature gags and have enough respect for the audience to allow them to get to know the characters and feel real human emotions, those rude cell phone addicts and text fiends may actually shut their phones off in theatres (and film classrooms) and decide once again to identify with those larger-than-life celluloid figures on the big screen. That's an Ugly Truth everyone needs to hear!

Pixar and Walt Disney Studios have done it for the third year in a row. In 2007, Ratatouille was one of the year's finest films, a feat WALL-E matched last year. So it's no surprise that Up follows the same delightful fate! The film is beautifully directed and written by Pete Docter and Bob Peterson and manages to be poignant, clever, humorous and exciting. The story deals with Carl (voiced effectively by Ed Asner), a 78 year-old recent widower who thirsts to complete an adventure to South America that he and his beloved wife, Ellie dreamed throughout their marriage, When he discovers he will be sent to a nursing home, Carl decides to tie helium balloons to his home and fly to his dream destination. Along the way he inherits a well-meaning young boy scout named Russell and together they meet up with Carl's hero, a somewhat crazed explorer, Charles Muntz (well played by Christopher Plummer). The first fifteen minutes of the film are a heartfelt exploration of Carl and Ellie, their years spent together and the love and passion they share! This poignant prologue contains more passion, conviction and character development than most contemporary films could even dream of. I love the originality of the story and the examination of how we pursue our dreams and continue to carry on the torch of love. The vocal performances, lovely visuals, humor (Muntz's dogs who miraculously speak via computerized dog collars are a hoot), effective direction all blend magnificently to create a stunning motion picture. This is one of the year's finest films and a sure bet for Oscar gold!

Jason Reitman directs, a Hollywood rarity in 2010, the smart, edgy and refreshingly adult, commercial film that's quite timely George Clooney (well-cast and his best performance) plays Ryan Bingham who travels the country firing people from their jobs due to corporate downsizing. Clooney is terrific here playing the role of a middle aged bachelor whose love of traveling to support his nomad existence includes the ultimate goal of hitting the "million mile frequent flyer mark" with his airline carrier. Clooney wisely gives Ryan shades of playfulness, charm, sexuality and a hint of loneliness that softens the abrasive nature of his character's profession. It helps that Clooney's strong work is aided by two terrific supporting turns by Vera Farmiga and Anna Kendrick (both deservingly Oscar nominated). Farmiga portrays Alex an intriguing love interest Clooney befriends during his travels. Farmiga gives her character the right amount of charm and mystery and she and Clooney ooze charisma and create dynamite sparks in their scenes. Kendrick also shines as Natalie, a new trainee that Ryan takes under his wings. Her entrances, body language and volcanic, nervous energy are quite winning and Kendrick keeps her energetic, anxious character grounded in reality. Reitman co-wrote the screenplay with Shelton Turner and its filled with sharp, lively dialog that keeps the story moving in fresh, surprising directions. It's such a relief to see a Hollywood mainstream film that's smart, edgy and respects that its audience is intelligent enough to appreciate a script that surprises and performances that are classy, dynamic and filled with depth. One of 2009's best films!

Mickey Rourke's once handsome face now displays a worn out, chiseled look that tells a thousand stories with a sincerity that reaches for the gut and soul. After some well received supporting turns in Man on Fire and Sin City, it's great to see director Darren Aronofsky (Requiem for a Dream) cast Rourke appropriately as the title character in a film about a lonely, aging wrestler desperately hanging on to past glory, fame and conviction. What a terrific performance! Rourke bares it all here with a gutsy, soul searching performance as aging wrestler, Randy "the ram" Robinson. He's believable in every frame of the film and Aronofsky and screenwriter Robert Siegel, wisely avoid any Rocky like "underdog" clichés and instead invest the film with a raw honesty and power that's intriguing, sometimes humorous and eventually quite moving. Rourke receives strong support from co-star Marisa Tomei (an Oscar nomination is a sure bet here) as a stripper who befriends Randy. Always, a strong presence, Tomei digs really deep here and creates a brave, earthy character. Her scenes with Rourke have bite, sensuality and passion and its quite winning. Rourke recently won a Golden Globe and numerous critics awards for this performance and deservingly so. This is the kind of gusty, honest acting reminiscent of Brando and DeNiro in their heyday. It's Oscar worthy and memorable because it reminds the audience that great acting can in addition to nourishing the mind, rekindle and feed the soul.

The Coen Brothers latest black comedy is another expert mix of satire, sharp screenplay and terrific ensemble. Francis McDormand (who's married to Joel Coen) and Brad Pitt portray two co-workers at a Washington DC area fitness club who start a chaotic chain reaction by trying to blackmail a fired CIA analyst Osborne Cox (John Malkovich). Cox's fiery wife, Katie (Tilda Swinton) isn't too happy about Cox's dismissal while having an affair with a Federal Marshall played by George Clooney. The Coen's humorous script keep these two colliding worlds running at brisk pace allowing a terrific ensemble to show off their acting chops. McDormand's Linda Litzke is sort of a hilarious distant cousin of Marge from Fargo and it's quite winning. Swinton (who is always so serious) seems to be having fun sending up her bitchy image and Malkovich creates another terrific uptight, passionate soul who though vulnerable, is always on the brink of exploding. It's really fine work. However, the film is really stolen by Clooney and Pitt. I've never been much of a Clooney fan and he always seems to be portraying an extension of himself, but here, he seems to break out of the "Clooney" shell and break loose and thus we get his most free and spirited work. I could almost feel his excitement in this part. Speaking of excitement, Pitt is an absolute dynamo as the enthusiastic, bumbling physical trainer Chad. Pitt steals every scene he's in with charm and impeccable comic timing. It's a gem of a performance. His best work and deserving of a Best Supporting Oscar nomination. What a joy to see such a great ensemble in a Hollywood film and even more enlightening is a major commercial film aimed at adults. Let's hope this trend continues!

Angelina Jolie gives a powerful and heartfelt Oscar nominated performance in this wrenching, fact based film about a 1928 case of a missing child and a corrupt police department who cause injustice to avoid embarrassment and scandal. Clint Eastwood once again proves to be one of our finest directors juggling multiple storylines in an effective, low-key manner. Jolie plays Christine Collins, a hard working single mother who discovers her son missing after returning from her job as a supervisor for the telephone company. Shortly after reporting her son missing, the local police deliver the wrong boy to a shocked Christine and then insist he is her son, continuing to harass and ridicule her as an unbalanced and crazy, hysterical woman. It's hard to believe such an injustice could occur to an innocent woman searching for her son and Eastwood and Jolie brilliantly convey the character's strength, determination and heartache. In fact, the film (beautifully photographed by Oscar nominee Tom Stern) is filled with terrific performances. Amy Ryan provides conviction and sincerity in a small role as another female victim of the LA police and John Malkovich is wonderfully believable and restrained as a local preacher out to expose the corrupt police force and aid Jolie in finding her son. Later in the film, James Butler Harner, shines in a creepy turn as a pedophile, serial killer. This is a compelling and well made film that further proves Angelina Jolie to be one of our finest actresses and at 78, Eastwood is still a force to be reckoned with!

Terrific follow up to 2005's Batman Begins. Christian Bale again effectively portrays Bruce Wayne/Batman and Gary Oldman, Morgan Freeman and Michael Caine (dependable as ever) all provide strong support. Much has been said about Heath Ledger's performance as The Joker and the hype is definitely right on. What's amazing about his performance is how he gets lost in the role and creates such a believable villain. His energy and actions are deranged, almost frightening, yet there's an underlying current of humor and angst beneath the surface. The performance is truly the work of a gifted actor and an posthumous Oscar nomination is likely (and so is a win). A tragic reminder of a talent taken from us too soon. Once again, Christopher Nolan establishes himself as a very fine director and screenwriter (he co-wrote the script with brother Jonathan). Any exciting superhero flick can boast elaborate action sequences, but what elevates The Dark Knight into greatness is taut direction, an intelligent script and expert performances. I love the way Nolan chooses to conclude the film with an intimate threat for Batman to face rather than the contrived over-the -top action showdown. Spiderman and X Men beware, The Dark Knight is back and he's a force to be reckoned with!

John Patrick Shanley brings his Pulitzer Prize winning Broadway play to screen in a disappointing manner. His high octane cast comprised of Meryl Streep, Philip Seymour Hoffman and Amy Adams try their best but can't rescue Shanley's inability as a film director. The play focusing on the "doubt" that may or may not linger over a priest's relationship with a young African-American student at a 1962 Catholic school is well-written and intense but unfortunately Shanely's talents as a writer don't serve him well in the director's chair. There are countless unnecessary angled shots of rain and wind to suggest tension and conflict rather than use the characters to develop the mood. Hoffman is solid as usual but portrays Father Flynn in a guilty fashion that alleviates the play's theme of doubt and crumbles the film's conclusion in questioning his guilt. Amy Adams tries but seems miscast as a mousy, reserved nun (it's painful to see this energetic bubble of an actress so restrained) and Streep, though strong and ready for battle as the school's razor sharp, Principal Sister Beauvier, is under-directed by Shanely and when left to her own devices, overdoes the character and much of the believability of the situation. Overall, the film feels stagy and forced and would be forgettable except for one terrific scene with Oscar nominee (deservingly so) Viola Davis as the boy's mother. She's sensational and her 10 minutes on screen with Streep blew me away and for the first time drew me into the film. I can't wait to see more of Davis' work in future films. However, I "Doubt", I'll give this overrated film another look anytime soon.

I finally got a chance to see this much heralded Turkish-German film and it's well worth a look. Director Faith Akin does a beautiful job telling the interchanging stories of six characters who find themselves part of fate and circumstances. What's impressive is how Akin develops his characters with dignity and depth and the storyline feels fresh instead of contrived. Stories about fate can often be tricky and overblown (2005's overrated Crash comes to mind), but Akin invests so much in his characters and their path to different resolutions that we in the audience are hooked from the get go. It's a big plus that the performances are all terrific. Baki Davrak has a haunting face that tells a million stories and he does a beautiful job conveying inner strength and conviction portraying a professor of German studies who is searching for Ayten, the daughter of a Turkish woman his father accidentally murders. Nurgul Yesilcay is appropriately feisty and passionate as the spirited and troubled Ayten. Akin introduces two more characters, Charlotte Staub (nicely played by Patrycia Ziolkowska) and her protective, worried mother Susanne wonderfully played by "Fassbinder alumnus" Hanna Schygulla. She gives a power to the last third of the film that is simply breathtaking. Akin is a director to keep an eye on and this is simply filmmaking at its best!

Stale My Big Fat Greek Wedding wannbe directed by Jason Todd Ibson known for his work on horror films. The film is a mess from start to finish and it breaks numerous rules that make for a sturdy romantic comedy such as effective pacing and likable characters for the audience to root for. The story involves Jake (Jay Jablonski staining to be cute), a fish market owner in Boston who continues to stalk his ex-girlfriend even though they broke up eight years before and she has since married and had three children. Sort of creepy eh? You see, Jake works with three Italian men who decide to do a little matchmaking and set him up with a pretty thirtysomething veterinarian, Marisa (Cerina Vincent) who he insults on his first date by exclaiming he still is seeing his ex-girlfriend of eight years. Nice guy eh? For the remainder of the film we are suppose to root for these two to fall for each other while the supporting cast dries out every Italian cliché' under the sun. At 128 minutes, the film is too leisurely paced with many scenes going on too long or unnecessary to the flimsy plot. Ultimately we don't care because the entire film focuses on Jake who is so unlikable of a protagonist that it's hard to believe his dead fish would even seek his company. It sad to see Penny Marshall wasted in a poorly written, two scene cameo as a florist and it is so obvious that Ibson is trying to emulate the success of My Big Fat Greek Wedding ignoring the charm and believability that made that sleeper 2002 hit a success. While everyone may want to be Italian, it hard to believe they'd want to have anything to do with this film.

Excellent adaptation of the 2006 Tony Award winning play by Peter Morgan (The Queen) examining the famed 1977 interview between British talk host David Frost and President Nixon. Expertly directed by Ron Howard and beautifully performed by Frank Langella and Michael Sheen reprising their stage roles .Langella is really terrific! It's more than a good imitation of Richard Nixon. He manages to allow the audience to somewhat empathize with his character and since Nixon could be one unlikable guy, that's an achievement. Langella allows the stubbornness and loneliness to come out in Nixon. Michael Sheen is also strong as Frost and the supporting cast including Kevin Bacon and Sam Rockwell are all good. I found the film to be interesting historically and intense as riveting entertainment. The final interview sequence is wonderful. Unlike Doubt, this is the way to efficiently bring a successful Broadway play to screen. One of 2008's best films and definitely worthy of its praise and numerous award nominations.

