Doubt (2008)

John Patrick Shanley turned his own play into a movie, directed said movie, and called it all Doubt. Stemming from its stage background, the film is anchored by its words. Sets, costumes, even music fade into the background while you watch a story unfold in a 1964 Catholic school in the Bronx.

Father Flynn (Philip Seymour Hoffman) is trying to bring some modernity to the school and its church but diametrically opposed to him is the school's strong-willed principal, Sister Aloysius (Meryl Streep making up for being in Mama Mia). The tensions are further enflamed when history teacher Sister James (the ever-innocent Amy Adams) expresses concern over the special interest Father Flynn has taken in her student, Donald, who also happens to be the school's first African American student. Sister Aloysius immediately commits herself to discovering the truth of this relationship and comes to believe the worst.

Shanley only discussed with Hoffman whether Flynn was guilty of anything. It's a thoughtful directorial move that keeps the rest of the cast tethered to the audience, who knows just as much as they do. The story is all about its title concept and more. It's about what people do with the information they have. It's about how little they can control the world around them. It's about innocence and believing what we need to believe. Though it's mostly channeled through the three main characters, Viola Davis appears briefly as Donald's mother and brings another perspective to the duel that comes across as heart-breaking slap in the face. It's refreshing to see a movie so well thought out that still lets you form your own ideas and make your own decision at the end.

Rating: 4/5
Recommended for:Anyone who doesn't mind thinking and watching a movie at the same time

Elizabeth: The Golden Age (2007)

This 2007 followup to the 1998 film, Elizabeth is mainly beautiful to look at but doesn't reach the bar set by its beauty in any other aspect. I say mainly because there are some scenes that are so dark that although that may be historically accurate, it leaves you peering into the screen to catch glimpses of fabrics and wondering what you're missing. Oh if only someone would just light a candle and hold it near himself or herself so we could see them. What we can see is vast sets and colorful and intricate costumes. Cate Blanchett is the one wearing the most elaborate of the costumes as she reprises her role of Queen Elizabeth in this story set in 1585.

Blanchett brings something to Elizabeth that makes her seem more of a real person than the mighty historical figure most of us know her as. A more personal storyline for the character helps too. Unfortunately, instead of that story juxtaposing with her fight to protect England from Spain, they clash. One moment she's shown deeply saddened by a loss of love and the next she's on horseback with armor leading troops into a logistically-confusing battle. It all just comes across too pieced. Clive Owen also stars as a very stereotypical swashbuckling Sir Walter Raleigh.

Rating: 2/5
Recommended for: Those with an interest in the Elizabethan monarchy and Clive Owen

Woman of the Year (1942)

Woman of the Year is the first on-screen pairing of the legendary actors Katharine Hepburn and Spencer Tracey and it's too bad the film itself couldn't be as timeless. The story begins with Tracey's no-nonsense sports reporter, Sam, getting into a written (and radio broadcast) argument with Hepburn's Tess, a lofty international news reporter from the same newspaper. When their boss brings them face-to-face for an apology, their chemistry is irrefutable. Sadly, it goes downhill from there.

Tess and Sam get married in typical-movie-way-too-fast-for-the-real-world time and their new conflict arises from combining their lives with the expected husband/wife roles. It isn't just that this part of the story won't resonate with today's audience. Beyond that, it's supposed to be a 1940's comedy but it isn't so funny - frustrating is more apt. Several awkward lighting, directorial, editing, and stylistic choices only disconnect the viewer even more. And to top it off, the ending doesn't quite fit (which makes sense as it was added after test audiences didn't like the original, now lost, ending).

Hepburn and Tracey still manage to shine through the muck. She flies through like a kite while he tries to keep a firm grip to prevent her from being swept away. And a silent close up of Hepburn in the last quarter of the film as her character is hit with a revelation is truly moving not only showing her acting talents, but also reminds us that despite other evidence to the contrary in this film, director George Stevens was a talented director.

Rating: 2/5
Recommended for: Anyone who wants to see the beginnings of the Hepburn/Tracey partnership - and even then the first twenty minutes or so should be sufficient

Wanted (2008)

Wanted is excessive. Its story is too far-fetched to even temporarily believe and its violence/special effects show more than you'd want to see. Wesley is anxious, mentally-abused cubical drone who suddenly is informed his father was an assassin and he now must join the Fraternity (of assassins) to kill the ex-Fraternity member who killed his father. Right.

