The Visitor

The Visitor

"In Connecticut, the widower and lonely Professor Walter Vale has a boring life. He teaches only one class at the local college and is trying to learn how to play the piano, despite not having the necessary musical talent. Walter is assigned to attend a conference about Global Policy and Development at the New York University, where he is to give a lecture about a paper that he is coauthor on. When he arrives at his apartment in New York, he finds Tarek Khalil, a syrian musician, and Zainab, a Senegalese street vendor living there. He sympathizes with the situation of the illegal immigrants and invites the couple to stay with him. Tarek invites him to go to his gig in the Jules Live Jazz and Walter is fascinated with his African drum. Tarek offers to teach Walter to play the drum. However, after an incident in the subway, Tarek is arrested by the police and sent to a detention center of immigrants. Walter hires a lawyer to defend Tarek and out of the blue, Tarek's mother Mouna appears at Walter's apartment from Michigan. He invites her to stay in Tarek's room and while trying to release Tarek, Walter and Mouna get close to each other and he finds a reason to live an exciting life again."

4 Stars

If you can get past the initial premise to this movie, then it opens up a whole bevy of emotions and really ends up being a beautiful film. The reason that I say that you need to get past the premise is that I think it is somewhat improbable. Walter (Richard Jenkins) returns home from a semester teaching in Connecticut to find two illegal immigrants living in his New York City apartment. It is really no one’s fault as Tarek (Haaz Sleiman) and Zainab (Danai Jekesai Gurira) were duped by a man posing as a landlord to the building through whom they thought they were leasing the apartment legally. In an act of extreme kindness (and slight stupidity) Walter allows the couple to stay with him until they find somewhere else to go. This is, in my opinion, the improbable aspect of the movie. How many of us would feel safe or comfortable with ANY stranger living under the same roof in this day and age? I don’t think I’m paranoid to think that I wouldn’t be as gracious as Walter. None the less, he does offer his hospitality and the movie goes on from there.

Walter is shown as a very simple man who has become more and more detached from people and his job since the death of his wife. His indifference is shown when he simply whites out the year on his college course’s syllabus rather than putting forth the effort of creating a new one for the semester. Even the reason for him returning to New York shows the lack of passion he feels for his job. He is forced to present a paper (for which he is the co-author) at a conference in New York. It turns out that he didn’t actually do any work on the paper; he just lent his name out to a colleague since he has such a solid academic reputation. Walter tries to convince himself that he is so unengaged with the course he is teaching because he is so focused on writing his own book, but he even has trouble convincing himself of that. The only glimpse of internal struggle we see is the fact that he apparently is trying very hard to learn the piano, a desire probably resulting from the fact that his late wife was a concert pianist.

His very mundane life is turned on its ear with the appearance of Tarek and his girlfriend. Walter immediately becomes very close to Tarek, a relationship that I think is based on the common feeling that both men have of being an outsider. Tarek is an outsider in the country and Walter seems to be an outsider in his own life. Zainab and Walter don’t have as strong of a connection, but they do get along. Walter is fascinated with the African Drum that Tarek plays every day in Washington Square park, so much so that Tarek eventually offers to teach him how to play. Things turn badly though when Tarek is arrested for a minor offense and, in turn, faces possible deportation back to Syria. Tarek’s arrest brings Tarek’s mother into Walter’s life and they experience a very interesting relationship, one that is probably the most sincere that Walter has had in a long time.

The best thing about this movie is that it doesn’t really follow any formula. I’m not saying that there are shocking plot twists, but more than once I was expecting a generic plot element to happen and it never did. The aspect was either left to the imagination or a completely different plot aspect was introduced. The acting is also brilliant. There is a constant feeling that the emotions that actors are trying to convey are raw and real. I can’t really explain why the performances stand out the way they do other than to say these people truly understood the material they were working with. So much so that Richard Jenkins was actually nominated for an Academy Award for his role. That really says something because his film was substantially less widely known than any of his fellow nominees’. The Visitor is just a movie about a guy who seems to be lost in his life at an age where most people seem to have everything figured out. It turns out this uncertainty is really a blessing in disguise in the fact that Walter ends up meeting people and doing things that he might never have had the chance to otherwise.

Big Night

Big Night

"Primo and Secondo are two brothers who have emigrated from Italy to open an Italian restaurant in America. Primo is the irascible and gifted chef, brilliant in his culinary genius, but determined not to squander his talent on making the routine dishes that customers expect. Secondo is the smooth front-man, trying to keep the restaurant financially afloat, despite few patrons other than a poor artist who pays with his paintings. The owner of the nearby Pascal's restaurant, enormously successful (despite its mediocre fare), offers a solution - he will call his friend, a big-time jazz musician, to play a special benefit at their restaurant. Primo begins to prepare his masterpiece, a feast of a lifetime, for the brothers' big night..."

4 Stars

I will tell you one thing for sure about this movie, it will make you hungry. Big Night is a story of a failing Italian restaurant on the Jersey Shore in the 1950s. It is run by Secondo (Stanley Tucci) and his chef/older brother Primo (Tony Shaloub). If you speak Italian or Spanish, you will get the irony of their names.

To be honest, there is not a lot of flash or style to this movie, but I still think it’s really good. At the heart of the film is the relationship of two brothers. Secondo constantly wrestles with the business side of the restaurant and is perpetually getting closer and closer to selling out in order to have a successful business. He can pander to the locals and give them the “Americanized” Italian food that works so well for their competitor restaurant down the street or he can stay true to his Italian heritage and produce good quality food. For Primo the issue is much clearer. He will see the restaurant close and move back to Italy before he compromises even the slightest degree of quality of his food. Because of this, they do what brothers do and butt heads constantly over the future of the restaurant. In the end though, they prove that family is the most important thing. The final scene is about 5 minutes long, but there are no words spoken. Instead, they speak volumes with just their actions and you are left with a truly heartwarming feeling. If you appreciate good acting, this is definitely a movie I would recommend seeing.

Paper Heart

Paper Heart

"Paper Heart follows Nick and Charlyne on a cross-country journey to document what exactly "love" is. Interviewing ministers, happily married couples, chemists, romance novelists, divorce lawyers, a group of children and more, the determined young girl attempts to find definition and perhaps even experience the mysterious emotion. But as they travel across the United States and even venture to "The City of Love" her pessimistic denial may hinder her chances at finding real happiness."

2 stars

I've read that the makers of this film are calling it a "hybrid documentary," since it blends traditional documentary with fictional story telling. A good idea in theory, but hard to pull off. It's a thin and awkward line, one that Charlyne does not walk well, and it's really obvious which scenes are staged and which are real. Michael Cera is famous enough now to be distracting rather than acceptable in his 'role' as Charlene's love interest.

My favorite parts were the real documentary - interviewing people about love (a middle-aged divorcee, a biker gang, a couple who married when they were 17). There's the straight-forward conversation, followed by a cute and entertaining puppet version of an anecdote. Trust me, it sounds weird but it works. 

If this was an honest documentary in the style of This American Life, it would have been enjoyable. Or if it was a fictional movie about a girl making a documentary, it would have been enjoyable. But trying to do both at the same time just doesn't work.

84 Charing Cross Road

84 Charing Cross Road

"When feisty New York City writer Helene Hanff (Anne Bancroft) mails a note to a small London bookshop asking for some rare English classics, reserved bookseller Frank Doel (Anthony Hopkins) answers her request, beginning a touching and humorous correspondence. Across two continents and over the course of 20 years, Frank and Helene come to rely on the extraordinary friendship stemming from their intimate missives."

4 stars

This is a movie for book lovers, period. Anyone else will find it too slow, too boring, too gentle. But as a book lover, I greatly enjoyed it. The epistolary style (think You've Got Mail) is a favorite of mine, and the fact that the movie is based on the book which is based on the actual letters between Helene Hanff and Frank Doel just makes it all the sweeter. And I love Anne Bancroft, who is great in this role (but then, when isn't she?). There's no contrived romantic tensions, just the simple, honest story of genuine friendship. Enjoyable, stress-free, and comforting to watch.