British director Mike Leigh whose process of long rehearsal and improvisational style with actors have produced such stunning works as Naked, Secrets and Lies and Vera Drake has delivered another beautifully acted and observed film. Sally Hawkins won a well deserved Golden Globe for the film and is terrific as Poppy, a chipper London school teacher whose constant look at the bright side of life is overbearing yet heartfelt and sincere. What's amazing is how much depth she gives to her optimistic role. Yeah there's the good natured charm which is infectious but what makes her performance so unique is that she digs deep to display caring and concern (as in the scene with the abused student) and patience, fear and strength in the final powerful confrontation scene with Scott the driving instructor. Hawkins hits the right notes throughout the film and is always real and believable. Shame on the Academy for ignoring this performance for an Oscar. Equally excellent is Eddie Marsan as Hawkin's polar opposite, the cranky, lonely, OCD, and jealous Scott, Poppy's driving instructor. Their scenes together are fantastic and he is wonderful giving his character shades of humor, anger and heartbreak. I watched him recently in a mediocre UK film called Sixty Six with such fine talents as Helena Bonham Carter yet his passionate acting was the only saving grace of that film. A fine actor, intense and comic. I also love how Leigh's method of improv and rehearsal leads to such fine moments of human observation and emotion. The scene where Hawkins is taking a Flamingo class with the sultry, passionate Spanish teacher who breaks down with pain and emotion over her boyfriend's infidelity with a younger, Swedish woman, during the dance lesson is one of the most brilliant moments on film I've seen in a while. What a painful, funny real moment. With all the unoriginal, contrived films being made Hollywood, this reality is something to behold and embrace in a Happy Go Lucky manner!

First time directors' Darren Grodsky and Danny Jacobs (they also wrote the script) have crafted an interesting character study that escapes its contrived plot devices by showcasing some wonderful performances. Legendary film director and historian, Peter Bogdanovich has a small role as the father whose son is a failing med student who escapes with his one night stand (Fairuza Balk) to her hippie family and their pot farm in Northern California. Jeremy Strong plays the son and he's good as is Brad Dourif (nice to see him in a worthy role outside of horror flicks) and Frances Conroy (she's terrific) as Balk's free-spirited Parents. Best of all is Chris Messina (Vicki's straight laced fiancé in Vicki Cristina Barcelona) as Balk's radical, spirited, drinking brother Max. I liked Messina in "Vicki" and he's great here, another Mark Ruffalo waiting in the wings. He invests a lot in his role and adds fresh life to the "clichéd troubled, black sheep sibling role" by giving the character much conviction, humor and depth. I can't wait to see more of this talented actor's work. He's that good! The film is usual indie material (think Old Joy meets pot smokers), but the acting here elevates the familiarity of the situations.

Tim Robbins, Rachel McAdams and Michael Pena star in this well intentioned but dull road movie about three American Soldiers on a 30 day leave back home in the states who befriend each other on a road trip from NY to Las Vegas. It's hard to believe that Hollywood just can't seem to make an interesting, good film about our American soldiers fighting in Iraq. At the start of the film, a blackout in New York City forces our protagonists to share the last rental car available to head back home to family and or loved ones. Director and writer Neil Burger (The Illusionist) could have used this as a prime opportunity to explore the angst and psychological effect on Americans fighting in Iraq. Are they proud? Content? Frustrated? Confused? Unfortunately, none of these relevant questions are explored. Instead we get endless clichéd, road film scenes in hotels, restaurants and stops along the way with scenes that either go on too long or end up nowhere. Robbins and McAdams are fine actors and they try their best but can't rise above the contrived script and direction here. Pena comes off weaker and plays his scenes in a flat manner that becomes one note and boring as the film moves toward its weak conclusion. There's a lot of dramatic possibilities in exploring the feelings of enlisted Americans in Iraq, Afghanistan and other nearby countries. Our soldiers deserve better than this; so do film audiences.

Upon seeing the trailer for Mamma Mia before the disastrous showing of Sweeney Todd last Christmas, I was really excited as I love musicals and normally anything the luminous Meryl Streep touches turns to gold. Well the film is finally here and although as expected it's a fun time at the theatre, the end result is really a mixed bag. Director Phyllida Lloyd and screenwriter Catherine Johnson helmed the highly successful Broadway version and I have a feeling it might have been best to allow outsiders to give vision to the musical because Lloyd's talent behind the camera is shaky at best. The lighting and camera work are unflattering which is a shame because of the film's locale on the lovely Greek Island of Skopelos.

Meryl Streep (looking just beautiful) stars as Donna who runs a small hotel in Greece with her about to be married daughter Sophie (Amanda Seyfeld). Unknown to Donna, Sophie has found her mother's diary and discovered that three men may be her mysterious father. She, of course, decides to invite them to the Island for her wedding causing many sparks to fly at the tune of 20 or so ABBA songs. A flimsy plot but ultimately saved by a game cast who seem to be having the time of their life during the shoot. Stage veteran Christine Baranski (The Birdcage, Cybil) and two-time Oscar nominee Julie Walters (Educating Rita and Billy Elliot) are a hoot as Donna's former music partners and friends who come to celebrate Sophie's wedding. Walters gets all the best one-liners (in the film the over 50 women have potty mouths a la The Golden Girls) and is great fun while singing "Take A Chance on Me" to possible father number one, Stellan Skarsgard. Pierce Brosnan and Colin Firth (always watch able) are Sam and Harry the other two possible biological dads. This trio of leading men are fun and game for the ABBA songs, however Brosnan's singing voice is harsh and flat (and that's a compliment) and it sort of makes you wish they still dubbed voices as in the days of South Pacific and West Side Story. Firth is in pleasant voice and has a really nice musical moment singing "Our Last Summer" by guitar and then for some strange reason, Lloyd cuts to the other men and the scenery and the whole magic of Firth's moment is lost. (However, Brosnan who can't sing a note is given three musical numbers, go figure!) In fact, the film's biggest problem is the staging of the songs. The choreography is boring and consists of bodies moving frantically and the quick edits lose any continuity of the song having a beginning, middle and end. "Dancing Queen" is done appropriately as a large production number but is so sloppily choreographed that the large mass of singers/dancers and lead actors look like they've finished a rehearsal take and later in the film musical stage veteran and Tony winner, Baranski is shockingly timid in her big musical number, "Does Your Mother Know." Strangely, there's not one song in the film sung in its entirety and therefore, we get the modern musical aimed at the MTV crowd without any character development in the numbers.

However, in spite of all this mediocrity, the film manages to be entertaining and rather fun. I do like how Lloyd uses the Greek locals as an actual Greek Chorus, popping in and out and commenting with song on the goings on. The energy of the cast is good (except Amanda Seyfield who while lovely in voice, is hyper to the point of needing medication) and then of course at the center is the lovely and talented Meryl Streep. I've gotten to the point where I don't think there's anything this woman can't do as an actress. She gives her Donna an earthy, sultry manner and her singing, dancing and clowning are energetic and winning. The film's best scene is the lovely duet, "Slipping Through My Fingers", between Streep and Seyfield. It's sweet and tender and one of the few relaxed moments where a song comes alive in the film. I also enjoyed Streep's passionate performance of "The Winner Takes It All" but feel she loses momentum toward the end of the song and pushes the emotions and it's evident she's acting (I kept thinking during this sequence that if only Barbra Streisand were a decade younger, she'd be perfect to play Donna because of her marvelous voice and comic gifts as an actress). It's also a good idea to use the closing credits as an encore for "Dancing Queen" and "Waterloo" with Streep, Baranski and Walters on stage in full ABBA gear along with their men. It's a fun send off to a flawed film that manages to be entertaining in spite of filmmakers who can't seem to grasp the magic of their musical on film.

Philippe Petit's daring and illegal 1974 high wire walk across the World Trade Twin Towers is the basis for a fascinating and introspective documentary sure to nominated for an Oscar next month for Best Documentary. Director James Marsh mixes actual footage and original stills along with reenactments and interviews with Petit and his accomplices. The interviews are quite passionate, bold and sometimes heartfelt. I really like how this film explores Petit's drive to live on the edge and grasp life with gusto and unpredictability. Marsh never allows the film to take sides but rather serves as an observer of these unique individuals who pull off an "artistic crime" with flair, brilliance and dignity. If solid character study were all this film managed to accomplish, it would still rank a good film, but what "blew me away" was the manner Marsh was able to generate effective and pulse riveting suspense even though the outcome of the story is widely known. We know Petit and company are going to pull this off but Marsh's taut storytelling and editing keep the audience fearful that failure is just beneath the surface and that worry for the hero rivals the best of any fictitious Hollywood suspense flick. It's impressive filmmaking and one the year's best.

Owen Wilson and Jennifer Aniston give heartfelt and strong performances in this funny and sweet adaptation of columnist John Grogan's 2005 best-selling memoir to his beloved dog Marley. Director David Frankel (The Devil Wears Prada) does an effective job balancing the humor and pathos in this story of a couple whose rambunctious golden Labrador keeps them one step ahead of disaster while eventually embracing this faithful pet as loving and loyal family member. It's great seeing a film take place in South Florida (Owen's character John works for the Ft. Lauderdale Sun Sentinel) instead of the usual California or New York setting and Alan Arkin is terrific as usual as Owen's matter of fact, but compassionate editor. Frankel also wisely uses the story as a fascinating investigation of the pressures, trials and eventual rewards of marriage and raising a family. However, he never loses sight of faithful Marley as the centerpiece of the story. Some may call the conclusion manipulative and over-sentimental, but for those of you who have owned a pet (including me) or have great love for four-legged creatures, the final twenty-minutes of the film appropriately tug and devastate the heart for every pet who has given its owner unconditional love. Owen's monologue to his beloved Marley at the film's conclusion is not only his finest moment as an actor, but a testament to all who've been in those shoes. This is Hollywood at its heartfelt best!

Jonathan Demme's homage to the raw and intense Danish dysfunctional family films such as The Celebration and After The Wedding somehow falls flat with this dreary and exhausting look at the effect of a prodigal daughter's return home for her sister's wedding. Somehow what made those Danish films so effective in their intensity seem out of place in a well-to-do Connecticut residential setting. The main problem is that Demme's use of hand held camera and lingering shots of wedding guest dancing and drinking, family arguments and food gatherings feel contrived and unoriginal. The script by Jenny Lumet (daughter of Sidney) has promise but never really develops its characters enough and instead almost relies on Demme's mimic of foreign dramas to move the story along to its unsatisfying conclusion. The one breath of life is a terrific, Oscar nominated performance by Anne Hathaway as Kym, a recently released Rehab patient returning home for her sister, Rachel's wedding. Hathaway is always a fine presence on film and digs really deep to bring Kym's angst and intensity to life. She's a dynamo in every scene in the film but unfortunately is surrounded by fine actors in underdeveloped roles. Bill Irwin and Rosemarie DeWitt give strong performances as Kym's father and bride to be, Rachel but I found myself bored with their characters because the script and Demme don't provide enough insight on their relationship to Kym For most of the film, Rachel is angry (and sometimes rightfully so) at Kym for the damage her addiction creates, yet DeWitt plays the final scenes with Hathaway as if nothing has really come between them. It doesn't make sense and would make more sense if the script and Demme allowed more interaction between Rachel and Kym rather than filler scenes of wedding guests. Finally as much of a joy is was to see the wonderful Debra Winger (looking lovely and passionate) return to the screen as Kym's estranged mother, my excitement soon faded because her role is as sketchy as Irwin and DeWitt's and we never grasp why Winger is somehow not a very dependable or caring mother. A shame really because Hathaway creates such a believable and fascinating character as Kym. It would have been nice if Demme could have focused less on emulating Danish films and more on strong characters and how they relate to each other. That might be a wedding worth being invited too

Somehow I was hesitant to see The Reader a few months back during its initial release. However, I love Kate Winslet and decided to give it a look and boy am I glad I did! It's excellent and well worth seeing. Stephen Daldry (The Hours) does a fine job directing and the screenplay by David Hare is strong. All the performances are first rate. Yes, Winslet deserved her Oscar. She's very strong and is completely believable as Hanna, a former Nazi guard who has a sexual affair with Michael, a young teenager in 1950s Germany. Years later, Michael is a witness at her trial where she is eventually sentenced to life imprisonment and eventually their paths cross once more. Winslet, one of our finest actresses is just amazing here and she totally transforms herself into Hanna in the manner that she walks and multitude layers of shading to her character. I like how she never makes a judgment in portraying Hanna and that she never resorts to melodrama or contrived redemption antics as she ages in the film. She realizes what she has done and knows she can't change it. In fact, what's fascinating about her work in the film is what she doesn't say as Hanna because it's all there every time we observe her face or physicality. It's a fine performance. In fact everyone is terrific. Ralph Fiennes is good as the grown Michael who Hanna befriends at age 15. He brings just the right combination of guilt and uncertainty to draw us into the middle-aged Michael and David Kross who portrays Michael as a teen is also wonderful, full of teen angst, curiosity and lust, a fine new actor to watch. I also thought Lena Olin shined in a dual role as a Jewish Mother/daughter who survived the concentration camp that Winslet's character worked at. Her scene with Fiennes at the end of the film is dynamite. Finally, Bruno Gantz(DownFall) is also featured as Michael's law professor and he's always worth seeing in any role. It's really a good film and never resorts to any contrived redemption or over-sentimental devices. It feels real rather than manipulative. The New York Times inexplicitly gave this terrific film a somewhat negative review because of its soft depiction of Winslet's character, Hanna and I don't agree at all. Yes, Winslet's character committed crimes in Nazi Germany, but the film attempts to give a human face to her character and that makes the situation all too real and even more intense and alarming. This is similar to 2005's Paradise Now where two suicide bombers are given a human element so we can see where they come from. I found it an intense and fascinating film and very deserving of it's Best Picture nomination and Winslet's win.