James McAvoy steps out of his normal fare to take on this role while Angelina Jolie pulls her action boots back on to be Wesley's sometimes teacher, sometimes transportation coordinator, Fox. Morgan Freeman attempts to bring the film gravitas as Fraternity leader Sloan. Even the combo of these three respectable actors aren't enough though to make this the really great action-drama one would expect from them. And there's too many elements, rules, and relationships to remember for it to succeed as a mindless thrill. It probably worked much better in its original graphic novel form.

Wanted should probably come with a warning to stay away if you think you'd mind watching a bullet tear through someone's head and then reverse and un-tear its way back out. The "R" rating is not specific enough to give that heads up.

Rating: 2/5
Recommended for: the un-squeamish who don't mind the unreasonable

Enchanted (2007)

Disney's 2007 animation/live action foray, Enchanted requires total suspension of disbelief. Yes, it's a film with an intended audience that includes children but since the plot pulls things into the "real world" the logic gets quite messy.

The beginning is very tongue-in-cheek as we're introduced to the cartoon maiden, Giselle, who is looking for her magical "true love's kiss". In fact, for a moment you may wonder if you're watching movie by Disney or by the ex-Disney employees over at DreamWorks. After conferring with woodland creatures, the prince arrives of course and in under 5 minutes it's their wedding day.

The prince's step-mother (Susan Sarandon) doesn't like the idea that this new girl could be replacing her in the monarchy. So she pulls a Snow White's old lady bit and then pushes the girl down a well. Next thing we know, Amy Adams is popping out of the sewer in real-world New York City wearing a 40-lb dress. She's reluctantly taken in by Patrick Dempsy's Robert, a boring lawyer, and his daughter, Morgan. Soon Giselle's Prince (James Marsden) follows her to the real world to rescue her and the Queen follows to make sure he doesn't succeed.

The concept was an interesting idea. The songs by veteran Disney composer Alan Menken and Broadway veteran Stephen Schwartz are catchy. Amy Adam's "animated" princess mannerisms are spot on down to the way she holds her fingers. Kids probably won't mind all of the film's faults. But overall, this Disney film mocks everything Disney's ever done before. Not everything Disney's done is laughable and the rest... well, mocking that is other people's job.

Rating: 2/5
Recommended for: Kids and only kids

Key Largo (1948)

The John Huston-directed Key Largo is a rather simple and straight forward film noir. Humphrey Bogart stars as WWII veteran Frank McCloud. McCloud has stopped in Key Largo to pay his respects to a deceased comrade's family which includes the man's widow Nora, played by Lauren Bacall, and his father, as done by Lionel Barrymore. The hotel the two run has been taken over by fugitive gangsters awaiting a transaction. Predictably enough, as a hurricane brews outside, tempers brew inside. Lead gangster Johnny Rocco's abuses build up and someone has to stand up to him. Frank McCloud is not really interested in be that someone, regardless of him being the most likely candidate.

McCloud is archetypical Bogart hero who has moved on and is attempting to live the rest of his life in peace. And of course there's a woman and circumstances beyond his control trying to drag him back into the fray. It's is not the most exciting of the Bogart/Bacall on-screen partnerships, but it's their last and they work together well. The film itself is a confined tension builder akin to 12 Angry Men but falls just short of that same intensity. That might be due to story pacing which is a little on the slow side. It's a great cast though. Everyone is clearly committed and pulling their weight. So overall, not the best film ever but not a bad one at all.

Rating: 3/5
Recommended for: Any adult who is hankering for some film-noir and has one hundred minutes to spare.

Extended Review: The last twenty minutes or so finds Frank McCloud on a boat with bad guys. Immediately I found myself wondering if I had inadvertently switched over to To Have and Have Not, which has Bogart's character on a boat... trying to escape from bad guys. It seemed too uncanny to call a coincidence. A little research reveals the film was incredibly loosely based on a Maxwell Anderson play. Since they were re-writing everything anyway, when it came time to make up the ending they used the unusable boat shootout from... To Have and Have Not. Well, it worked.

Leatherheads (2008)

George Clooney directs himself in a story about the revamping of US professional football in the mid 1920's. Clooney plays Dodge Connelly, an aging football player. The movie also stars John Krasinski, as Carter Rutherford - college football and WWI hero - who has been recruited to bring life back into the collapsing pro league. Renee Zellweger jumps in as Lexie Littleton, the Chicago newspaper reporter sent to find out if Rutherford's heroism was real. It's a mildly interesting setup that makes for a mildly interesting movie.