Phoebe in Wonderland

Phoebe in Wonderland

"Whether at home or at school, 9-year-old Phoebe (Elle Fanning) always seems to get in trouble for breaking the rules. When her drama teacher casts her in a production of "Alice in Wonderland," Phoebe begins to receive personal advice from the play's characters."

2 stars

Good child actors are rare, and there are a lot of children in this movie. Do the math.

Elle Fanning (Phoebe) is one of the good ones, but the material she has to work with is all over the place. We never can tell whether we are supposed to support Phoebe as free-thinker or pity her for her mental disorder. As for Phoebe's parents, Felicity Huffman just seems tortured the whole time, and Bill Pullman is about 15 years too old for the role. The kids are extra cruel. The teachers are extra ignorant. The drama teacher is extra quirky. The movie tries to be imaginative and whimsical (and what's with the two Swan Lake scenes?), but ends up playing like a made-for-TV Lifetime movie of the week.

The Express

The Express

"This biopic focuses on the relationship of Ernie Davis (1939-1963), a gifted African-American athlete, and his coach from 1958 to 1962 at Syracuse University, Ben Schwartzwalder (1909-1993). Schwartzwalder recruits Davis with the help of All-American running back, Jim Brown. The civil rights movement is gaining steam; Davis experiences prejudice on campus, in town, and on the field, sometimes from teammates. How he handles it and how he challenges Schwartzwalder to stand up for his players provide a counterpoint to several great seasons that lead first to a national championship and then to the Heismann Trophy."

3.5 of stars

I feel like this movie is a victim of timing. Don't get me wrong, it's a good movie and it can stand on its own laurels, but it's just too late for me. After the gold standards like Rudy and Remember the Titans, I think it's hard to put forth a really good football movie that doesn't seem formulaic. Unfortunately, this one does, but it really shouldn't diminish the movie as a whole. The film is pretty accurate as to what happened in Ernie Davis' life, so it's hard to count that as a strike against it. And the story itself is a very important one to tell. Ernie Davis was the first black man to win the Heisman Trophy. That happening in a sport that has so many strong ties to the 'Old South' really makes the accomplishment the biggest cultural event in sports since Jackie Robinson breaking the color barrier. But everything just doesn't come together in SUCH a way that it makes you feel like you're seeing a sports epic for the very first time.

I've been a fan of Rob Brown ever since Finding Forrester, and he delivers another solid performance. By his own right, Denis Quaid does a very good portrayal of legendary Syracuse coach Ben Schwartzwalder. But again, it's just not enough to push the movie over the top for me. Inevitably it will be on TNT or TBS in the next year or two, and I definitely recommend sitting down for it, but it's just not one I would run out and rent the next chance I got.

Robyn's Response: Layer Cake

(Todd's review here)

2 stars

There's a subset of movies known as 'British Crime Films.' Snatch, Rock'nRolla, Layer Cake. You know the drill - British mobsters with an extensive network, guys all named One Two, Turkish, and Mr. Lucky. A caper gone hilariously and violently wrong. A pretty girl or two. Everything working out for our anti-hero in the end.

I loved Snatch. I liked Rock'n'Rolla. If I saw Layer Cake first, it might have a higher rating. But it's more of the same, and it doesn't even do 'the same' well. I wasn't really into the storyline (drug dealer pulls one last con before going straight), and I kept losing track of the characters. (Is it weird to say that British people look the same to me?) Sienna Miller (who I don't think is that hot) was on screen purely for some T&A. At one point, the characters say 'So you killed (X) because he did (Y).' Normally I hate it when the character vocalizes what the audience has concluded on their own, but this time I needed it. And I didn't even pick up on the fact that Daniel Craig's character's name was never mentioned. There was too much random shit going on.

One Day in September

One Day in September

"The 1972 Munich Olympics were interrupted by Palestinian terrorists taking Israeli athletes hostage. Besides footage taken at the time, we see interviews with the surviving terrorist, Jamal Al Gashey, and various officials detailing exactly how the police, lacking an anti-terrorist squad and turning down help from the Israelis, botched the operation."

4 stars

For those of you who don't know, this film is an Academy Award winning documentary of the horrifying events of the 1972 Summer Olympic Games. If you've seen Munich, these are the actual events that caused to the retaliatory Jewish team to hunt down the responsible Palestinians.

The story is just sad and tragic because so many things could have prevented the deaths of these athletes. The German government was actually intentionally lax on their security around the Olympic Village because they were still trying to shake the infamy of the Nazi regime that had misused the Berlin Olympics four decades earlier. In a cruel twist of fate, some American athletes actually helped the terrorists climb the wall to the village because they themselves were sneaking back in after a night out on the town. Even after the kidnapping began, the German government basically botched every possible decision they could even allowing the games to go on while the police were negotiating.

The event also marked an important turning point in broadcast journalism that really can't be fully understood by anyone who is younger than 45 years old. This was really the first time that a major international event had gone down live on 24 hour television. Today we take that for granted because there are a plethora of 24 hour cable networks, but this was something completely new to the world. The gathering of information, however, doesn't seem to have changed in 37 years because everyone seemed to stumble through the same kind of misinformation and false reports that cause so much confusion today. Even the broadcast itself stalled one rescue attempt by a German police squad because, yes, the terrorists were actually able to see the planned attack on the television they had in the hostages' apartment. The younger of us have still probably seen the chilling footage when the late Jim McKay, anchor for ABC news, looks into the camera and somberly says, "They're all gone."

The documentarian did a great job and some unbelievably exhaustive research. He was even able to get an interview with the sole remaining terrorist who had to give the interview with a blurred face and altered voice. The movie doesn't hold back either. It is very matter-of-fact with what happened minute by minute and is able to convey the simultaneous fear of the people who knew what was going on and the obliviousness of the surrounding athletes who still had no idea. He also makes some good selection with the music that keeps the pace moving pretty well. You need to be prepared though, because a few scenes contain some pretty graphic images. In the end, you are really just left scratching your head at how an event meant to be so peaceful and politically neutral could turn into such a scene of hate and violence.

Gigantic

Gigantic

"Do we ever get what we want? Brian sells mattresses in a warehouse store. His father and older brothers have material success; he wants a child. He's applied to adopt a baby from China. A man who appears homeless seems to be stalking Brian with violent intent. He meets Happy, the daughter of a rich, quirky customer. She doesn't stick to anything, but she and Brian hit it off, except for her vomiting when she learns about his adoption idea. He wants her to meet his family, and there's a call about the adoption. What will Happy do?"

1 star

This movie had SO many great actors, that I'm actually pissed it sucked so bad. I like Paul Dano. I really like Zooey Deschanel. I think Zack Galifianakis is hilarious. And I think John Goodman has done a good job since 'Roseanne' in picking roles that legitimize him as a real actor. That being said, this movie blew big 'ol donkey dick.

Let me summarize the first 30 minutes: Brian (Paul Dano) goes to visit his scientist friend who apparently researches something by trying to get rats to drown. Then he goes to work at the Mattress Store that he works at in an abandoned warehouse. Oh wait, first a homeless guy (Zack Galifianakis) randomly tries to beat him to death with a pipe. Then he gets to work and sells a $8,000 bed to Al (John Goodman) who can barely speak in full sentences. Then Al's daughter, I can't believe this is her name, Happy (Zooey Deschanel) comes in a few hours later to pay for the bed and ends up sleeping on it in the middle of the store for 3 hours. Then Brian fucks Happy in the back of her station wagon. Then Brian tells Happy that he is trying to adopt a little baby from China . . . I'm sorry WHAT?! My brain just crawled out of my head so it could reach down and punch me in the nuts.