Over sentimental but sweet adaptation of the well received 2002 novel by Sue Monk Kidd. Dakota Fanning stars as Lily Owens, a 14 year-old haunted by the memory of her late mother and trapped in an abusive relationship with her father T Ray (a change of pace role for Paul Bettany). It's 1964 in South Carolina and the Civil Rights Act has just been passed and Lily's nanny Rosaleen (Jennifer Hudson, solid as usual) is beaten while attempting to exercise her newly found right to vote. After finding a clue through her mother's belongings, Lily and Rosaleen decide to run off a small town and to the home of the Boatwright sisters, who run a bee farm and harvest the finest honey in town. It's really nice to see a film with a strong female ensemble and Queen Latifah, Alicia Keys and especially Sophie Okonedo all contribute strong and believable performances as the three Boatwright sisters who are named after months of the year (August, May, June). However, I feel the script sells these talented ladies short and never develops their characters fully. We seem to get a glimpse of Rosaleen and the Boatwright sisters but the film really needs some more scenes between these characters in addition to the main plot involving Fanning so we can get a sense of the family that Lily is responding to by befriending these women. Director, Gina Prince-Bythewood gives the film a fine, authentic look (nicely photographed by Rogier Stoffers), but often goes for the neatly packaged sentimental resolution rather than through character development and unfortunately uses contemporary sounding songs to highlight dramatic moments in the film that takes away from the period look Stoffer so lovingly creates; a shame because this is a high octane cast who could have really touched us if given the chance to.

I've never been a fan of Thomas Kinkade's popular warm and cozy paintings, but since I'm a sucker for Christmas themed movies and almost anything with Peter O' Toole, I decided to give the direct to DVD release a look. Director Michael Campus gives Kinkade's autobiographical look at a magical and inspirational 1977 Christmas a warm, picture perfect Hallmark look that sometimes is syrupy enough to terrify Mrs. Butterworth and lacks the focus or depth to become a Holiday classic. The script tells the true story of how 21 year old Kinkade was inspired to begin his artistic career with the help of mentor Glen Wessels (a solid but familiar Peter O' Toole). It's a sweet story but suffers from the overabundance of typical holiday film cliché's such as the "disastrous church Christmas pageant and a feud between neighbors over displaying lights and decorations." Yet for all it's faults, is passable entertainment due to a high octane cast who triumphantly rise above the mediocre material Jared Padalecki (TV's Supernatural and Gilmore Girls) gives a nice performance as Kinkaid allowing just enough passion, warmth and conviction to keep his character empathetic and strong. Marcia Gay Harden, as usual, digs deep to find dignity and power as Kinkaid's mother despite some awfully familiar and overdramatic scenes to play. Harden manages to be believable in spite of it all and that's because of her fine skill as an actress. There's also some really lively work from a solid supporting cast including Richard Burgi as Kinkaid's estranged father Ben (Burgi's edgy turn gives the film some well needed oomph) and Chris Elliot (always hilarious) as the town's pompous Mayor, Ernie. These characters shine because of the actors commitment in spite of a rather predictable, uninspired script and dull, pedestrian direction. A nice holiday diversion but certainly nothing to write Santa about.

Woody Allen is back to top form again with his best work since 2005's sly Match Point. Rebecca Hall and Scarlett Johansson are two friends on a summer holiday in Spain where they meet a lovelorn and unpredictable artist Juan Antonio and both fall for him in different and unexpected ways. Allen's script is really sharp. The way he develops the characters and how they relate to each other and most important, themselves is joyous, biting and satisfying especially because of the little unexpected nuances he brings to the film. Hall's character Vicky is engaged to the traditional, boring Doug, well played by Chris Messina. It's great how both Allen and Messina resist the clichéd Hollywood "wrong guy for the girl" role and instead invest compassion, charm and integrity to the character of Doug. He really does love and care about Vicky and its apparent because of Messina's fine work and Allen's strong script. Another plus for the film is the marvelous cast. Bardem is a terrific actor; powerful, passionate with enough charisma to light up a city block. His eyes are really intense and he uses them as windows into his emotions and thoughts. It's great work that's elevated by an equally magnificent and game, Penelope Cruz who portrays Antonio's sexy and troubled ex-wife. As evident by her beautiful work in Volver, Cruz is simply the most beautiful, talented actress in film now. She's a mixture of fiery sensuality, earthy spitfire, gusto, soul, passion with a bit of humor thrown in for good measure. Not since Ava Gardner and Sophia Loren graced the Silver Screen in the 50's and 60's have we had an actress who artists would paint their souls for. A Best Supporting Actress nomination is a sure bet here. Hall is also winning as Vicky and she gives her character just the right amount of neurotic, longing that makes Vicky an interesting contrast to the free spirited Cristina. Johansson has the right look for Cristina, but I find her lacking as an actress. She's pretty and free spirited, but there's not much depth to her work. She got by on this appeal in Ghost World, Lost in Translation and Match Point, but it's starting to wear thin here and her character only came alive for me when she had Cruz to fly sparks against. However that's a minor flaw in an otherwise good film that shows Allen still has some spark left in him.

After last year's terrific Ratatouille, Paxar continues its wave of filmmaking excellence with WALL-E, an engaging and inventive tale about a lonely robot's quest for love. The first half hour is reminiscent of a silent film as you focus on WALL-E and his environment (a future earth with no human life except a robot and cockroaches) without any dialog other than the glorious use of old songs from the film Hello Dolly (it's great hearing Jerry Herman's wonderful score again and it works great in the film) as WALL-E has found an old VHS of the 1969 musical film and plays it over and over again as he is attracted to the music. It also is sort of an ode to the beginning of Kubrick's 2001 A Space Odyssey with the use of barren landscape, little or no dialog etc..... As the film goes along it takes a turn toward romance as WALL-E becomes passionate with a visiting female robot, Eve investigating the promise of life again for humans on earth. Their love enfolds delightfully and physically without the need for words as WALL-E follows Eve to a human inhabited space station. Of course beneath the surface of the script is a low key reminder of what we as humans have done to our planet and thankfully some hope that survival is still possible. The message aspect is subtle and the film is nice because there are no "star voices" or gimmicks. The focus and action are on the two robot characters, WALL E (who reminded me a lot of ET) and Eve and their eventual union and how they see our world and humans. The film recently won Best Picture from the LA Critics Circle and it certainly is among the 10 best of the year because it's innovative, full of rich character development and creative filmmaking technique. Hollywood films have become so lazy that's it's always exciting to see a film that actually respects its audience! It's interesting that some of the best commercial films of the last few years (WALL-E, Ratatouille) are animated efforts that have better scripts and direction than most Hollywood live action films. With Pixar, at least there is some hope for creativity in a big budget film. A nice Christmas present indeed!

After much hesitation, I gave in and watched Atonement. It's one of those tired "Cold Mountain, A Very Long Engagement" love against wartime clichés based on the critically acclaimed 2001 novel by Ian McEwan The main problem with the film is that you don't care about the two lovers blandly portrayed by Keira Knightley and James McAvoy. Their passion is never developed and we are shown endless scenes of the two lovers kissing and fondling but the script never allows the characters to come alive and share the passion with audience. So, therefore when McAvoy's character is betrayed by Knightley's immature and confused sister, Briony, creating doom and gloom for Mcavoy who is forced into WWII, we don't care what happens and we really should if the film was done properly which of course, weakens Briony's eventual redemption of the wrong she did. Even more offensive is the casting of Vanessa Redgrave at the film's conclusion to portray the aged Briony. Redgrave, one of our finest actresses, is terrific and delivers a beautiful monologue about what happened to the characters and her regret and for the first time brings us into the film (Her 8 minutes on screen are a knockout and Oscar Worthy). However, it's a tease and a cheat because there's nothing prior to that scene equally strong enough to get the audience involved in the action so thus using Redgrave as a last minute ploy to involve the audience is a real stab in the back. Though lush and beautiful, this is slick and manipulative, mushy filmmaking and it's hard to believe the film garnered 7 Oscar Nominations including Best Picture, but heck they also nominated Juno, an even worse film. What will these good old Academy voters reward next? With their track record of rewarding The English Patient, Titanic, Million Dollar Baby and Crash, it's a frightening thought indeed.

Terrific Israeli film sadly overlooked at this year's Oscars for Best Foreign Film because the Academy stated it could not compete because half the film was in English. Well the Oscar's loss is our gain as filmgoers because this is one special gem. Director Eran Kolirin does a fine job with this humorous and moving character study of an Egyptian Police Band who get lost in Israel on their way to a musical gig only to be taken in by a kind and lonely local cafe/restaurant owner Dina (beautifully played by Ronit Elkabetz). As a political statement, it's a beautifully crafted film that reinforces how similar people are and how they share the same wants, needs, desires and love. It's also interesting how music is used (Chet Baker's rendition of Rogers and Hart's "My Funny Valentine" for starters) to explore the universal magic of music between two conflicted cultures. However, what really makes the film soar is the fascinating character study of lonely, vulnerable people who share and discover each other over a 24 hour period. Dina befriends and falls for the Band leader,Tawfig, a fine performance by Sasson Gabai. There's real compassion and investigation between Elkabetz and Gabai and it draws us into to their lives in a compelling and empathetic manner. Another strong moment involves band member Haled (a strong, sturdy and humorous Saleh Bakri) who escorts Dina's shy co worker to a local roller rink and helps him strike up some passion with a local girl he's keen on. It's a beautiful scene filled with real compassion. This is one of those rare movies that pays close attention its characters and observes them in a passionate and heartfelt manner. What a joyous film! Not to be missed!

Other than Ratatouille, Into the Wild is this years' most satisfying film experience. Definitely one of the best, if not best film of the year. It's the true story of Christopher McCandless who gave away his worldly possessions and family to hitchhike his way to the Alaskan wilderness discovering much about himself through the people he meets along the way. Penn does a fantastic job telling the story visually, its breathtaking. I thought the performances were terrific, Emile Hirsch as Chris, Catherine Keener as a free spirited woman and especially Hal Holbrook who is just wonderful as older mentor Ron Franz. I really admire how lean the film is. Penn uses visuals and symbolism to tell the story and interjects Chris' thoughts and words through narration by his sister (effectively performed by Jena Malone) and his chance meetings with colorful and friendly characters. The simple reflections and thoughts are important and heartfelt in the film such as Holbrook's statement: "Forgiveness is love and when you love, God shines his light on you" and even more poignant is Chris' realization that "Happiness is real when shared" (which makes Penn's use of flashback to the chance meetings even more heartfelt), these are beautiful realizations and even more special because of their simplicity. Although we witness McCandless' death at the conclusion, the film has a triumphant aura to it because in the end, it's really a celebration of life which is always a joy to witness.

High energy and humorous comic book adaptation by actor/director Jon Favreau. What makes this tick is an infectious and eclectic performance by Robert Downey Jr as Tony Stark, a wealthy defense weapons industrialist who builds an armored suit to escape after being captured in Afghanistan. The life-threatening incident sparks a change of heart for his profession and Stark decides to use the Armor Suit to fight terrorism mainly in the form of his former defense right-hand man, Obadiah Stane (Jeff Bridges) who wants Stark out of the way so he can control Stark Industries. Bridges hams it up royally as the villainous Stane. He's played off beat characters before in Starman and The Big Lebowski, but here he gives Stane the full over-the-top hysterics, wacko treatment needed to sustain boos and hisses from the audience. I also enjoyed seeing the always charismatic Terrence Howard as Military man, Captain Rhodes. He invests a lot of nobility into his character as he aids Ironman and he and Downey make a good heroic team. The main weakness here is Gwyneth Paltrow as Stark's assistant Pepper Potts. Paltrow looks uncomfortable in a comic book picture and lacks the high-spirited humor needed to make Potts rock. But that doesn't really matter because this is Downey's show all the way. His Stark is high energy, humorous and noble all rolled into one spectacular package. Downey invests so much spunk into his line readings that he could probably make the phone book sound like a brilliant script. Favreau keeps the pacing quick and the mood light enough to remind us we're in a energetic and fun, comic book amusement ride. After the endless dark takes on Superheroes in recent films, its nice that Downey "Irons out" the film with some quick wit and heroic rescues. What more could you ask for in a Superhero?