Clooney does well with some 1920's-style comedy film nods but the film isn't completely cemented in retaining that film style, which sometimes makes it all come off a bit too goofy for a modern audience although it could still be appreciated by film connoisseurs. The love triangle between the leads was a given but when one player asserts his dominance about halfway through, the premise becomes a throwaway. The dialogue has some great exchanges enhanced even more so by the actors' rapid-fire volleying. Unfortunately as the movie progresses, it gets bogged down by a continually slowed overall pacing until the end of the film is slowly dragging itself through the mud - literally. It was a nice effort and it looks like everyone involved gave it their best, but overall it was just an okay film.

Rating: 2/5
Recommended for: Someone who has nothing to do for two hours and doesn't mind Renee Zellweger, George Clooney, or John Krasinski.

Extended Review: After the smart banter, the next best thing about this film is the story behind Rutherford's WWI medal. In a modern film, the focus would have been on Rutherford as he retells how he accidentally got a whole enemy squad to surrender. But in keeping with the 1920's style, we're treated to a flashback of the event. The lucky confusion of the enemy isn't the funniest plot point ever, but it is clever. And once he returns from the flashback, Krasinksi wears the story like a weight around his neck bringing a bit more depth to his character in a film full of rather flat characters.

American Gangster (2007)

Ridley Scott's American Gangster is said to be based on a true story. It follows two stories - that of Frank Lucas, played by Denzel Washington, and that of Richie Roberts, brought to you by Russell Crowe. Of course their two stories eventually intersect. Frank is the driver/enforcer of crime boss who dies minutes into the film leaving Frank feeling ready to start his own drug ring. Meanwhile Richie is a detective trying to fight drug trafficking in the midst of a highly corrupted police force.

As an audience member, you really hit the ground running in this movie. It's rather rare to be so forcefully made aware that the characters' lives have been going on before you joined the story. It was in fact so blunt in this film that I felt like I'd missed something and was desperately trying to catch up from the start. It takes a good twenty minutes to a half hour until you're comfortably entrenched in the story. From there on it's an interesting story with moments reminiscent of the Catch Me if You Can hunt except definitely not as tongue-in-cheek.

Russell Crowe really holds his own with his less glamorous story line while Denzel Washington is smooth as always, sometimes making you forget he's a crime boss. In fact, things are so smooth and in control often enough in the film that it leaves excitement voids. This is not a thrill ride, but it is a fairly interesting story to watch if you have two and a half hours to spare.

Rating:3/5
Recommended for: Those who like their movies not completely fictional.

Extended Review: While Lucas getting caught seemed like a foregone conclusion, it was sort of brilliant that it happened because he broke one of his own rules.

Ladron Que Roba a Ladron (2007)

Much in the vein of Ocean's 11, this Spanish-language film is a clever caper that can easily keep your interest all the way through. Two thieves, Alejandro and Emilio, team up to rob Moctesuma Valdez, a man conning poor immigrants in America out of their money with fake health products. So of course to do that they must assemble a rag tag team. Where it sidetracks from the Ocean's 11 concept is the reason they don't expect to be caught; their team is comprised of immigrants and they figure no one pays attention to immigrants.

While members of the team tend to fill stereotypical roles, they're all endearing enough (and the bad guy's enough of a creep) that they're easy to root for. And what's even better, if you don't understand Spanish you still won't spend the whole movie with your eyes glued to the bottom of the screen. The story and performances are universal enough it's easy to understand. Plus, the whole thing is high-energy and fun.

While the story's not a ground-breaker in the caper genre, it's not often a film makes a serious statement about the life of immigrants while making you laugh. At the very least, you have to give writer JoJo Henrickson and director Joe Menendez props for that.

Rating: 3/5
Recommended for: Anyone looking for a rag-tag team to rally for.

3:10 to Yuma (2007)

3:10 to Yuma is a drama first and a western second which gives it an appeal to a wide audience. It follows Dan Evans, a not-so-successful rancher played earnestly by Christian Bale, as part of a group taking Rusell Crowe's notorious criminal Ben Wade to the jail train. The focus here isn't on ranchers versus farmers or who can sling a gun the fastest, which makes it all the more refreshing.