I would tell you more about the plot, but I couldn't force myself to watch anymore of the craptastic adventure in weirdness. Look, I like weird. I think its pretty obvious that I like weird. But there is GOOD weird and then there is just weird for the sake of being weird. This movie was the latter. So, sorry Paul Dano, in this instance I don't think I will 'drink your milkshake'.

Taking Chance

Taking Chance

"In April, 2004, casualties mount in Iraq. At Quantico, choices focus on increasing troop strength or only replacing casualties. Lt. Col. Mike Strobl crunches numbers. Stung by his Superior's rejection of his recommendation because he lacks recent combat experience, Strobl volunteers for escort duty, accompanying the remains Pfc. Chance Phelps, killed at 19. From Dover to Philadelphia by hearse, from there to Minneapolis and on to Billings by plane, and then by car to Phelps' Wyoming home - person after person pays respects. Kind words, small gifts, and gratitude are given Strobl to deliver to the family on this soul-searching journey. What are his own discoveries?"

4.5 stars

If it has been a while since you have reminded yourself of the amazing capabilities of our men and women in uniform, then you need to do yourself a favor and go see this movie like . . . yesterday. Now, before anyone gets their panties in a bunch with their own opinion of the war in Iraq I have 4 words for you, "Shut the Hell UP!" That is not what this movie is about in the slightest. In fact, its apolitical nature is one of the big reasons that I am so high on this film.

You might initially think that this movie is going to be nothing but praise for a fallen soldier, and to some extent you may be right. But in reality the movie is not about Chance Phelps, it is about the internal struggle of Lt. Col. Mike Strobl (Kevin Bacon). We all have friends or know someone that has friends in the military , so we know that no one is perfect. But I still have to think that there is a certain amount of inherent respect that comes with being an American soldier, and that realization is not lost on Strobl. The movie covers his round-a-bout journey with Chance's body from Dover AFB to Chance's hometown in Wyoming. And at every turn Strobl makes it his highest priority to ensure that Chance's body is treated with respect and dignity.

The awe inspiring thing is that he doesn't have to go to the lengths that he does. Most of the time, no one is around that knows military protocol. So, he has no reason to stand at attention whenever the casket is moved or stand watch over the body by night when he is forced to spend an extra evening in a Montana airplane hanger, but he does it anyway.

And it's not just Strobl. This movie was based off of his own journal that he kept, so most of it is true. That's why it makes me so proud to see how the everyday citizens reacted to seeing Strobl and the mission he had undertaken. The respect and admiration that they treated Strobl and the casket with makes you really want to step back and appreciate that, while people piss us off everyday, most of us are inherently good and we know the right thing to do.

There are so many moments in this movie that you just get lost in, and Kevin Bacon does a great job of conveying the fierce internal struggle of a conflicted man without saying much at all. Soldiers are just people too and it doesn't make them any less committed to really just wanting to be with their families. So, you really feel for this guy who is just beating himself up inside while everyone else around him is putting him up on a pedestal.

From the marines who take care of his body, to the people Strobl meets on the way, to the family and friend that loved Chance so much, there are just so many points in the film that you just get goosebumps, and if you DON'T get them, you need to check your pulse.

Todd's Response: Sita Sings the Blues

(Robyn's Review Here)

3.5 Stars

So, I seem to be in a certain mood about movies lately and that is "Everything Has Been Done Before". Because of this funk, I found this movie very refreshing. Like Robyn mentioned, you really can't say anything bad about the visual effects because they are REALLY impressive. What impresses me the most about them is how unique the four different narrations are. When I was watching the movie, I assumed that four different animators had come together to layer their films, but it turns out that they are all done by the same sad lady. It's really saying something when you consider that most animators pick a certain style and stick with it. It becomes their signature and you can almost tell who did the movie before you read the credits. But this director is actually brave enough to try her hand at 4 distinctive styles and she does them very well.

I think the genius in the movie comes from two concepts. The idea of having 3 actual Indians recount the story (as best they can) brings a very comfortable feel to the movie. They aren't always sure of the details and sometimes even argue about what really happened, but it gives you the feeling that you are sitting around the dinner table with friends, drinking good wine, and listening to a great story. The other cool concept is having one story line being completely driven by 1920s music. The 2D Vector animation used in this segment is probably the most advanced of all the segments, so pairing it with music from the 1920s gives it a really interesting feel that hooks you from the beginning.

My criticisms of the movie are only a few, but I think they hurt the movie a good bit. While the Vector animation and 1920s music is cool initially, it is grossly overused. The concept is intriguing at first, but there are like 10 to 12 songs (and they almost all sound alike) so it leads you to check your watch on occasion to see how much time is left in the movie. Then there is the director's "almost" autobiographical story line. I understand that this is supposed to explain how the director came upon the story and the desire to make the film, but it is really unnecessary. Its entirety probably only adds up to 5 minutes (so it is not very developed) and I found myself being taken out of the movie trying to figure out just how this particular segment was supposed to relate to the rest of the film. In my opinion, this story about how the director was dumped by her husband really just needs to be in the commentary or added as a bonus material segment because it really has no place in the actual film. Lastly, I wasn't a big fan of the plot itself. While some may see it as an example of true love and devotion, I just see it as an incredibly sexist story about how women are second class citizens and should be subservient to their husbands. But then again, I could probably say the same thing about much of the stories from Christian mythology. (Side note: If you were just offended by the fact that I referred to some Bible stories as mythology, you need to get out more . . . seriously.)

All in all though, I think I'm on the same page as Robyn (doesn't happen too often). I'm not putting this on my all time best list or anything, but it's definitely worth checking out. Any if you smoke the ganja, then get some friends together, light up a bowl, and have a good damn night.

Robyn's Response: Wristcutters

(Todd's review here)

2 Stars

All of the reasons Todd liked this movie are the same reasons that I didn't. I don't like Tom Waits. I think Shannyn Sossamon always plays the same character. And for me, the movie tried too hard. The metaphorical stuff shouldn't be so obvious, and make you think "Hmm, I bet this is supposed to symbolize something but I don't know what." Effective symbolism should be subtle and natural. The movie gets two stars soley for the redeeming Eugene Hutz, aka the lead singer from Gogol Bordello (also cameod as his backing band in the film). I love that crazy motherfucker - see Everything Is Illuminated if you want more of him.

The Seventh Seal

The Seventh Seal

“A Knight and his squire are home from the crusades. Black Death is sweeping their country. As they approach home, Death appears to the knight and tells him it is his time. The knight challenges Death to a chess game for his life. The Knight and Death play as the cultural turmoil envelopes the people around them as they try, in different ways, to deal with the upheaval the plague has caused.”

4.5 stars

If you consider yourself a movie buff, this is a movie you have probably seen. If not, you need to put it on the top of your list because you don’t know shit about the history of cinema until you have experienced this film. The fact that this move was made in 1957, literally dumbfounds me. Everything about it from the cinematography to plot elements are light years ahead of its time. It is the calling card and first major success of the legendary director Ingmar Bergman. If you don’t know who that is, then I suggest you go sit quietly at your desk and put your head down until the bell rings.

This movie literally wrote the book on the use of lighting and shadows for all subsequent films. I’m serious; you would be hard pressed to find any film school worth its salt that doesn’t show this as an introductory requirement. The film comes off (like its director) as very pretentious, but in a good way. The story is very straightforward, but it tries (successfully) to be so much more. A disillusioned Knight returns from the crusade angry and confused. These feelings are further manifested by the fact that he is returning to homeland ravaged by the plague where people are dying by the thousands. He then engages in a lengthy game of chess with Death (both figuratively and literally). And that’s really the entire story; there is not much more meat to the plot than that. But it’s Bergman’s exploration through the human condition and dissection of the human psyche that leave you thinking about the movie days after you’ve left the theater.