Delightfully inventive, surrealistic and whimsical tale sharply directed by actor/writer/director, Scot Prendergrast. Filmed beautifully around Austin, Texas, Prendergrast portrays an alienated and lost man called upon by his sister-in-law (Lisa Kudrow) to help with household and babysitting duties of two young boys whose soldier, father is off fighting in Iraq. Before long, Prendergrast is donning a blue mascot suit for a faltering, Internet company in order to earn extra money and along the way the suit helps his character open up to the world around him in addition to gaining the respect of some adoring children in town. Part quirky comedy and intelligent satire on the effects of our aching economy and fatigue of over long war abroad, Prendergrast succeeds in making his characters and situations, real and by the film's conclusion quite touching. With his drooping, bloodhound face, Prendergrast is a funny and vulnerable, physical comic actor, a slight resurrection of Buster Keaton. Best of all is Kudrow as his heartbroken and confused sister-in-law. She can deliver a line in a humorous, razor sharp manner but still break your heart with an earthy openness and vulnerability. It's fine work. The film only played in a few cities over the summer, but it's definitely worth checking out on DVD. A small gem that will leave you with anything but the blues.

The Coen Brothers latest film is another beautifully shot, written and directed masterwork. Based on Cormac McCarthy's powerful and bleak look at a drug deal gone horribly wrong, the Coen Brothers have moved on to a somewhat more centered and serious approach to their craft. It's appropriate that the book and film take place in 1980 as the "screwed up drug deal" takes on a metaphorical examination of our society over the past 28 years. Known for their off-beat and sometimes violent black comedies and crime dramas such as Fargo, Miller's Crossing and The Big Lebowski, it's interesting to witness how faithful the film is to the novel. Everything works beautifully here from Roger Denkins' Oscar nominated cinematography (some of the shots are visual masterpieces) to a trio of expert performances by Tommy Lee Jones as somewhat apathetic Texas sheriff, Josh Brolin , a hunter over his head with stolen money, and a frightening, powerful turn by Javier Bardem as a ruthless killer with no morals. In fact, Bardem is terrific in this years most memorable scene involving a "nickel" and "fate" with a gas station attendant. However, as fine as the film is, I hesitate to rave about it, because something was missing. For me some of the terrific images didn't always match the Coen's faithful script adaptation. Of course, that may be the point in keeping with McCarthy's bleak vision. But I couldn't help thinking during the film how much I missed the Coen Brothers' wacky and inspired vision that fueled such masterpieces as Fargo and Raising Arizona. Maybe it's me. Perhaps I miss the innocence that's vanished since those films were made. With my reservations, I may be giving the film the magnificent compliment it deserves. Maybe my turbid reaction shows that Coen Brothers did their job all too well.

Hair-raising psychological horror all but a rarity now in contemporary filmmaking. As executive producer, Guillermo De Toro (Pans Labyrinth) shares his unique visuals with talented first-time director Juan Antonio Bayona to create the scariest, most thoughtful thriller since 2001's The Others. Maybe it helps to have a Spanish director, but The Orphanage is a throwback to classic, intelligent horror films such as The Innocents, Rosemary's Baby and The Legend of Hell House that use a sense of dread and implied terror to effectively connect with the audience. Belen Rueda (a fine, strong performance) stars as Laura, a 30ish woman who decides to move back into the orphanage she was raised in along with her adopted, ill son, Simon (Roger Princep, also strong) and husband (Fernando Cayo, appropriately disbelieving). It's a creepy house that soon becomes a haven for Simon's attachment to imaginary friends (or are they) and Laura's realization that her former childhood haunt may be indeed haunted by ghosts of former children tortured and killed there after her adoption. Are Simon and Laura seeing ghosts or is just a delusion? Sergio Sanchez's taut screenplay leaves enough ambiguity to allow the audience to decide for themselves. What's impressive here is how well Bayona creates a sense of loss and dread and Rueda effectively conveys that with her emotionally, compelling performance. Hollywood and filmmakers of such shit as Hostel and Saw, please take notice; it's possible to scare the living daylights out of your audience with intelligence, psychological shocks and ultimately empathy for well drawn characters that are worth caring about. I pray this isn't remade as an American adaptation. It's sometimes best to leave well alone!

Norwegian filmmaker Joachim Trier (yes, related to Dogville and Breaking the Waves' director Lars Von Trier) has crafted a fascinating and visually appetizing look at the selfishness and angst of young men on the brink of adulthood. With a visual style owing much to the French New Wave and Godard, Trier explores the "Jules and Jim" like relationship between two young men, Philip and Erik, aspiring writers whose paths to being published take on a wide array of detours and winding roads. Under Trier's unique vision there's always something interesting going on, edgy black and white flashbacks, sharply acted scenes with glistening dialogue, an off and on omniscient narrator (a la' Y Tu Mama Tambien) and some great punk music (Joy Division, New Order and Kommune). He also gets solid and fresh performances from Espen Klouman-Hoiner and Anders Danielsen-Lie as Erik and Philip, funny and stingy at one moment and vulnerable and passionate at another. Yeah, there are those who might feel Trier is simply channeling his heroes, Godard and Truffaut rather than his own vision and the middle of Reprise occasionally loses steam, but I say so what. Imitation is the sincerest form of flattery (hell, Brian De Palma made a career out of reinventing Hitchcock) and with American films such as Knocked Up and Superbad crudely and broadly examining young men, Trier's creative and grownup take on the subject is refreshingly welcome!

Beautifully shot Australian film that won a number of Australian Film Awards last year including Best Film, Actor and Supporting Actor. The film is based on a memoir by acclaimed philosopher and writer Raimond Gaita based on his childhood years with his father while his often absent mother moved in and out of his life. It's great seeing the talented Eric Bana with a strong role after a string of mishaps such as The Incredible Hulk or overrated, misguided films like Munich. He gives a really passionate, beautiful performance as Gaita's father, Romulus. In fact, all the performances are first-rate including Marton Csokas as Romulus' compassionate brother and Kodi Smit-McPhee as Raimond. In addition, Geoffrey Simpson effectively captures the raw beauty of the Australian landscape with his lush cinematography, yet for all the nice things in the film, I found myself wanting much more. This is the type of film that's neatly dressed but doesn't contain much on the inside. There's too much touching the surface in the screenplay (by poet/playwright, Nick Drake) and direction by actor, Richard Roxburgh and not enough investigation of why these characters behave the way they do. As much as I admired the effort that went into this lovely film, I feel it ultimately falls flat because it lacks conflict or excitement for its characters. Real life may consist of small, subtle moments, but on stage and in film, we in the audience need to see real life dramatically reflected and interpreted which is different and certainly a lot more interesting that just witnessing "real life" itself.

Contrived but likable comedy with Simon Pegg (who also co-wrote the script) as a lovable out-of-shape security guard desperately trying to win back his his lover and mother (the lovely Thandie Newton) of his child who he jilted years earlier on their wedding day when she was still pregnant. Pegg's character Simon Doyle has apparently run away from everything all his life. However, Newton's Elizabeth is now in love with Hank Azaria (doing the jerk who has it all routine again) and a distraught Simon decides to don shorts and running shoes and run along Azaria in marathon and finally finish something in his life. We've seen this story countless of times and director/actor David Schwimmer decides to give the film the same off-beat British touches used in better films such as Notting Hill and Love Actually. Unfortunately, here they resemble the neat packaging of an average television sitcom as they lack the sharp writing and characterization that made the former films so winning.. There's even a goofy, lovable best friend played to the hilt by Dylan Moran. What ultimately elevates the familiarity of the story is another unique and funny performance by Pegg. He has a great way of making you care no matter how pathetic or ridiculous his characters are and he even manages to remain dignified and sympathetic through endless routines involving male genitilla and various body parts. I really liked Pegg in Hot Fuzz and he continues to impress here with solid comic timing, charm and the ability to bring depth to the most tired of situations. Run Fatboy Run is a familiar race yet Pegg manages to hit the finish line as a fresh and spirited winner.

Last year I watched the independent "Omen" clone Joshua and was able to look beyond the contrived script and direction because of a terrific leading performance by Sam Rockwell as the father of a nasty and murderous child. Rockwell fueled every scene of that film with his passionate, skillful acting and I was convinced that he was one of the best actors in film currently. One of Rockwell's latest efforts is now on DVD and it's more confirmation of my original praise.

Snow Angels is based on Stewart O' Nan's powerful, tragic novel involving the inhabitants of a small town in Pennsylvania. Director and screenwriter, David Gordon Green brings the novel to screen in an appropriate intense, but dreary fashion with top notch performances and effective lighting and cinematography to convey the barren look of a sleepy, small town in the dead of winter. As in the book, we are brought into the story by Arthur a teenager whose parents (Jeanetta Arnette and Griffin Dunne, solid as always) are about to divorce. Arthur (well played by Michael Angarano) has fallen for High School classmate Lila (a nice turn by Olivia Thurlby) and Green foreshadows the film's sense of dread at the beginning when we hear two gun shots ring out while Arthur and Lila are at Marching Band Practice with the remainder of the film taking place in the two week period before the shots are heard. Arthur's co-worker (a Chinese restaurant with no Asian employees?) and favorite childhood babysitter Annie (Kate Beckinsale in a surprisingly strong and touching performance) is stuck in a volatile relationship with her estranged husband Glenn (Rockwell) who becomes more intense and deranged as the film progresses to its tragic conclusion. Again, Rockwell is just terrific. He gives Glenn the right amount of frustration, anger and weirdness to make him frightening but never losing an undercurrent of humor and vulnerability to keep him human and believable. It's superb work.

However as good as the performances and look of the film are, we never really warm to these characters enough to care and that may be because Green keeps the characters and their plights chaotic and scattered. The sense of time and place is also confused. The sets, costumes, hairstyles etc.... all appear to exist in the 80's or early 90's, yet Annie uses a modern cell phone, so the time must be contemporary, but we never can tell and it takes away from us believing this is an actual town that might exist. In the novel, O' Nan used Arthur as an adult narrator looking back on these events that took place in 1974 and that gave the story a focus and the tragedy a more lyrical meaning. On film, the conclusion is cold and meaningless. Yes, we're disturbed, but more because of bewilderment rather than empathy. Despite these flaws, the film is marginally worth checking because of its expert performances especially Rockwell who may be the finest actor working now!

Even though I'm not a fan of the stage version of this much heralded Stephen Sondheim 1979 musical, I had some limited hopes of enjoying the new film directed by Tim Burton because of its impressive cast comprised of Johnny Depp, Helena Bonham Carter and Alan Rickman, yet after twenty minutes of Burton's attempt at musical meets Grand Guignol, I was ready for a quick exit or a sneak into the neighboring theatre where Enchanted was delighting matinee moviegoers.

I really love movie musicals and after the recent spirited and well crafted productions of Chicago, Rent, Dreamgirls and Hairspray, I really hoped Sweeney Todd would continue this lucky streak, but like 2004's disastrous film version of The Phantom of The Opera, its apparent some musicals need to remain on the stage. Burton tries hard to give the musical his familiar trademarks of dark lighting and set design and sweeping camera shots that zig/zag in and out of a very dreary and artificial London skyline, yet the film never ignites or has the edginess or bite needed to make this sinister tale of a 'wronged" Barber's revenge on his enemies come to life.

Much has been written and praised about Burton and Sonheim's decision to cut or shorten numerous songs, however this may have been a detrimental decision because the songs never further the story in the film. They feel stagy and obligatory almost as if the characters have to sing because its time for the next song. There's no beginning, middle or end to the songs and they never fuel the storyline with any excitement or passion, so we in the audience are left to wonder what there is to sing about. It probably doesn't help that Burton's impressive cast can't really sing. Depp, Carter and Rickman give it the old "college try" but they lack the ability to connect with the songs as "inner monologues" ,thus slowing down the action and tuning out the audience with over singing in Depp's case or thin brittle voices such as Carter and Rickman's.

Probably the biggest disappointment is Depp. Unlike his recent successes in Pirates of The Caribbean and Finding Neverland, he never gives Todd much dimension and is pretty much "one note" (including his vocals) throughout the entire film. That's a major flaw in the film as we in the audience fail to see the urgency or importance of Todd's actions and vengeance. Carter comes off better than Depp and attempts to give Todd's pie making partner in crime, Mrs. Lovette some different shades, however her thin singing style becomes boring and repetitive and she looks too young and pretty for the more mature and motherly Mrs. Lovette. Sadly, Rickman, one of our finest actors, fails to make a impression and plays the Judge as the "bad guy" without any sub text to his actions and wants. Finally, Burton tries our patience with his excessive use of blood and slit throats. It's fine to use darkness and violence if it lends something to the story and connects emotionally with the audiences feelings and expectations. But in Sweeney Todd, blood is a water faucet and Burton keeps letting it flow until it becomes a big "red" bore. In fact, so is the entire film.

There was one bright spot in yesterday's showing of Sweeney Todd. Prior to the film, a trailer plugging the screen version of the smash hit Mamma Mia was shown. It looks fun ;The Greek Islands, catchy Abba songs, inventive choreography throughout the cobble streets and at its center the incomparable, Meryl Streep. Now if anyone can bring back the movie musical to its glory after the mishap with Sweeney Todd, its the mega-talented and luminous Streep. Thank God for small favors.

Daniel Day Lewis' fierce and powerful Oscar Winning performance fuels P. T. Anderson's intense adaptation of Upton Sinclair's 1929 novel, Oil. Anderson takes a break from his personal, ensemble pieces such as Boogie Nights and Magnolia with a timely tale of greed, religion and oil. During a time where many believe we are "trading blood for oil", the film becomes a frightening metaphor for our lives at the start of the 21 Century (Iraq War, sky high gasoline prices and corporate corruption and greed to name a few). Like his earlier, brilliant performances in My Left Foot and The Last of The Mohcians, Lewis totally transforms himself into his character. His protagonist, Daniel Plainview is part charismatic politician with equal amounts of corrupt businessman and fiery demon thrown in for good measure. It's terrific work and fine ensemble filmmaking. Anderson's sharp direction, Robert Elswit's breathtaking Oscar winning cinematography, Jack Fisk's authentic art direction and Jonny Greenwood's (Radiohead) eerie and moody score work together to create a stunning piece of work, but the film really belongs to Daniel Day Lewis whose "tour de force" performance is a Herculean effort to strike applause from the 'gods' at Mount Olympus.

Uneven but ultimately hilarious send up of Hollywood filmmaking. Ben Stiller stars and directs this spoof involving a group of actors who while filming a big budget Vietnam action picture who are forced into combat against some down and dirty Vietnamese drug dealers. Joining Stiller are Jack Black (his funniest work in a while), Nick Nolte, Robert Downey Jr. and an almost unrecognizable Tom Cruise camping it up royally as a foul mouthed, film executive. Overall it is pretty funny although some of parts of the film drag and are quite violent and the humor is hit and miss. Best of all is Robert Downey Jr. as a highly regarded Australian, method actor who is cast as a black man and takes his role completely to heart. It's really a fine comic performance and he's very believable as an actor who stays in character as Black through the shoot of a film. Downey is so committed in both body and voice and just keeps getting better and better with each role; he's one of our best actors and an Oscar nomination is a sure bet here. It's not a great film but it's a fun watch and rather gusty in this over timid time in Hollywood. The filmmakers aren't concerned about being politically correct and the humor reminded me of the comedies of the 70's that were freer and more open with the gags.

Actor/Director Thomas McCarthy's moving and effective look at a lonely, withdrawn economics professor whose life is altered upon meeting a illegal immigrant couple (Haaz Sleiman and Danai Jekesai Gurira) surprisingly housed at his often, vacant NYC apartment. As he did with 2003's terrific The Station Agent, McCarthy allows the story to focus on the characters, their development and how lives can be changed for the better by reaching out to another human being. Richard Jenkins (Burn After Reading, Six Feet Under) has been a terrific, dependable character actor in countless films and television shows and he shines beautifully here with a multi-shaded, deeply personal look at a man who decides to befriend the immigrant couple illegally sheltered at his apartment. The scenes between Jenkins and Sleiman though few, have a real spark and compassion and later in the film, Hiam Abbas appears as Sleiman's concerned mother. Abbas is a beautiful and fine actress and she creates a strong, calm and compassionate presence along Jenkins and their scenes together are quite moving. Late in the film when Jenkins takes Abbas to her favorite Broadway Show, The Phantom of The Opera, the look on her face is priceless and the scene in a restaurant following is full of interesting observations and discoveries for both characters. This is one of those rare films that is almost magical because of its simple message. Oh some might see the film as a political stance on the poor treatment of illegal immigrants by the abusive Bush Administration but that's only lying beneath the surface. At its core, the film explores a man who is dried of hope and passion only to be brought back to life by the mere act of kindness and humanity. McCarthy effectively reminds us that connection is one embrace or handshake away. This is one of the best films of the year.

Warm and predictable holiday comedy/drama that is a cut above most Hollywood Christmas films because of its terrific cast and use of spirited holiday music. The great Loretta Devine stars as MaDere Whitfield, the head of a large African-American family in Los Angeles assembled for the yearly Christmas festivities. Of course, there are conflicts and problems, one daughter (Regina King) is being manipulated by her cheating louse of a spouse (Laz Alonzo), Ma'Dere's long time mate Joe Black (Delroy Lindo) has never been accepted by eldest son, Quentin, ever since his biological, musician father walked out on the children years before. That bad connotation doesn't help youngest son, Michael (Chris Brown), an aspiring singer who is apprehensive to reveal his true ambitions to MaDere who has already lost one man to the music world. Director and writer Preston Whitmore II does an effective job juggling the multiple storylines and allowing some fine performances to sparkle the familiarity of the story. We've seen this sitcom type, family holiday story countless times but the cast is game especially Devine and Lindo who sparkle and elevate each of their scenes with a warmth and dignity that is quite winning. In addition, it's always a joy to see the talented and passionate, Regina King in yet another terrific comic turn. She's a dynamo and a natural on screen and makes you care no matter how contrived the situation can be (and the film has many). Her slippery (it involves baby oil and that's all I'll say.) revenge on her adulterous husband is a hoot and the film's comic highlight. Finally, I really enjoyed the musical conclusion to the film at a church service with Denetria Champ leading a joyous, gospel version of "O Holy Night" followed by Brown's sweet "This Christmas" sung to his Mother and other family members. Yes, this is a typical Hollywood Christmas film, but with this warm engaging cast and tuneful music, it's a guilty pleasure and a nice little holiday treat to sneak in between the parties and the trimming of the tree!

I avoided last year's Jack Nicholson/Morgan Freeman film, The Bucket List as much as I could, yet over the past two weeks my co-workers and other friends have exclaimed what a terrific and heartfelt film it was and that I must see it, so I took a deep breath and watched it on pay-per-view tonight. Let me just say this, that my first impression was correct. The film is a manipulative mess that even exceeds The Notebook in its shamelessness. Emotional dramas and tearjerkers can be compelling when they well written and performed films such as Kramer Vs. Kramer, The Color Purple or Fried Green Tomatoes. In those films we cry and are touched because we feel for the characters and respond to them in an empathetic manner because the script develops the characters and situations. Unfortunately, The Bucket List is another one of the many current "script by committee" films that forces emotions on film audiences without any conviction, style or creativity. Jack Nicholson and Morgan Freeman are cast as two dying old men who make a list of things to do before they die. The main problem is that Nicholson and Freeman are directed to play extensions of their persona's rather than characters and its embarrassing to see these two once fine actors trying to milk emotions out of a shitty script while emoting every cliché they've performed in their long careers. Freeman is the narrator once again and is stoic and dependable as ever and Nicholson is crabby, unlikable with a small heart of gold waiting to emerge. It's not believable for a minute and its painful to see Rob Reiner's fall from grace as the director at the helm of this mess. What's even more alarming is the high IMDB rating of 7.6 and all my friends and co workers raves about the excellence of this bad film. Apparently older audiences are so hungry for adult fare, that they'll accept anything thrown at them, no matter how bad or contrived.

Watched an interesting but flawed film called Dedication tonight on pay per view with Billy Crudup. It's the directing debut of actor Justin Theroux who has appeared in David Lynch films such as Inland Empire and Mulholland Drive. Crudup plays a successful, children's book author with a severe personality disorder who thirsts for love and direction in his life after the death of his writing partner well played by Tom Wilkinson. Crudup is terrific and creates a unique and interesting character full of fascinating quirks. The cast also includes Dianne Wiest and a cameo by Peter Bogdanovich and Mandy Moore has some nice moments as Crudup's love interest. Theroux has talent as a director and tries to give the film some edge and spark beyond the constraints of the clichéd, romantic film. The script also gives Crudup's character some fine lines, but ultimately the film feels too familiar. We've seen this "fucked up guy becomes nicer and gets the girl" plot too many times. It's also an uneven mix of romantic film and "edgy indie character study". It needs to stick to one of these instead of trying to do both.

Warm and engaging film that's a rarity in today's film market, a well-done romantic comedy. Ryan Reynolds stars as Will Hayes, a mid-30ish about to be divorced Manhattan dad who is questioned by Maya, his 10 year-old daughter (Abigail Breslin, cute as always) on his life before he met her mother. Hayes spends the remainder of the film sharing the story of his life as a political consultant (for Bill Clinton amongst the lot) in the early 90's and the three women (one eventually being Maya's mother) he meets along the way. Director and writer, Adam Brooks does a really fine job telling a majority of the story as a flashback while allowing real character development to evolve and you couldn't ask for a better cast. After his impressive turn in The Nines, Reynolds is really finding himself as an actor and his turn here as Will Hayes is warm and believable. Of course it helps that Brooks has surrounded him with a trio of talented and sexy leading ladies. Elizabeth Banks (Scrubs) elegantly lights up the screen as Hayes' longtime high school girlfriend, Emily. Next he meets, Summer Hartley played by Rachel Weisz, who is getting more lovely and luminous with each role. Weisz does a fine job balancing her sly and manipulative character with enough warmth to make her engaging to the audience, a really fine performance. Best of all is Isla Fisher (The Wedding Crashers) as on again and off again friend, April. She's a dynamo and manages to be funny and sexy while keeping an undercurrent of sadness just beneath the surface. This talented red head is reminiscent of Amy Adams and is definitely an actress to watch. What's really admirable about what Brooks achieves with this film is the script. It's quite good and has a personal, real feel to it that most contemporary "written by corporate committee" Hollywood comedies can no longer achieve. It's also nice to see an ending that's unexpected yet satisfying. That's "definitely, maybe" something to be thankful about.

While not as strong and compelling as A History of Violence, I really liked the film and admired (as always) David Cronenberg's directorial style. First off, Viggo Mortensen is terrific. He gives his character shades of strength, pride, compassion, guilt and masculinity and his fight in the steam bath is brilliant. He deserved his Oscar nod hands down. The whole cast is terrific. Naomi Watts is fine as usual. It's always a joy to see Armin Muehl Stahl (so great in 1996's Shine and 1990's Avalon) and he is wonderful as the King of London's Russian Mob as is Vincent Cassel as his sensitive son, Kirill. I also really liked Sinead Cusack (who's married to Jeremy Irons) as Watt's aunt. She's a fine actress and her strength and dignity elevated each scene she was part of. Finally, I really love Cronenberg's style. His London is creepy. A place where sleaze and violence can erupt anytime. It's an interesting take on the city. I love how he explores male masculinity and the violence that lives within each man. Unlike the overrated The Departed. This is a mob movie that's dark, disturbing and believable. It kind of gets under your skin and sticks with you after the credits roll.

Dull so-called exploration of love and its emotions that reads more Lifetime cable film than feature film. It's a shame considering the talent involved, Oscar winning director Robert Benton (Kramer vs. Kramer and Places in the Heart) and a high octane cast including Morgan Freeman, Greg Kinnear and Jane Alexander. The direction is flat and the scenes have no beat or energy which is probably why the leads all look bored in their "paint by numbers" attempt to breath life into the acclaimed novel by Charles Baxter that the film is based on. I haven't read the novel, but it has to be more interesting the uninspired situations explored here. Morgan Freeman (stoic as always and the formula is wearing thin) plays a retired college professor wrestling with the recent death of his only son while befriending a lonely and loveless coffee house owner, Greg Kinnear (who looks bored). Of the cast, only Billy Burke who portrays an adulterous husband to Kinnear's love interest, makes an impression. He gives his scenes some bite and passion and for a moment breathes some life into an otherwise flat and unappetizing feast.

This film is based on a Stephen King short story about a writer of paranormal, true ghost stories who becomes trapped in an “evil” haunted room in a NYC hotel. This starts out fun as an old- fashioned type “boo let’s scare you” supernatural thriller and John Cusack is good as the protagonist. But since it’s based on a short story rather than a novel, it runs out of steam midway through and the director is stuck throwing in unnecessary high tech special effects and false endings and red herrings rather than focus on the psychological study of a man slowly going mad in a haunted hotel room. The latter would have improved the film. It’s basically an old-fashioned horror film and that's good and it has gotten good reviews, but I found it slightly disappointing, as it just doesn’t deliver in spite of a promising beginning and good cast, yet the film is a step in the right direction in regard to suspense and horror filmmaking. With 1408, we are thankfully seeing filmmakers resort back to scaring the audience with psychological ideas thus creating frightful sequences rather than shock , gore or torturous scenes. Before the film today, we saw a trailer for an upcoming piece of shit called Captivity that looks like a disgusting Saw/Hostel copycat. Watching the trailer made me sick to my stomach and I was so relieved that flawed as 1408 was, it was a good old-fashioned thriller that existed to scare and have fun with the audience, not make them a spectator of gruesome, freak and torture chambers. Films have taken a wrong turn with crap like Saw and Hostel where undefined characters are tortured and audiences are given sadistic images rather than effective scares. Hopefully, films like 1408 are a much needed reversal trend in Hollywood suspense films. The ability to scare by intelligence, good acting and initiating frightful situations by using imagination in contrast to merely showing unneeded gore and sadistic violence. Hitchcock was the master of suspense for a reason, he respected his audiences and had fun with them. Scary movies are supposed to be fun, not cruel."