And the themes really are timeless. How many different generations can identify with the questions about the futility of war and the morality questions that go hand in hand with it? Or the inevitability of death and, to an extent, life’s own inherent futility? Even the most opinionated amongst us would find themselves at least thinking twice about their own beliefs on life and death. Most of the time you go to the movies just to be entertained, but every once and a while you see a film that really makes you think. THIS is one of those movies.

SPOILERS: The Knight makes his journey home and, along the way, meets a wide array of characters that facilitate him reexamining his own purpose in life. He really does come full circle from a person who believes in nothing to a person that believes in the most powerful of human ideas . . . hope. Unfortunately not even his transformation can save him from an inevitable end. So, he shares a ‘Last Supper’ with his new found brethren and accepts his fate. The last scene is beautifully eerie and ends with the only words spoken the entire movie by a mute girl. She looks into the eyes of death and chillingly whispers, “It is finished.”

It really is a tale that, again, we can all identify with. I say this because, as much as we try to avoid losing our own game of chess with Death, in the end it seems Death wins . . . as it always does.

The Lookout

The Lookout

“An admired high school hockey player (Joseph Gordon-Levitt) with a bright future foolishly takes a drive in the night with his girl friend and two other friends with his headlights off with devastating results. The former athlete is left with a brain injury that prevents him from remembering many things for extended periods of time. To compensate, he keeps notes in a small notebook to aid him in remembering what he is to do. He also lives with a blind friend (Jeff Daniels) who aids him. Obviously, with the mental incapacitation, he is unable to have meaningful work. Thus he works as a night cleaning man in a bank. It is there he comes under the scrutiny of a gang planning to rob the bank. The leader (Matthew Goode) befriends him and gets him involved with a young woman (Isla Fisher) who further reels him in. After they get close and after reeling him in with his own failures, the bank plan unfolds. Confused but wanting to escape his current existence, he initially goes along with the scheme. After realizing he is being used, he attempts to stop the robbery, which of course immediately goes awry. Bruce McGill and Alberta Watson also co-star as the young man's parents, who still search for the person that was there before the tragic crash.”

4 stars

Let me start out by saying that this is a good movie. Scratch that, this is a really good movie. If you’ve seen the great movie that is ‘Memento’, then you will identify with this movie immediately. They have very similar feels and plot lines. But it’s not fair to say that this is a ‘Memento’ knock off because this film has a personality all its own. We open up with Chris Pratt (Joseph Gordon-Levitt) and three of his friends driving down a country road the night of prom. It’s a really beautiful scene in which Chris turns off his headlights so everyone can see the wave of fireflies that lines the countryside. His arrogance is obvious, though, and eventually causes a wreck with a stalled combine in the road that leaves two friends dead, Chris’ girlfriend without a limb, and Chris with major brain damage.

The story really begins a few years later with Chris living in a dump of an apartment with a sage-like blind roommate played by Jeff Daniels. Chris is functional and his memory loss is not as prevalent as the protagonist in ‘Memento’, but he has a major problem with sequencing. Because of this, he must write all of his daily routine down in a notebook so he can remember how to get through the day. The good news is that he does seem to be progressing, but the internal conflict is gut wrenching. In an instant he went from being a smart, charming, promising athlete to a guy who can only handle the monotonous job of being a night janitor at the local bank. Further layers are added when we learn that Chris’ family is very rich and his father VERY demanding. Chris has chosen to live in squalor, however, as penance for his selfish actions which also include him visiting the site of his crash every week to remind him (as he puts it), “. . . just how big a piece of shit . . .” he is.

Enter Gary Spargo, a supposed former classmate of Chris’ older sister. Unbeknownst to Chris, Gary knows absolutely everything about him, the way he feels about himself, how the injury has affected him, and the routine he repeats daily. Gary (played by an astounding Matthew Goode) uses all of this information to masterfully manipulate Chris into becoming an unwitting accomplice to their planned bank robbery.

The performances really stand out in this movie. Gary makes his manipulation effortless, so much so that I almost wanted to join up with his bank crew. His ability to make all of the people around him do exactly what he wants is impressive and a bit unsettling. Jeff Daniels also did a spectacular job of playing a convincing blind man. So many time people turn a blind person into a cartoon and it really detracts from the movie. This is not the case here. Last, but not least, Joseph Gordon-Levitt is just awesome. Apparently he would deprive himself of sleep and work out intensely right before scenes in order to give the character a very disoriented feel. Needless to say it worked because we totally buy Chris as a mentally damaged young man.

As with any movie, it is not without its drawbacks. To me the heist itself and the ensuing actions by Chris lack the intelligence that had been prevalent in the entire movie leading up to that point. There are also several storylines that are left open ended regarding Chris’ father, Chris’ love interest (Isla Fisher), and the police officer who brings Chris donuts every night during work. But when you look at the film as a whole, these are only minor critiques and shouldn’t detract from the film’s effect. Ultimately the movie is about anger, remorse, and eventually redemption, and it’s one of the better ones that I have seen in a while.

Wristcutters: A Love Story

Wristcutters: A Love Story

“Despondent over his breakup with Desiree, Zia slashes his wrists and goes to an afterlife peopled by suicides, a high-desert landscape dotted by old tires, burned-out cars, and abandoned sofas. He gets a job in a pizza joint. By chance, Zia learns that Desiree offed herself a few months after he did, and she's looking for him. He sets off with Eugene (an electrocuted Russian rocker) to find her, and they pick up a hitchhiker, Mikal, who's looking for the People in Charge, believing she's there by mistake. They're soon at the camp of Kneller, where casual miracles proliferate. They hear rumors of a miraculous king. Can Zia find Desiree? Then what? Where there's death there's hope.”

3.5 stars

Hmmmm, I’m still thinking about this one. It was definitely not your normal movie, but then again what is? From the beginning I was pretty into it. Tom Waits is one of my favorite musicians. So, when the main character Zia leans over and starts playing his record in the opening scene, I’m starting to have high hopes. Then, not shockingly at all based on the name of the movie, we make a hard left turn as we see Zia dead on the floor from slicing his wrists open. Then everything starts to open up and we’re introduced to this world of Limbo-esque Purgatory. But it’s not the boring Purgatory that we all think of. This world works just like the living, except that everyone is dead. And not in the creepy zombie way where people are rapidly decaying, people have jobs, live “lives”, and (for some very fucked up reason) have families that have also off-ed themselves. Because you know what they say, the family that commits mortal sin together, stays together.

But the concept was really interesting and it really stimulated the part of your brain that deals with outside thought. What if this whole other world were possible? What if it exists and we don’t know it? And the real burning question for me ‘What happens in this world if you kill yourself again?’ The director does a phenomenal job with the details. Everything from color to clothing to the most minute prop has been thought out to remind us that this world is NOT the one we live in, it is something completely different and not fully understood by anyone “living” in it.

Another big plus for this movie was Mikal (Shannyn Sossamon). If you look up “sexy” in the dictionary, there is a picture of Shannyn. Ever since ’40 Days and 40 Nights’ I’ve been in love with her look and her style of acting. She really becomes the driving force of the movie that really makes the other character’s relationships work. She embodies the naiveté and innocence that makes this bleak and desolate world bearable enough that the viewer doesn’t want to slice his own wrists (yes, I get the irony).

And if I was excited that the movie had Tom Wait’s music in it, I got even more into it when the man himself showed up to play a major role. His character Kneller runs a camp for people who have lost their way. But there is something magical about the camp because everyone keeps performing tiny miracles, but only when they aren’t trying. This is the point in the movie where I had my 10th grade English Literature class flashback. It seemed like there was real genius in this move that I was missing, like the broken headlights, and starless nights, and color changing fish were actually a motif or metaphors for something much deeper. I guess I just wasn’t open minded enough to get the true meaning, or maybe I just hadn’t smoked enough pot.
So, ¾ of the way through the movie I’m still digging it. It’s weird, but good weird. And then . . . Will Arnet shows up (think Gob from Arrested Development).

And that’s the point where it completely went off the tracks for me. Up until then things worked, especially the casting. I thought everyone fit their role very well and had just enough weird in them for the scenes to really work, but Wil Arnet’s casting as the Messiah was a body blow to this movie. Don’t get me wrong, I like the guy and find him very funny, but he is almost too well known as playing a certain type of comedic character that there was no way for me to take him seriously as ‘The Messiah’.

The funny thing is, once his scene was over, everything went back to normal (well as close to normal as this movie can get) and the movie ends with a smile . . . literally.

If you’re going to watch this movie, you have to check your morality questions about suicide at the door. The movie is not about that, and if you cloud your perception by making it about suicide you’re going to miss out on a good flick. As much as I want to give the movie 4 stars or maybe even more, the Gob scene just won’t let it be so.

Management

Management

“Mike works at his parents' motel in Kingman, population 27,000, on old Route 66. Sue sells art for a Baltimore firm to corporations for office walls. He takes one look at her from behind as she registers at the motel and determines to connect. He's sweet, but hapless, with no ambition other than spending time with her. She's enigmatic - rarely smiling, occasionally impulsive, committed to helping homeless people, feeling the clock tick after a breakup with a boyfriend who could have provided security. Is there any way he stands a chance with her? What can he offer?”

3.5 stars

This is not your typical romantic comedy, and that's clear from the very beginning of the movie. Mike (Steve Zahn) is a quiet, lonely guy working as the night manager for his parent's rural motel. But when Sue (Jennifer Anniston) shows up looking for a room for the night, he proves that he's got more cajones than we might initially expect. He knocks on her door one night to offer her the "complimentary bottle of wine" they give to all guests . . . yeah right. It's clearly a line, but he delivers it with such honesty that Sue plays along . . . for a little while bit before politely kicking him out. This is where the movie really could have gone one of two ways. It could have been the romantic comedy it turned into or it could have easily taken a Norman Bates turn and become an awful horror flick. Luckily it was the former. After checking out of the motel, Sue doubles back to find Mike in the motel laundromat. In an inexplicable moment of desire Sue jumps Mike and they, um, 'do some laundry'.

On the surface the movie seems pretty predictable, and for the most part it is. We're left to assume that Sue is tired of the fast, somewhat fake life in the big city and is intrigued by this humble small town guy. However, she thinks it is a onetime fling but Mike, just like a puppy, decides to follow her back home leading to some obviously odd situations.

Even though the story may not knock you out of your seat, it does send a pretty good message. There is a constant theme of persistence and going after what you truly want, but the bigger message is shown through the evolution of Sue's character. She comes to realize that she has spent so much of her life focusing on other "causes" that she has neglected her own self and sense of purpose. And that can be true for many of us who may focus on the outside world as a way to avoid exploring own inner selves.

A high point of the movie, though, is casting. It is spot on. No other person could have pulled off this role other than Steve Zahn. He has to walk a very fine line to keep his character endearing and affable because it could easily slip over to creepy and weird. He also has to chops to complete Mike's transformation in the end into a much more strong and capable person. As actors go, I think he's pretty underrated. Woody Harrelson also does a good job walking a tight rope as the man who is competing with Mike for Mike's affections. He's enough of a jerk that the audience pleads for Mike to win, but he shows enough heart that we actually feel for him in the end. I also think Sue has another really good performance. In the big picture, I think she has done a good job in selecting roles since Friends. She is not completely trying to go to the opposite spectrum of Rachel Green, but she has picked parts that inch farther and farther away so that eventually, she will be considered in the class of actresses that really can run the gambit from dramatic to comedic.

In the end, the film isn't anything to write home about but it's another one of those that you could put on your list for watching on a Sunday evening.

Notting Hill

Notting Hill

“Every man's dream comes true for William Thacker, an unsuccessful Notting Hill bookstore owner, when Anna Scott, the world's most beautiful woman and best-liked actress, enters his shop. A little later, he still can't believe it himself, William runs into her again - this time spilling orange juice over her. Anna accepts his offer to change in his nearby apartment, and thanks him with a kiss, which seems to surprise her even more than him. Eventually, Anna and William get to know each other better over the months, but being together with the world's most wanted woman is not easy - neither around your closest friends, nor in front of the all-devouring press.”

1.5 stars

Why are so many people high on this movie? I don’t understand. I mean, I like Julia Roberts and the only thing I really know about Hugh Grant is that he likes to get BJs on Sunset Boulevard from skanky prostitutes. But they seem like they should put forth an enjoyable movie. And the writer, I’m told, was supposed to be very good because he did 4 weddings and Funeral. All of these ingredients coupled with the fact that this film was such a commercial and critical success when it came out should mean that I would enjoy it right? Guess not.

Both of their characters just bothered me. Anna (Julia Roberts) is basically a stereotypical spoiled actress who treats William (Hugh Grant) like a toy that she occasionally like to play with while she’s in London. She comes off as an incredibly self involved person with no regard for William’s emotions. But it’s not just her fault. William is one of the biggest pussies I’ve ever seen on screen. He never calls Anna out on her shit, and when he finally gathers up enough testosterone to say “No” to her, he ends up caving about 5 minutes later. I gotta say I had high hopes during the first few scenes of the movie, but when Alec Baldwin made his cameo as Anna’s American actor-boyfriend things got about as screwed up as a phone call Alec would make to his daughter.

And don’t get me started on the soundtrack. We’ve all seen movies that had soundtracks which helped the film (ie Almost Famous), but it takes a lot of shittynes to have the music hurt a film. Separately, the songs in the movie are all pretty good and some of them are classics. But they are used in such places that they almost describe exactly what is going on in the scene. It’s ridiculous. At one point Anna leaves England after she and William have an argument. I was just waiting for them to use another blatantly obvious track like “Ain’t no Sunshine When She’s Gone” . . . AND THEN THEY DID!!!

I’m not sure what’s going on. Romantic Comedies are my guilty pleasure, but I can’t like this one. Maybe I’m missing something but the movie just comes off as frustrating, predictable, and a little bit sad. And just to put the final nail in the coffin, the movie inexplicably spends an extra five minutes at the end showing the two characters getting married and then Anna being pregnant. Really?! Excuse me while I got throw up.

Sita Sings the Blues

Sita Sings the Blues
"India's ancient epic Ramayana gets a fresh, funny makeover in this award-winning animated film. With song and humor, director Nina Paley juxtaposes the split between Rama and Sita with her own divorce to tell "the greatest break-up story ever told." Original 1920s recordings of singer Annette Hanshaw give musical voice to Sita, while amusing shadow puppets provide the narration for the colorful story."

4 stars

You have to pay attention when watching this movie, especially if you aren't at all familiar with the Ramayana. The storyline is told four ways, each with its own distinctive style. The visuals are really beautiful, and when paired with the music (a combination of traditional Indian music and 1920s tune by Annette Hanshaw), the movie is really breathtaking.  The director tries to lighten up the movie a bit, and the story is told with some levity that helps to lighten the rather dark story of Sita. "LOLspeak" is even a caption option! Overall, this movie is fun to look at and listen to, but it helps to do some research first or else you'd be really lost.

Layer Cake

Layer Cake

“The successful drug dealer Mr. X plans his criminal career intermediating business with drugs without calling the attention, working with a small gang and honoring his payments with the suppliers. On the day planned for his early retirement, the powerful mobster Jimmy Price gives two assignments to him: find Charlie, the addicted daughter of his associate Eddie Temple and negotiate um million pills of high-quality ecstasy with the stupid smalltime gangster Duke. Mr. X hires two acquaintances crooks in a night-club to find Charlie, and he unexpectedly meets Duke's cousin Sidney with his sexy girlfriend Tammy and flirts with her. But Mr. X discovers that the ecstasy was stolen from the dangerous and wild Serbian drug lord Dragan that wants the head of Duke and the drugs back. Further, Eddie shows a tape proving that he has been double-crossed by Jimmy, and also wants the ecstasy. The smart Mr. X plots a scheme to resolve the situation and meet Tammy.”