Intense, morality tale directed and co-written (with Aaron Stockard) by Ben Affleck (on a career high with this and last year's terrific acting job in Hollywoodland) that really delivers on all levels. Based on Dennis Lehane's best selling novel, the film centers on a disappearance of a four year old girl and the investigation that follows leading to twists and turns along the way. The film is appropriately gritty and Affleck's cast including brother Casey, Ed Harris, Amy Madigan and Amy Ryan (Oscar nominated for her gusty portrayal) are all first rate. The mystery is well told and somewhat easy to figure, but what elevates this tale is Affleck's investigation of morality and the fine line between choosing what's best ethically vs. legally. There are no easy answers given and the protagonist is torn and flawed in a manner not often seen in conventional films. Thought provoking long after the credits roll and one of 2007's best films.

I went to see this with my friend Angela (who’s a big fan of the books) and it was pretty good. (I had to borrow my father’s copy of the last Harry Potter, (Harry Potter and The Goblet of Fire) to watch earlier this week to keep up with the story. I felt “Goblet” was dark and daring, the best Potter other than Alfonso Cuaron’s Prisoner of Azakaban.) I’m not the biggest fan of this series, but I prefer it to “Lord of The Rings” and this latest installment is the darkest one but I felt it lacked the excitement and passion of parts 3 and 4. On the plus side, Daniel Racliffe really knows his character of Harry Potter well and is doing some really nice work exploring of how to make this character grow with each film. In addition, this film is a who’s who of great British actors: Richard Griffiths (History Boys), Maggie Smith, Alan Rickman, Emma Thompson, Julie Walters, Ralph Finnes and David Thewlis all appear in the story. Best of all are Imelda Staunton (Vera Drake) as the new “teacher from hell" and a very evil and game Helen Bonham Carter as the Dark Lord’s demon woman. Both women really did their homework and made their nasty characters viciously real and exciting. It’s not often you see two fine actresses do such specific, nice work in a blockbuster, summer film. Not a great film, but fun anyway.

I finally got to see Todd Haynes’ I’m Not There and found it a fascinating and creative look at the many faces and moods of Bob Dylan at different points in his career and life. I really enjoyed most of the performances. Marcus Carl Franklin is really fine as the adolescent Dylan and Cate Blanchette is terrific and steals the movie with her fine and funky portrait of Dylan in his successful 60’s phase. She really is a chameleon and can play any role. What a talent! Gere, Ledger, Bale and Ben Whishaw do fine too but I felt many of their scenes felt like filler and I was always sucked back into Dylan’s persona with Franklin and Blanchette. I really think the film is original and somewhat daring but it does have a few problems. It feels too long and I almost felt like Haynes could have cut some of the Gere scenes because they weren’t that interesting and didn’t do much to add zest to the story. Another problem is that I felt that Haynes really expected his audience to know about Dylan’s life in order to understand the different personas portrayed and that hurts the film. It’s sort of like adapting a famous novel to the screen and expecting each audience member to have read the book before hand. I know enough about Dylan to see that Gere was portraying him during his Pat Garrett and Billy the Kid shoot (having Kris Kristofferson who also starred in the film to narrate was a great idea) and that Julianne Moore is supposed to be Joan Baez, but I wonder if most audiences would know this and I found the film would have been more focused if Haynes developed each Dylan phase more clearly rather than expect us to automatically know. It’s a good film but uneven and comes alive more when Franklin and Blanchette are on screen.

Despite a really fine (Oscar nominated) performance by Tommy Lee Jones, the movie doesn't work and that's because Paul Haggis makes the same mistakes here that he did writing and directing Crash and writing Million Dollar Baby. His hand is too heavy and he never allows moments to come out of character development. Instead we get quick, easy, black and white messages thrown at us. The way he ends the film is a cheat. Basically the film is an army murder mystery with anti war overtones thrown in. Yes, we need good films to share the horror and senselessness of the Iraq War, but with Paul Haggis it's much too contrived and he doesn't trust or allow his actors to get the point across. Jones' face throughout the film is a picture of hurt, emptiness and sorrow and it would have drawn us into the story more if only Haggis would keep the camera on Jones. He could have used Jones to break our heart at the conclusion of the film. Instead, we get a contrived over-the-top metaphor involving an American Flag. A real shame.

Comfortable and entertaining ensemble piece based on the 2004 best selling novel by Karen Fowler about a group of lonely women forming a book club dedicated to their literary heroine, Jane Austen. Kathy Baker plays Bernadette who along with Jocelyn (Maria Bello) gather some Austen followers to help fellow friend Sylvia (Amy Brenneman) cope with recent separation from her husband. Along for the ride are Sylvia's lesbian daughter Allegra, Prudie (Emily Blunt), a young French teacher whose marriage is on shaky ground and to keep things interesting, Grigg (Hugh Dancy) who joins to win the heart of Jocelyn. While the script and situations are contrived and familiar, the film works because of the fine performances by a terrific cast. Bello and Blunt create quirky and interesting characters and Baker and Brenneman are solid as usual. I was really impressed with the work of Dancy as Grigg. He gives his character a charming sense of humor, but has enough vulnerability and passion to ignite his intimate scenes with the radiant Bello. Yes, we've seen this story before, but with this group of actors, it's a nice club to join anyway.

After such fine work on films such as Finding Neverland and Stranger Than Fiction, director Marc Forster shines again with a moving and heartfelt adaptation of Khaled Hosseini's best selling novel of friendship and redemption. Forster moves the film back and forth between pre-Soviet invasion Afghanistan to California in 2000, yet he never loses his grasp on the touching story of the friendship between Amir and Hassan beautifully played by Zekeria Ebrahimi and Ahmad Khan Mahmidzada. Their passion for kite flying in their homeland of Afghanistan is as simple and natural as their performances. Years later as an adult, Amir (played passionately by Khalid Abdalla) returns to his homeland to repay his devoted, lifelong friend Hassan an old wrong. Yes, the film is somewhat manipulative and fans of the book may feel the Taliban scenes toward the end of the film are watered down, yet Forster excels beautifully at keeping this passionate story as the centerpiece of the film. Friendship is one of the most important aspects of our lives and it's not often a film captures it with such beauty and compassion. This is one of the best films of the year.

Watched La Vie En Rose tonight. I found the film a mixed bag and somewhat slow moving. It's trying to do way too much in a 2 and 1/4 hour running time. The scattered time lapses don't work well and actually become confusing. Yes, Piaf led a painful, drug and alcohol addicted life, but she was also one of the finest singers of the 20th Century and I feel it's a big mistake that the film never really explores her singing especially when she becomes famous. It seems to focus too much on her tragedy and heartbreak. Yet even though the film is flawed, Marion Cotillard is brilliant. Now that Amy Adams is out of the running for the Oscar, Cotillard deserves to win over the favorite Julie Christie. Yes, Christie was wonderful but Cotillard (who looks quite different than she's made up in the film) totally transforms herself into Piaf with sincerity and gusto. It's a brave performance and I for one can't wait to see Cotillard's future work.

I watched Ryan Gosling in Lars and The Real Girl last night and really found it to be a wonderful and touching film. As he displayed in 2006's Half Nelson, Gosling is a really fine actor who's effective at creating real, believable characters that the audience can relate to. He hits all the right notes portraying Lars, a young man whose mental delusions prevent him from reaching out and touching those around him. When Lars discovers love with an anatomically correct female "real doll", the good people of his small town react with initial shock but slowly learn to accept Lars' new found love thus paving the way for Lars' evolution through their caring and understanding. Gosling was deservingly SAG and Golden Globe nominated for his role here but was inexplicably ignored by Oscar. This is one of those beautifully cast films where each actor shines and you really buy them as part of a small town in Minnesota rather than a Hollywood version of small town America. I really like Emily Mortimer (Match Point, Dear Frankie) who plays Lars' spirited, pregnant sister-in-law, Paul Schneider as Lars' worried but compassionate brother and Patricia Clarkson who is just wonderful as the town's kind psychiatrist. What is really impressive and poignant about this film is how Craig Gillespie's direction and Nancy Oliver's script (Oscar nominated and deservingly so) create a well-casted, believable group of characters who reek of compassion and good will. The people in the film accept Lars' mental illness and delusions and reach out with true love and warmth in order for him to finally reach out and touch real life (and perhaps a real girl?). What I found so amazing in this film is since the characters so lovingly accept Lars and his "real doll" girlfriend, so do we as audience members. It's quite beautiful. I haven't seen a film with such a big heart in a long time. Lars and the Real Girl reminds us that most people are caring and kind and want to do good. It's a reassuring theme and I for one found the film to be one of the years' best.

Noah Baumbach (The Squid and the Whale) takes a step backward with this dreary character study of a dysfunctional family set against the backdrop of a wedding. Nicole Kidman (solid as usual but a tad too theatrical and annoying) portrays Margot whose appearance at her sister Pauline's wedding sets off a web of unhappiness and destruction. Jennifer Jason Leigh finds some nice moments as bride to be and very pregnant sister Pauline whose constant spars with the unbalanced Margot threaten the festivities. Baumbach's script is the big problem here. The story doesn't involve us and the characters are so unlikable, neurotic and well, annoying that its hard to believe they could even stand each other for more than five minutes let alone any audience viewing the film. Another flaw is the casting of Jack Black as the groom to be. Yes, Black is fine in his broad comic roles and he showed promise as a leading man in 2006's lightweight comedy, The Holiday, but he flounders painfully here as the misunderstood, angst-filled Malcolm. It's not believable for one minute and nearly capsizes an already sinking film. I found Baumbach's last film, The Squid and the Whale an over-praised but interesting and beautifully acted story of flawed characters. With Margot at the Wedding, it appears Baumbach is sharing a hellacious therapy session that would have been best left behind closed doors.

Frank Darabont ( The Green Mile and The Shawshank Redemption) tries his hand at another Stephen King story with effective and chilling results. The film serves as an allegory to the danger of military, government and religious interference. Based on the King novella about a group of people trapped in a supermarket when a strange and deadly mist rolls into town, the film is timely as this material now plays on our society's post 9/11 fears and insecurities. With its monsters and crawly creatures, the film is B material, but it works because of Darabont's skilled direction and a group of expert performances by Thomas Jane, Frances Sternhagen, Jeffrey DeNunn and Marcia Gay Harden who is terrific as a religious fanatic from hell who gathers followers in a frightening manner. What really impressed me about the film was Darabont's ironic and powerful ending. With the sad state of today's film market playing it safe and aiming for the lowest common denominator, my hats are off to Darabont and Dimension films for having the guts to stick to the scripts' conclusion as written rather than allowing studio executives or test audiences to sway the film into the world of "happily ever after".

Hugh Grant and Drew Barrymore have great chemistry in this sweet comedy about a faded 80's pop star (Grant) who teams with his lyric talented plant lady (Barrymore) to compose a potential new hit song. Written and directed by Marc Lawrence who directed Grant in 2002's charming Two Weeks Notice, the film elevates itself above most Hollywood romantic comedies because it allows its characters to develop in a number of well-written scenes between Grant and Barrymore. It's a refreshing change from the contrived, cute Kate Hudson/Matthew McConaughey pairings or the crude, sophomoric humor of Judd Apatow's overrated comedies such as Knocked Up. With his witty line readings and fine comic timing, Grant is probably the funniest leading man today and Barrymore is always a warm presence and fills her character here with good natured, charm. Kristen Johnson (3rd Rock from the Sun) shines in the supporting role of Barrymore's older sister who was and still is madly in love with Grant's pop sensation character, Alex Fletcher. Best of all, is Adam Schlesinger's marvelous score as a homage to 80's music. He wrote a number of fine new songs (sung by Grant and Barrymore) and especially winning is "Pop Goes My Heart" which begins the film as a clever opening title sequence done MTV style as a Wham/Duran Duran type video (Scott Porter from TV's Friday Night Lights is great as the 'George Michael' to Grant's Andrew Ridgeley). Why Schlesinger was not nominated for a Best Song Oscar for his infectious songs here is further evidence to the lack of creativity or intelligence in the frightening world of corporate Hollywood?