3.5 stars

This film ain’t easy; you really got to pay attention because there is a lot going on. It has a feel of Snatch, but with a little more reality. By this I mean that Snatch, to me, is very tongue in cheek. The deaths are very over the top so they don’t have as much weight to them, but that’s intentional. This movie is much more down to earth and gritty.

It’s kind of odd to see Daniel Craig play this kind of role. As an American, I am very much a Johnny-come-lately to his career so I have really only seen him in the Bond films. Obviously in those movies he is the epitome of cool and always seems to be in control of the situation. But in this film, that is not the case. While his character is intelligent, he constantly seems to be adapting to outside factors that keep throwing him off his game. The feeling that his character is “in too deep” crosses your mind several times. Just when you think he is a step ahead of his antagonists, the plot will take a hard left turn.

There is one glaring problem with this movie, and I am not even going to pretend that my argument is unbiased or has any intellectual validity at all, but here goes. THERE IS NOT ENOUGH SIENNA MILLER!!! For me, she is one of the ten most beautiful women in Hollywood today and the fact that her screen time is limited to a combined 10 minutes is almost a crime against humanity. Granted, she does take full advantage of her all-too-tiny amount of screen time. In one scene she seductively dances with a cigarette just dangling from her lips and in another we get the great pleasure of seeing her change in to a black teddy with attached garters and askldjhsfdah;sd;asjk;ghd; . . . sorry, I passed out on the keyboard.

Anyway, in the end I think most people would be satisfied with this film. I didn’t think it was the greatest, but it did a well enough job of keeping my attention for the 105 minutes. And the ending will probably feel refreshing to those of us that are tired of the dull way that most of these shoot ‘em up flicks conclude. As the boss puts it, “Welcome to the Layer Cake.”

Men In Black & Men In Black II

Men In Black and Men In Black II
"Men in Black follows the exploits of agents Kay and Jay, members of a top-secret organization established to monitor and police alien activity on Earth. The two Men in Black find themselves in the middle of the deadly plot by an intergalactic terrorist who has arrived on Earth to assassinate two ambassadors from opposing galaxies. In order to prevent worlds from colliding, the MiB must track down the terrorist and prevent the destruction of Earth. It's just another typical day for the Men in Black."
"Kay and Jay reunite to provide our best, last and only line of defense against a sinister seductress who levels the toughest challenge yet to the MIBs untarnished mission statement: protecting the earth from the scum of the universe."

5 stars

While I was writing up my review of Wolverine, I had TBS on in the background. And TBS plays MIB and MIB2 all the time, and I watch it all the time, and tonight is no exception. These movies are pure entertainment, and they are funny. Will Smith and Tommy Lee Jones have perfect chemistry and play off of each other beautifully. Smith (Jay) might get the funny lines, be Jones (Kay)s' reactions are just as great. Plus there's a ton of cameos (Biz Markie as the beatboxing alien!), and I love a good cameo.

Kay: All right, Beatrice, there was no alien. The flash of light you saw in the sky was not a UFO. Swamp gas from a weather balloon was trapped in a thermal pocket and reflected the light from Venus.
Jay: Wait a minute. You just flash that thing, it erases her memory, and you just make up a new one?
Kay: A standard issue neuralyzer.
Jay: And that weak-ass story's the best you can come up with?
Kay: On a more personal note Beatrice, Edgar ran off with an old girlfriend. You're gonna go stay with your mom a couple nights. You're gonna get over it and decide you're better off.
Jay: Well, yeah, you know, 'cause 'cause he never appreciated you anyway. In fact, you know what - you kicked him out. And now that he's gone you're gonna go into town, you go to Bloomingdale's and find some nice dresses, get yourself some shoes, you know, find somewhere, maybe you can get a facial. And, uh, oh - hire a decorator to come in here quick, 'cause... damn.
(No one says 'Damn!' like Will Smith)

Jay: K! He's a Ballchinian!

Kay: [Explaining how most of the aliens are in Manhattan] You remember "Casablanca", right?

Jay: Yeah.
Kay: Same thing, just no Nazis.

(that one's for Todd)

Wolverine

X-Men Origins: Wolverine
"It's the story of how Wolverine became Wolverine. Do  you really need a summary?"

4 stars

I love movies based on comic books. There's action and comic relief and great characters. I especially like origin stories and prequels because you get to learn the backgrounds of your favorite heroes.

Wolverine (the movie) is a little melodramatic and anvil-y*. But it's based on a comic book, so what did you expect? The good thing is, since Wolverine (the character) is basically part of the pop culture canon, we don't get a lot of unnecessary exposition and explanation. Yes, essentially the whole move is exposition, but the movie doesn't waste time on things like what a mutant is or explaining the whole X-Men universe.  If you don't know who the X-Men are or if you don't care, this movie isn't for you. If you're like me, you'll love seeing cameos from your favorite mutants (Hi Gambit!), no matter how much the actor's accent wavers (Hi Taylor Kitsch!), and you might even squeal a little bit at the final scene (after the credits).

Is this movie gonna win any Oscars? Hell no. But it's enjoyable, and that's good enough for me. Not every movie needs to change my life - I'm happy to be simply entertained for a few hours.

*Anvils, anvil-y, anvilicious: Referring metaphorically to the cartoon practice of dropping a big, heavy anvil onto a character. When I use the term, it means that a movie uses really heavy-handed and obvious plot points or movie techniques to get a point across, rather than giving the audience some credit for being able to figure out subtle nuances. 

Bang the Drum Slowly

Bang the Drum Slowly

"The story of a New York pro baseball team and two of its players. Henry Wiggen is the star pitcher and Bruce Pearson is the normal, everyday catcher who is far from the star player on the team and friend to all of his teammates. During the off-season, Bruce learns that he is terminally ill, and Henry, his only true friend, is determined to be the one person there for him during his last season with the club. Throughout the course of the season, Henry and his teammates attempt to deal with Bruce's impending illness, all the while attempting to make his last year a memorable one."


3.5 stars

I may sound like a spoiled little brat here, but it seems like movies didn’t have to be as good 30 years ago to be considered Oscar worthy. There was still a period where an idea could be really fresh because the movie medium itself was still relatively new. In addition, society still didn’t talk about certain things that were taboo, so a movie coming out and dealing with that issue very bluntly was considered a break through. And back then it probably was. But we’re really getting to the point where almost everything has been done, and we’ve seen it all before. That’s why I wasn’t blown away by this movie, but I guess I have to put it in perspective.

The story covers the final season of a dim-witted, Hodgkin’s diagnosed catcher for the ficticous NY Mammoths (basically they’re the Yankees in almost every way; I guess they just didn’t want to or couldn’t get the naming rights). His roommate is the Ace pitcher and all-American pretty boy Author Wiggin (Michael Moriarty). After being diagnosed, Author does everything he can to make sure Bruce (DeNiro) doesn’t get sent down to the minors, even giving up a substantial salary in the process.
I think the movie does a good job of capturing the feel of a major league club house in the 70s. It’s one of camaraderie and mutual respect that is usually left unsaid and mostly manifests itself through good humored ragging. But the movie is very sad. Bruce is ragged on pretty hard in the beginning and only do his fellow teammates start to give him respect when they find out about his illness, so we really don’t know if the care is genuine.