Watched an indie from last year called The Music Within. It rates high with the public on IMDB, Netflix and other websites but critics are mixed on it and I can see why. It's a well-meaning, true story of Richard Pimentel, a deaf Vietnam Vet (nicely played by Ron Livingston) who became a motivational speaker and a driving force for the fair treatment of the disabled and to promote diversity in public areas with the passing of the 1990 ADA act. It's important stuff and makes for an inspirational movie with its heart in the right place. I like the performances especially Michael Sheen (so good as Tony Blair in The Queen) who's almost unrecognizable as a Vet with Cerebral Palsy. He's quite believable and I feel he's an actor to watch. Unfortunately, the film feels more like a well-made, TV movie rather than feature film and the director uses endless period songs (Jefferson Airplane, The Doors, Doobie Brothers, America, Bob Dylan) to evoke emotion and feeling rather than rely on the script (which is shaky and cautious) and the good actors. Finally, the film needs more of an emotional pay off at the conclusion. This is larger-than-life material and the ending is too low key and bland. A shame because this is one of those films you want to like more than you do.

Well acted and original Australian thriller that takes a well needed break from the usual serial killer film and instead explores its characters in a creative way. Brendan Cowell gives a strong performance as a policeman wrestling with tinnitus (or a possible brain tumor) while an investigation of a recent mass killing occurs. Director Matthew Saville does a fine job focusing on the characters in the film and how they relate to each other not only as witnesses to a horrific crime but as ordinary, frightened human beings. The pacing is appropriately slow to allow character development and I like how the script and camera observe the situations subtly. There's a good deal of foreshadowing in the film and the ending is ambiguous with a shade of religious symbolism. Because Cowell's character suffers from tinnitus, Saville uses sound in a variety of creative ways to great effect. An original film in all aspects!

I finally got around to watching Disney/Pixar's Ratatouille this week and found it to be a joyous and inventive film experience. What impressed me the most was Oscar winning director and screenwriter, Brad Bird's (The Incredibles) choice to cast the best actors for each character rather than rely on assembling big star names to sell tickets. The film contained some of the best vocal work I've seen in an animated film. Patton Oswalt (Remy) and Lou Romano (Linguini) create interesting and heartfelt characters as the film's protagonists, a big and little chef who both need each other to create culinary masterpieces. There's also fine supporting work from Janeane Garofalo (Collette), Ian Holm (Skinner) and the always magnificent Peter O'Toole who shines as food critic (Anton Ego). What impressed me the most about the film was Bird's fine, inventive screenplay. The characters are developed so well that it transcends animation or any genre and simply becomes a story that we as an audience can believe in and care about. The film's subtle message that talent and creativity can come from the most unexpected places especially with the support of each other regardless of human or animal form, is touching and I found myself glad to get to know Remy and Linguini over 110 minutes. I feel this is one of 2007's finest films. Let's hope the Academy has the guts to nominate the movie for Best Picture and Bird for Best Director and Original Screenplay.

If you get a chance please check out last year's The Savages. It's beautifully directed and written by Tamara Jenkins. What I like is the simplicity she attains in telling this poignant and mournful story of two siblings who come to terms with their dying father who abused them as children. Jenkins uses small observations to build the story rather than big, dramatic moments and its quite effective and touching. Another plus is the really fine performances. Yes, Laura Linney and Philip Seymour Hoffman are solid and strong as usual and hit all the right notes as a believable brother/sister relationship. However, I also really loved the work of veteran character actor Philip Bosco as their dementia suffering father. He's terrific. He's playing a rather unlikable, sad and confused character but he really makes you sympathetic toward his plight and he underplays the more energetic, emotional performances of Linney/Hoffman beautifully. It's a really fine performance and I'm surprised he wasn't Oscar nominated along with Linney. Another reason to keep supporting independent films!

A definite shot of reality that all Americans need to see. Moore does a really thorough job this time examining the tragic state of American Health care in the United States and how shameful it is compared to other countries. In the past, I’ve always admired Moore’s politics and ideas but felt he lacked as a filmmaker. He sometimes seemed more an entertaining agitator rather than well-organized filmmaker. With Sicko he’s more focused and presents many sides of the issue, interviewing not only victims of our pathetic healthcare system, but also doctors both domestically and abroad. In addition, he visits Canada, the UK and France and gets some really great footage of their fine healthcare and how both their citizens and members of healthcare professions abroad treat each other respectfully and with humanity. Moore is really the narrator here and stays out of the way except for nicely done occasional shots of humor to lighten the load. Two small gripes I have are that the final 15 minutes are a bit overdramatic and heavy handed, Moore is going back to old habits and trying too hard to shove the message down our throats. He also portrays Canada’s healthcare system as smooth ride for its citizens, However, after talking to my friend Angela (who is from Ontario) and some students from Canada, there are slight problems with the Canadian system, so I feel Moore did some sloppy homework. Still, it’s a good film and a wake up call and necessary reminder that we as a people are really “our brothers keeper” and we better send this message to our government so we can join the other free nations such as the UK and France whose citizens don’t have to go into lifetime debt to stay healthy.

What a mess! Overkill in the worst possible sense. Yes, there are a few good action scenes and I really love Spiderman and the previous movies, but for Christ sake what was Sam Raimi, a talented director, thinking? Everything that was great about Spiderman 2 goes awry here. Raimi and his screenwriters throw so much stuff at us that by midpoint in the film, I just wanted to run out of my living room. It’s not that the film is boring to view, it just that it’s so overproduced it becomes an actual chore to watch, like punishment for being bad. Spiderman fights three villains, breaks up and makes up with Mary Jane, hurts Mary Jane again, gets back together with Mary Jane again and so on and so on. Then when we haven’t gotten enough of that tedious soap opera, there’s the off and on friendship or foeship between Peter Parker and Goblin’s son, Harry. Are they best friends? Are they each other’s nemesis? The way Tobey Maguire (who’s starting to become irritating and whiney again) and James Franco over emote with each other, I say who gives a shit? The plot goes from one action scene to a crying emotional scene so many times, I almost felt like throwing a box of Kleenex at my TV. If you think Parker’s overly wisdom trotting aunt was irritating in the first two films, hold on to your hat here, Raimi uses her over and over and over again as the ray of hope and light to cure Peter’s trials and tribulations. I think I counted at least 3 monologues beginning with “go with your heart Peter”….. At one point in the film, I felt she was going to don a Nun’s outfit and prattle “Climb Every Mountain” while levitating high above the NYC skyline. Speaking of singing there’s even a subplot involving Mary Jane’s Broadway career and her new job as a “singing”waitress at a swank Manhattan eatery, but I don’t dare go there. If only they would have just been happy with Spiderman 2 and gone out on top. Once again greed rules in Tinseltown.

Excellent remake of the 1957 classic western that showcases two fine leading performances by Christian Bale and Russell Crowe. Director James Mangold (Walk the Line) does a terrific job creating a intense, psychological study of struggling ranger's (Bale) challenge in bringing a notorious, outlaw (Crowe) to his justice on the 3:10 to Yuma. The unlikely bond that evolves between Bale and Crowe is fascinating and both actors bring such depth and passion to their roles that film transcends the usual Western and becomes simply an exciting character study of two desperate men pursuing an urgent quest of self fulfillment leading to an unforgettable, powerful conclusion. Marco Beltrami's Oscar nominated score beautifully conveys the film's intensity and magnitude.

I watched Zodiac on pay per view this afternoon. It got good reviews earlier this year and was directed by David Fincher (Fight Club). It's a good and intelligent film dealing with the still unsolved "Zodiac killer" in the San Francisco area. Although sometimes it resembles TV's "Law and Order" with its "let's interview this person and get this fact routine", I felt Fincher did a really good job conveying the period of the late 60's through early 80's and his low key approach to the story allows the suspense to be creepy because the audience is never expecting what will happen next in contrast to most films of this type where we hear scary music and then a quick edit shot follows. Fincher tells the story through the eyes of the press (a la' All The President's Men) and police investigators and he never gets in the way of his terrific cast. Mark Ruffalo, Jake Gyllenhaal, Anthony Edwards (finally back on screen after his tenure on TV's ER), Brian Cox, Phillip Baker Hall and John Carroll Lynch (Fargo) all give intense, convincing performances. Best of all is Robert Downey Jr. (who's always terrific) as San Francisco Chronicle reporter Paul Avrey. Downey is always exciting to watch. I find his gestures and reactions quite believable and am always wondering what he's thinking which of course, makes me care about the characters he plays.

As many of you know, I love acting and films and it's always such a treat to see a film special enough to recommend in a bulletin. I just came back from seeing Dreamgirls and it's simply, fabulous! I'm a fan of the 1981 Broadway Show and was fortunate enough to see Jennifer Holliday's breathtaking performance on the 1982 Tony Awards where she deservingly won Best Actress in a Musical. In addition, I caught the 1986 touring show in St Petersburg and loved it. Now director Bill Condon (screenwriter of Chicago and director of Kinsey and Gods and Monsters, all terrific films) has brought this great musical to screen in grand fashion.

Technically the film is a marvel with stunning use of costumes, set design, lighting and efficient editing to bring its stirring story to life. Condon really knows how to let the songs move the story along and he and choreographer Fatima Robinson, create eclectic magic with each number in the film. The story explores the musical ups and downs of a "Supremes" like trio achieving fame during the 60's and 70's.

What really takes Dreamgirls into the upper limits of film heaven is the marvelous cast Condon has assembled all contributing strong performances and singing. Beyonce Knowles is surprisingly good as the Diana Ross influenced, Deena Jones showing a off a passionate spark in "Listen" one of the new songs written for the film. Eddie Murphy also shines and gives his best performance as veteran R &B singer James Thunder Early. His singing and stage moves are inspired as is his nice mix of comedy and pathos. Anika Noni Rose, Danny Glover and Keith Robinson all contribute fine support. But the real star of the film is the character of Effie the talented, overweight star of the Dreams who is pushed aside in favor of the glamorous Deena (Beyonce).

American Idol hopeful, Jennifer Hudson steps into Jennifer Holliday's role brilliantly with a heartbreaking, passionate performance that will rock movie theatre's across the country. Her spine chilling rendition of "And I'm Telling You I'm Not Going" goes straight for the heart and she is magnificent both in voice and body. It's the first time I've seen a movie audience breakout into enthusiastic applause after a song in a film. During the imaginative closing credits, the audience again applauded when Hudson's name came up. Many Hollywood films today seem timid, almost afraid to dazzle the audience with real excitement and passion. With Dreamgirls, Condon achieves this in spades with an eclectic mix of music, editing and sparkling performances creating a holiday treat of extremely edible proportions. And may I say again that in Jennifer Hudson a star is born. As she says in her song, "She's not going anywhere" By God she's staying and we definitely are going to love her. From the applause I witnessed today in my local multiplex, we already do.

I love cycling and looked forward to this biopic on legendary Scottish cycling champion Graeme Obree. Obree’s unorthodox manner of cycling and his inner battle with severe depression should have made an interesting film. Unfortunately, the script and direction never allow the audience to get to know Obree and why he viewed life so dark despite his heroic cycling and supportive family. The pacing is off and scenes end up going nowhere. The film really needs to be offbeat, introspective and emotional and it never comes close to any of these levels. Still I marginally enjoyed the film for one reason, Jonny Lee Miller’s performance as Obree. Miller had a supporting role in Trainspotting and he’s a fine actor who has an interesting look. He gives his character dimension, humor, angst and determination in spite of a soggy script and flat direction. I really disliked the filmmaking but I stuck with the story because Miller made me care. BTW, Brian Cox, who’s co-starring on Broadway now in Stoppard’s Rock and Roll, has a supporting role as Obree’s friend and mentor. He’s a fine character actor.

This German gay themed film is just too slick and predictable for its own good. Unlike Summer Storm which was quite beautiful and passionate about exploring young love against the backdrop of athletics. Guys and Balls is basically a “Rocky” type “underdog up against the bad guys” with the gay theme thrown in to attempt to give the film heart and edge and it misses on both counts. A gay man is thrown off his straight soccer team for coming out and then decides to assemble a number of gay men to form a gay soccer team. Along the way he meets a lover, gains his father’s acceptance and another gay teammate becomes a hero to his son from his first marriage to a woman. We’ve seen this plot dozens of times and none of these situations are developed enough or given a fresh perspective. Of course both teams play against each other at the conclusion. Guess who wins? It’s entertaining but it’s so contrived and clichéd that it really didn’t make an impression on me. Skip it.

I finally got around to watching this year's Oscar Winner for Best Foreign Film, The Lives of Others (from Germany). For once the Academy got it right and this time in spades. It's a breathtaking film with fine performances and a subtle script that gets under your skin without manipulative tricks or sentimentality. This is an expert mix of history and examination of the human spirit. The late Urlich Muehe is wonderful as a government agent (called Stasi) who is called upon to keep surveillance of a playwright and his actress girlfriend in 1984 East Germany five years prior to the destruction of the East Berlin Wall. Over the course of the film his witnessing of "The Lives of others" becomes examination and reflection of his own loneliness and the empty existence in his totalitarian government. This sets off an unlikely and touching connection between two men who are struggling to exist in a "state" that suppresses the simple joys of living with freedom and dignity. Florian Henckel von Donnersmarck is a director to watch. He's created a film that is taut, beautifully crafted with an amazing ability to crawl under your skin and stay with you long after the credits roll. This is filmmaking at its best. A Must See!