The comic relief comes in the form of the fiery manager who spends half of the movie conducting his own “investigation” to find out where Author and Bruce went during their trip to the Mayo Clinic. Author does a pretty good job of changing the story as he goes to keep the illness a secret as long as possible. As might be expected, the team finally comes together in the end to win the pennant, but a visually ailing Bruce is unable to travel with the team to the World Series. The movie ends pretty abruptly with Bruce dying and then jumping to the cemetery where Author is the only teammate to show up, which may answer the question about how genuine the teammates’ concern was.

All in all though, the movie delivers. We really do end up caring about Bruce and see the true devotion that Author has for him. And DeNiro’s acting is amazing. For those of us that have seen him in Goodfellas, the Godfather, and Analyze That you almost wouldn’t recognize him. He completely transforms himself into a dim witted southerner and he is completely believable. It is almost MORE impressive to me to see him this role after his more famous ones because it shows you just how big his range really is.

If nothing else watch the movie for the titular scene in which a silenced clubhouse listens to Piney Woods (the only teammate unaware of Bruce’s fatal condition) sing the stirring ballad of a cowboy: “Bang the drum slowly, play the pipe lowly / To dust be returning, from dust we begin / Bang the drum slowly, I'll speak of things holy / Above and below me world without end.”

The Proposal

The Proposal


"For three years, Andrew Paxton has slaved as the assistant to Margaret Tate, hard-driving editor at a New York publisher. When Margaret, a Canadian, faces deportation for an expired visa, she hatches a scheme to marry Andrew - he agrees if she'll promise a promotion. A skeptical INS agent vows to test the couple about each other the next Monday. Andrew had plans to fly home that weekend for his grandma's 90th, so Margaret goes with him - to Sitka, Alaska - where mom, dad, and grams await. Family dynamics take over: tensions between dad and Andrew, an ex-girlfriend, Andrew's dislike of Margaret, and her past color the next few days, with the INS ready to charge Andrew with fraud."


2.5 stars

So, let me explain something to you. I have been in love with Sandra Bullock for quite some time now. Ever since I saw “While You Were Sleeping” I knew that one day she would be my wife. And she held out a long time for me (trust me the Jesse James thing ain’t gonna last). For this reason, I will go to see absolutely ANY movie that she is in, no matter how mundane it looks. And coincidentally enough, I’m actually a fan of Ryan Reynolds too (I am already anticipating the gay joke, so don’t even bother). I have seen most of the stuff that he has been in and, in my opinion, he’s one of the better actors of his generation. So, you would think The Proposal would get me all excited. It should be a beautiful convergence of my future wife, one of my favorite actors, and the romantic comedy genre that is my guilty pleasure. Even with all of this, I wasn’t expecting too much from this movie and man did they deliver on that.

The movie isn’t good. That’s not to say that it’s bad, it’s just not good (the word ‘meh’ comes to mind). If you saw the preview, you pretty much could write the movie. It just takes you through the motions of a typical romantic comedy and ends as expectedly as you might, well, expect (my 8th grade English teacher is rolling over in her grave right now). If you’re looking for something easy and light on a Sunday night, then this movie would be adequate.

My only real beef with the movie is the hypocrisy. A Romantic Comedy, by definition, is supposed to tout romance and the power of love but, in my opinion, this film cheapens it. It basically says that if you throw any guy and girl together for a weekend they can fall in love enough to get married. Really? And it’s not even that fantasy that some people have of meeting someone, having a whirlwind romance, and getting married on the spur of the moment. Literally at 12:00 PM on Sunday the couple loathes each other and at 8:00 that evening they decide they are meant to be together. Again I ask, really? Don’t get me wrong, and this may sound weird, but the movie would have been much better if it were a dark comedy. The story briefly touches on Sandra’s abandonment issues and Ryan’s Oedipus complex with his father. There actually was a lot of meat there that, if it had been explored, might have made for some interesting story telling. But, alas, that’s not the angle they were going for. So, the movie is just adequate.

One saving grace that I might give it is the setting, the entire movie was shot on location in Alaska and the scenery is just amazing. I sometimes found myself ignoring what the actors were saying and just focusing on the picturesque landscape.

Fans of The Office might get excited to see Oscar as the town’s only erotic dancer. But their excitement would quickly fade as his performance feels very forced and simply not funny. Let’s be honest, this movie is a 2 star movie at best. BUT, because of Sandy I am bumping it up to a 2.5.

COMING SOON

Munich

"After Black September's assassination of Israeli athletes at the Munich Olympics in 1972, Prime Minister Golda Meir okays a black-box operation to hunt down and kill all involved. A team of five gathers in Switzerland led by Avner, a low-level Mossad techie whose father was a war hero and whose wife is pregnant. It's an expendable team, but relying on paid informants, they track and kill several in Europe and Lebanon. They must constantly look over their shoulders for the CIA, KGB, PLO, and their own sources. As the body count mounts -- with retribution following retribution -- so do questions, doubts, and sleepless nights. Loyalties blur. What does it mean to be a Jew?"

3 stars

Anvil! The Story of Anvil!

Anvil! The Story of Anvil
"Formed by two 14-year-olds in the 1970s, Canadian heavy metal band Anvil influenced the great acts that followed, such as Anthrax and Metallica. This documentary joins Anvil's now middle-aged founders as they recover from a disastrous tour of Europe. Hoping to end their youthful dreams and careers on a high note, Robb Reiner, Steve "Lips" Kudlow and the band set out to record their 13th album, "This Is Thirteen.""

3 stars

This film is pure love letter. It's a love letter to the band (the director's been a fan since 1982), and a love letter to rock and roll.

We open on concert footage from Japan in the 80s with voiceovers from heavy metal stars (Lars Ulrich, Slash, Scott Ian), all proclaiming Anvil as one of the greatest metal bands of all time. And therein lies the movie: who has ever heard of Anvil?

At first you aren't sure if this movie is for real or if it's Spinal Tap in the 21st century. The main focus is on Lips and Robb, the two founders of Anvil, now in their 50s. They've never given up on that rockstar dream. They've got fans (even superfans - watch for the scene where one pours beer up his nose) and are waiting for their big break. It's a common story in the music industry, but the fact that they haven't given up after 30+ years is either extreme dedication and faith, or insanity and arrested development. There's a lot of focus on the brotherly relationship between Lips & Robb, which is textbook rock-and-roll bandmate relationship. The main story follows Anvil as they try to go on tour in Europe, record their 13th album, and get a record label. It becomes clear that Anvil (and Lips especially) occupies two spheres: both band and fan. Lips strikes out with some so-called 'famous' musicians he shares a gig with, who clearly see him as some kind of fruitcake, but he gets love (and respect) in return from others.

With documentaries, you need a really good subject and a really good story and really good editing to be a really good movie. I think it got so many positive reviews out of guilt, in all honesty. The band certainly makes for an interesting subject, but in the end the movie is just good, not great. Poignant piano playing over images of Lips & Robb's return to Tokyo (they really are big in Japan) belittles the moment. I'm rooting for Anvil, but the film drags a little in the middle. We get it: the only ones taking this seriously is the band, and everyone else thinks they are a joke. And maybe they are. But they're following their dream, cliche as it is. And you've got to give the movie credit: there's a scene in the recording studio with the amp turned up to 11.

Trainspotting

Trainspotting
"A wild, freeform, Rabelaisian trip through the darkest recesses of Edinburgh low-life, focusing on Mark Renton and his attempt to give up his heroin habit, and how the latter affects his relationship with family and friends: Sean Connery wannabe Sick Boy, dimbulb Spud, psycho Begbie, 14-year-old girlfriend Diane, and clean-cut athlete Tommy, who's never touched drugs but can't help being curious about them..."

4 stars

"Good thing comes to those who wait." That's the concept that came to mind while I was watching Trainspotting. If you're not ready for this movie, it's going to knock you on your ass. The story hits the ground running and immediately throws you into a life of squalor and hardcore drug use. Luckily, there's a tongue-in-cheek feel to some of the scenes that keeps us from falling into a deep depression over the stark reality of what exactly is going on.

The first half hour is not for the faint of heart. There is a scene at "The Worst Toilet in Scotland" that is sure to make Grandma and Grandpa switch over to Wheel of Fortune, and another scene at the breakfast table that has equally shocking "fecal comedy". But in looking back, I think the movie was written this way on purpose to weed out casual movie goers who are not going to appreciate (and in this case deserve) the brilliance of the film.

At about the halfway point, you start to realize two things. The first is that this movie is visually astounding. The influence of "A Clockwork Orange" is evident both literally (in one bar scene) and figuratively with regard to the ingenious camera angles and usage of lighting and reflection. The second thing you realize is that EVERYONE in the cast really can act. You almost forget that you're watching a movie and let yourself slip into the notion that it's actually a documentary. The range of emotion goes from boyishly silly to disturbingly dark almost seamlessly, and the actors pull it off very well.

Now, it's not without its drawbacks. The "love story" between Renton and Diane is grossly underdeveloped and not necessarily even needed in the plot. And the fact that no one in the group ever stands up to the sociopathic, ultra-violent Begbie leaves some sense of incompleteness. But the film tends to stay true to itself and the cult-classic novel it is based off of. In the end, like in life, the characters haven't changed much. There is some progress made, most notably in Renton, but most everyone remains the same. It doesn't fall into the trap of Hollywood movies that take a protagonist from near-death-drug-addict all the way to picturesque-family-man in a mere 90 minutes.

It's real, almost too real. And you come to realize that this movie had to be made in the United Kingdom because a puritanical American production would have butchered it until it had the same emotional significance of Half Baked. In fact, two pivotal scenes were actually removed for the US release because they were deemed to graphic. So, make sure to get the director's cut and see why BAFTA has ranked this movie as the 10th most significant British movie of all time.


Robyn's response:
3 stars

I watched Trainspotting over two years ago, and there are certain images that are burned in my mind. The diarrhea and the suppositories, the filthy apartment that causes Tommy to die of toxoplasmosis (from the cat's litter box), Tommy's dead body, the baby's dead body, and the most scarring of all, the dead baby crawling on the ceiling.

On the other hand, I had to go to wikipedia to read a plot summary and refresh my memory. So does this mean it's a good film or a bad film? Am I just remembering the shocking scenes for their shock value? Or was it good cinematography? Did I block the story from my memory because it was so damn depressing? Or because the story just wasn't that memorable?

Casablanca

Casablanca
"In World War II Casablanca, Rick Blaine, exiled American and former freedom fighter, runs the most popular nightspot in town. The cynical lone wolf Blaine comes into the possession of two valuable letters of transit. When Nazi Major Strasser arrives in Casablanca, the sycophantic police Captain Renault does what he can to please him, including detaining Czech underground leader Victor Laszlo. Much to Rick's surprise, Lazslo arrives with Ilsa, Rick's one time love. Rick is very bitter towards Ilsa, who ran out on him in Paris, but when he learns she had good reason to, they plan to run off together again using the letters of transit. Well, that was their original plan...."

6 STARS (reserved only for this movie)

So, I figured I couldn't do this blog justice without making my favorite movie of all time the first review. There is almost nothing about this film I don't love. It's filled with some of the most memorable quotes in cinema history and, odds are, you know all of them but you just may not realize where they come from. SIX quotes from Casablanca are listed on AFI's List of Top 100 Movie Quotes of All Time. One of them ("Round up the usual suspects.") even inspired a movie of its own.

But its not just the quotes that make this movie. Once in a very long while a film just seamlessly comes together with direction, acting, writing, and music . . . this is one of those movies. The key elements are an intertwining love triangle and the plight of thousands of refugees trying to escape the persecution of Nazi europe. Bogart portrays surly bar owner Rick as only he can. At first we are led to believe that Rick is a self centered anti-hero who "sticks his neck out for no one". But as the story develops we discover the layers to his character and the broken heart that has led to his life of eternal bachelor-dom. This wound is reopened when his former lover Ilsa coincidentally walks into his "gin joint" . . . with her husband.

Paul Henried portrays Ilsa's husband, Victor Laszlo, who is the head of the underground movement in Europe aiming to topple the Nazi regime. Ilsa is forced to choose between the man she believes in and the man she truly loves. The chemistry between Ingrid Bergman and Humphrey Bogart is almost palpable and the flashback of their love affair in Paris is one you won't soon forget ending in the now famous line, "Kiss me, kiss me as if it were the last time." Do you have goosebumps yet?

I guess I love this movie so much because of how intriicate it is. Seeing it once will only scratch the surface, I find something new everytime I watch it. The casting is spot on and the acting will make you wish the movie wouldn't end. And speaking of the ending, it will definitely not be one that you are expecting, but it will be one that makes you understand why the film is so revered.

In this day and age of Mega-Budget action movies and dwindling attention spans, I completely realize that I am in the minority for my generation in loving a movie that is so "basic". But if you give this movie a chance and really pay attention to what it is saying, I believe you will have the same reaction as the people of Casablanca, because in the end "Everybody Comes to Ricks."

Sugar

Sugar
"After he catches the eye of a scout while playing in his native Dominican Republic, baseball prospect Miguel "Sugar" Santos is recruited to play in the minor leagues in the Midwest, where he has difficultly adapting both on and off the field. As much a story about the promise of the American dream as it is about America's national pastime, this film dramatizes the hard lessons learned when hope and reality clash."

4 stars

I love baseball movies, but this isn't a movie only about baseball. It's the story of going from a big fish in a small pond to a very small fish in a very big pond. It's heartbreaking to watch Sugar more or less alone in a country where he doesn't understand the language (except for "fly ball," "home run, " and "I got it! I got it!"). The movie kind of derailed from my expectations in the end, but I like it when movies don't follow the canon. Because of this movie, I'll look at the guys in my local minor league games with a lot of respect. And even the major league guys - they work hard to get where they are.

Minus one point for using a cover of Leonard Cohen's Hallelujah (even if it was in Spanish). That song has become a crutch for directors wanting to convey something emotional and weepy. It's a good song but over used.

Away We Go

Away We Go
"A couple who is expecting their first child travel around the U.S. in order to find a perfect place to start their family. Along the way, they have misadventures and find fresh connections with an assortment of relatives and old friends who just might help them discover "home" on their own terms for the first time."

4 stars

I love John Krasinski, and I love Maya Rudolph. John Krasinski played a less-full-of-himself version of Jim from The Office, which is a good thing. And who knew Maya Rudolph could play it straight? There were a couple surprisingly funny scenes (Jim Gaffigan has a role), but there were moments that were too cliche and obvious (I'm looking at you, Maggie Gyllenhaal). The soundtrack tried a little too hard to be "indie," but the movie was overall enjoyable and I recommend it.

How do you even make a list like this?

I'm trying to make a list of my top movies.

According to Netflix, I've rated 1000+ movies. Only 64 of those have a rating of 5 stars, so that shows that I don't hand out five stars lightly. But that also means I've got SIXTY-FOUR movies that I love. Some are movies from my childhood: Anne of Green Gables, Clueless, the Sandlot, and The Mighty Ducks. There are musicals (Guys and Dolls, High Society), foreign (non-US) films (Amelie, the Princess and the Warrior, Whale Rider), and screwball/satire comedies (Super Troopers, Clerks, Robin Hood: Men in Tights and half-a-dozen other Mel Brooks movies). I enjoy a good indie movie and movies that are unconventional: Big Fish, Conversations with Other Women, Eternal Sunshine of the Spotless Mind, Memento, Snatch, and pretty much every Wes Anderson movie ever made.

So I'll have to think about this a little more before I start making lists. Or just wait and see how Todd tackles this and copy what he does.