Wow! What a great film! The direction, writing and acting are terrific. Del Toro beautifully blends the fairy tale with the hard cold reality of Franco Spain and even though it ends tragically, the film still holds on to its fairy tale theme of the heroine who selflessly sacrifices in spite of everything. All the performances are fine, but I loved Ivana Baquero who plays Ofelia, she’s really good! I was rooting for her (as you do with any strong fairy tale heroine) every step of the way. In addition Sergi Lopez as the ruthless Capitan and Maribel Verdu as Mercedes were also splendid. I like the way the film excels at blending all the elements: writing, acting, directing, art direction, score, lighting and editing to create a truly special film experience. Muy Perfecto!

This is a delightful, little independent comedy written and directed by Brad Siberling, a Canadian filmmaker who also directed the Lemony Snicket film and 2002’s Moonlight Mile. It’s a well-written film nicely performed by Morgan Freeman and Paz Vega, a fine Spanish Actress who was also in Talk to Her. It is great seeing Freeman in a small film that’s more a sweet, character study in contrast to his usual big Hollywood type films. I really like the way this film examines the “chance meeting” of two strangers who will never probably meet again, but whose time together allows them to share and perhaps grow with their lives. Nice film.

Brandon Routh soars as the Man of Steel in Bryan Singer's update on America's favorite superhero. I'm a huge Superman fan and what works best here is the casting of Routh. He's a strong presence in the action scenes with his heroics, yet vulnerable and caring in his love scenes with Lois Lane (Kate Bosworth, reading much too young and stable for Lane) and her son. What's nice about Routh is the inner strength he finds in the character. He doesn't have to act powerful, he just is. It's really nice. Singer does terrific work establishing Clark Kent/Superman back into our world after a five year absence. An early scene where Superman rescues Lane from a crashing airplane is taut and well executed and there's a really nice face off between a crazed gunman and Superman who reveals his eyeball is just as invincible as the rest of his body. However, the film falls apart toward the conclusion when Lex Luthor (Spacey, overacting in a most annoying manner) decides to trap Superman in a Kryptonite hell and Singer decides its time to use the Man of Steel as a metaphor for the second coming of Christ/the Messiah. If done subtly, it might have worked, but Singer strikes a heavy hand and he and Spacey nearly sink an otherwise fine film. Thankfully, Routh is on board to save the day and with his performance as Superman, he certainly does. Up Up and Away!

I just watched a breathtaking, beautiful film today called Sweet Land. Released late last year. This independent gem won a well-deserved Best First Feature at the 2007 Indie Spirit awards. Lovingly directed by Ali Selim, this haunting and lyrical film recalls the work of Terrance Malick with gorgeous shots of sweeping landscapes and the raw beauty of rural America. The story involves Inge (a fine performance by Elizabeth Reaser) a young German woman who migrates to Minnesota in the early 20's to marry a Norwegian man named Olaf (Tim Guinee, also excellent). Because of WWI biased against Germans and the different citizenships of the two, the citizens of this small rural Minnesota town may never allow this knot to tie? The film follows the friendship that blossoms between the two and how their perseverance leads to their eventual loving union. Heavy on visual narrative compared to dialogue, this is one of those rare films that is the lyrical equivalent to reading a passionate and haunting novel. The exquisite visuals here drive the plot and because of truly fine performances by Reaser, Guinee in addition to Lois Smith, Alan Cumming and John Heard, we in the audience are swept away by the importance of love between two people no matter how many obstacles stand in the way. A shinning gem of a film now out on DVD. One of 2006 best films indeed!

I caught a really interesting film on Netflix recently called The Puffy Chair. It played at Sundance earlier last year and was nominated for 2 independent Spirit Awards February 2006. It was directed by Jay Duplass and written by his brother Mark who also stars in the film. It's low budget, hand held camera, natural lighting etc...... and that's what makes it so charming. The Duplass Brothers are really creative and great at paying attention to the small things we experience in everyday life and bringing those things to life in humorous and moving ways. It's more character study than plot heavy and it allows the audience to grow and get used to the characters and Mark Duplass (who's really a good comic actor) and co-star Kathryn Aselton give really nice performances that ring of truth. So if you are tired (as I am) of the usual slick "paint by numbers" Hollywood comedy-drama, give this non-linear, scripted treat a look. Yeah it's different and weird, but that can be a really good thing and a relief.

This is a nifty little Canadian indie film with an inventive script and sharp, believable performances from its cast! I love superheroes and this film has a really cool premise involving a comic book/computer geek, Norman who discovers that his hunky, arrogant co-worker Victor has telekinetic powers. Norman is determined to help Victor develop these powers to help others and become superhuman. Unfortunately, Victor doesn't have the stuff heroes are made of and the plan goes awfully wrong with frightening and violent results. The film is low budget but it's quite creative and the cast especially Perry Mucci and David Ingram as Norman and Victor are really good and make the premise fun, believable and exciting. Mucci's mix of geek, nervous energy and good will help create a likable character the audience can identify with and Ingram is just terrific. He has the strong Clark Kent/Superman appeal to him but creates enough of a dark undercurrent and jerky sub-text to suggest a superhuman creation who could turn evil at anytime. First time director Blake Van de Graaf utilizes the most of a low budget, instead focusing on suggestion, inventive telekinetic tricks and strong characterization (Michael Sparaga's script is a winner) to make the fantastic element of the film fly. What's admirable here is how he is unafraid to allow the film to take a fascinating, dark turn in the second half without sacrificing the fun of watching these characters interact and develop. If you're a fan of superheroes or ever wondered if your co-worker was really Superman in disguise, I recommend the film. It's a lot of fun and certainly more creative and adventurous than half the big budget crap Hollywood is making. Give it a look!

This German film gay themed film is funny and poignant. It rates 7.9 on IMDB. The film examines the friendship between two best friends (one gay, one straight) against the backdrop of competitive rowing teams (one rowing team is called the Queerstrokes as its comprised of gay young adults) in Germany. It does a good job of examining the conflict and pain of a young man whose love for his best friend is one sided and can never turn into the type of love he needs or desires. The film is touching and it is sometimes sentimental but I feel that works in its favor as it drew me more into the story and unlike Brokeback Mountain, I really felt for these characters and their desires. Thankfully, the director never allows the film to become too dramatic and a sense of playfulness and humor resides throughout a good deal of the film so it avoids becoming too maudlin. I think it’s worth a look.

This is a film that was on my queue for a while on Netflix and I finally checked it out. It’s a weird film, but I sort of liked it. It’s very low-budget and yes, it is dated and 80’s in its approach, but then why shouldn’t it be, it was released in 1986. It follows a gay couple played by Richard Ganoung and John Bolger (he’s the great nephew of Oz’s Ray Bolger). Both are handsome and athletic. Ganoung care takes his old lover dying of AIDS portrayed by Steve Buscemi, in one of his first film roles. Buscemi is fine as usual and makes his character Nick, interesting. He’s a punk rocker and Buscemi fits the mold nicely. Some of the acting feels amateurish, but that didn’t bother me. This film felt more real in examining the gay lifestyle than some Hollywood films such as Philadelphia. The guys are mainly good looking, worried about their looks etc….. and it made sense. The foreplay and sexual tension is playful here and I like the way the film simply states how okay it is to feel love between one another regardless of the gender. Love according to this film, is natural and should be acted upon. Buscemi is good here and he and Ganoung have a very touching scene near the end that moved me greatly. It's not a great film but its affecting in a low key manner.

I gave this favorite film of mine another look tonight and it still shines brighter than ever. A smash hit both critically and commercially when it was released in 1997, the film racked up 4 Oscar nominations (and won for its score), a well-deserved SAG award for its cast ensemble and led to a tuneful, successful Broadway musical that is still playing in local theatre companies all over the world. Everything comes together so beautifully in this film. Peter Cattaneo's bright direction and Simon Beufoy's sharp script sustains the laughs while keeping a poignant undercurrent just beneath the surface. What a great cast! Robert Carlyle, Mark Addy, Paul Barber, Steve Huison, Tom Wilkinson and Tom Speer have great charisma together and create exciting and vulnerable characters that evoke empathy from the audience. Yes, a lot of people enjoy the film for its upbeat spirit, humor and well, for showing us "The Full Monty", but at its core the film digs for a more personal emotion. It's a film that celebrates the joy that only true friendship can bring: love, trust, camaraderie, and loyalty. At a time when hope seems all but a forgotten illusion, these six men come together to bond for their survival and dignity., A shining moment that may define their lives. Theirs is a friendship and bond that fills the soul and rekindles the human spirit and I for one find the film touching in a way few films can sustain. If you haven't seen the film, give it a look and if even if you have, it's never been a better time to revisit it because in our current state of uncertainty in 2008, we need this film more now than ever!

This is a sweet and well written comedy directed by Billy Wilder. Audrey Hepburn stars as the title character, a chauffeur’s daughter who becomes involved in a romantic triangle with the rich sons of her father’s employer. Humphrey Bogart and William Holden play the Brothers and the romantic interests of Sabrina. It’s fluff, but well-done fluff. I like seeing Bogart in a comedy and his reserved tough guy image softens up nicely in his scenes with Hepburn. Holden is more fun here than compared to his stiff performance in Sunset Blvd. However, the true shining light of the film is the lovely, radiant Hepburn. She’s funny, vulnerable and smart, a true delight to watch on screen. She received one of her many Oscar nominations for the film. It’s well acted and directed, well worth revisiting time and time again!

Wow! What a beautiful film. I love everything about it. From its glorious cinematography (the shots are mini art masterpieces) to its haunting musical score, this is the type of film to discuss in any film course because all the elements work together so beautifully. The two things that moved me the most were the acting and storytelling. I like how the performances are sincere and simple. Every moment is an observation rather than a forced revelation. The love between the soldier and the woman he meets is real and full of discovery and wonder rather than the fake stuff many Hollywood romances throw at us. I also love how the script allows the characters to really reach out to each other. It almost becomes a domino effect of how we as human beings need each other to live. Finally, the director and screenwriter effectively convey the importance of each moment we share. We are told from the beginning that this soldier won’t return from the war, therefore, his 2 day trek home to see his mother is all the more touching, important and triumphant. This is an amazing movie. Filmmaking at its finest.

This interesting 40’s romantic melodrama takes place during Christmas and rates 7.1 on IMDB came to me on Netflix this week. It’s a tad bit corny but I found it surprisingly affecting and unique for its time. Ginger Rogers and Joseph Cotton play two lonely people who befriend each other on a train homeward bound for Christmas. The spark ignites and suddenly they are head over heels in love despite the fact that each has a dark secret. Rogers is out of prison for a 10-day, good behavior break and Cotton is fighting depression and severe anxiety due to his service in the war. Rogers (appealing and lovely as ever) and Cotton (the best I’ve seen him) are really good in these roles and they get nice support from a fine cast including Shirley Temple all grown up in a teenage role. The leads make you care and what I find unique here that even though it’s 1945, the scenes are performed and written in a modern fashion that resembles the films of the 1950’s and beyond. I don’t feel it’s a film special or important enough it achieve classic status, but I liked it and feel that Ginger Rogers was indeed a triple threat. Yes, a fine singer/dancer but also a terrific actress.

Peter Bogdanovich's loose update of Bringing Up Baby is one of the funniest films of all time with a terrific ensemble cast. Barbra Streisand and Ryan O' Neal star as mismatched lovers in a delicious comic caper involving a red, plaid overnight bag which every major character seems to own. Streisand has never looked better on film and her impeccable comic timing shines in every scene. O'Neal matches her zany energy with one of his best performances and they are surrounded by one of the finest comic ensemble casts in film history: Madeline Kahn (brilliant in her film debut), Randy Quaid, Mabel Anderson (Mrs Stephens on Bewitched), Kenneth Mars, Austin Pendleton and the great Liam Dunn. They all contribute nice bits and create memorable characters. The final chase through the hilly streets of San Francisco is classic well timed, slapstick and the concluding scene involving Dunn as a cantankerous Judge is a hoot. Not to be missed!

I recently got a chance to watch Douglas Sirk's Written on The Wind and really loved it. It's a Sirk masterpiece. Great use of bright colors, artificial set design and shots through mirrors. Many critics online have likened his use of artificial colors and set design as a satire on the hollowness and emptiness of middle class white bread, suburbia America and I agree. The film is a precursor to all the popular prime time Soap Operas: Dallas, Knots Landing, Dynasty etc...... The film is fascinating to watch and Sirk gets fine performances out of the cast. Rock Hudson is a fine, sturdy leading man and Lauren Bacall (I believe her first film after Bogie died) taps into a more mature vulnerability not often shown in her sassy, sarcastic roles. Dorothy Malone (who won an Oscar) shines as the nymphomaniac vixen who loves Rock Hudson's character and is trashy sister to Hudson's best friend, Robert Stack, an alcoholic, rich playboy. Stack (who was Oscar nominated and should have won) is terrific and walks away with the film.