The good guys and the bad guys aren't as polarized as your typical western either. And it is that shared humanity, those attempts to make a life out in the early Western US, that give this film depth. Ben Foster gives a particularly creepy performance as Ben's incredibly devoted number two, Charlie Prince. And it being a western, of course there is violence. But this film did a good job of it not seeming gratuitous regardless of how graphic, as it provides the harsh reality of the characters' situation.

I can't speak for the 1957 original, but with the exception of some out of place CGI pulling you out of the story for a few minutes, this film's increasingly frenetic pace with keep you glued through the end.

Rating: 4/5
Recommended for: Adults who enjoy rooting for a character no matter what obstacles come his way.

Transformers (2007)

Michael Bay's 2007 interpretation of the 1980's tv show/toy line is entertaining if nothing else. Centered around Shia LaBoeuf's character Sam Witwicky, whose first car just so happens to be an Autobot (one of the good transforming robots from outer space), there are three things this movie has plenty of: action, plot holes, and semi-awkward to awkward dialogue.

The funniest scene in the entire film takes place between Sam and his parents, played by Kevin Dunn and Julie White. As they argue in Sam's room, they exhibit what the rest of the film lacks: chemistry. But then again, it's difficult to have chemistry with main characters who are CGI - no matter how cool they may look.

Rating: 3/5
Recommended for: People who don't ask questions that begin with "Wait. Why don't they just...?" during movies. Also, action buffs.

The Dark Knight (2008)

Christopher Nolan's The Dark Knight is hands down the deepest and darkest of all the Batman films. The Nolan men weaved a clever and visually intriguing tale. In this one Batman and Lieutenant Gordon are pitted against the manic Joker, whom the crime bosses have called in a bid to regain their power. It's difficult to say much more about the plot without giving too much away, so let's just say it'll have plenty of twists and turns (and an awesome in camera flipping semi-truck) to keep your interest. This may even be one action film that'll be nominated for more than special effects or make-up come awards time.

Heath Ledger gives a thoughtful and committed performance as the Joker. It's always nice to see someone on the screen who has really developed a character, even if he is a bad guy. I read somewhere that he even put on his own clown make-up every day because The Joker would have done it himself. It's a mess but it's a commitment. The best part is with that make-up and that intense of a character, it's easy to forget that's Heath Ledger in there - keeping you rooted in the story.

Christian Bale continues his conflicted Bruce Wayne performance from Batman Begins, although someone decided it was a good idea for his Batman voice to be a much lower, raspy whisper-yell. It wasn't. Maggie Gyllenhaal does an admirable job taking over the Rachel Dawes role, even though the character only exists to give other characters someone to chase after. Gary Oldman puts on his good guy boots and gives it his scrappy all as Lt. Gordon. And shaking his head at them all is the ever-wise Morgan Freeman as Lucius Fox.

Rating: 5/5
Recommended for: Everyone who is not a little kid.

The Unsuspected (1947)

The beginning of The Unsuspected finds a dead woman in the house of Victor Grandison, the host of a radio show that tells true crime stories. It's soon followed by the return of one of his nieces who'd been believed dead. The niece, Matilda, is accompanied by Steven, who claims to be her husband, but to whom she can't remember ever being married. Then there's Althea, Victor's other niece, who is married to Oliver, who was once engaged to Matilda. And Althea's not exactly thrilled that Matilda is still alive.

So yes, to say the plot is very thick right from the beginning is an understatement. And everyone manages to keep it interesting as the plot gets even more muddled before everything suddenly becomes clear. At that point, the audience is in on it but there's nothing we can do to warn the dwindling cast of good guys.

The cast gives a great ensemble performance, delivering lines naturally with nothing too overdramatic until a Grandison speech in the later half. Highlights come from Claude Rains, the penultimate supporting actor, as Victor Grandison, commanding your attention and fully committing to his character - a man who doesn't waver from his end goals for a second. Joan Caulfield is a great person for the audience to empathize with as she wanders about mildly confused at the center of the story. Director Michael Curtiz floats us through the Grandison home, making us familiar with all the rooms and giving us the impression that trouble is waiting just around the corner. The black and white film is really taken advantage of with the use of lighting to set the mood - an example being the soft glow that seems to emanate from the Matilda. And the whole production is so smooth, Hollywood could never match it with a remake today.

Rating: 4/5
Recommend for: Those who'd enjoy a good mystery without needing to grip the edge of their seat.

Get Smart (2008)

The 2008 rehashing of the 1965 television show has 300% more action and 15% of the comedy. In other words, if you were looking for the silliness of the original show, you missed it by that much.

On the tv show, the 1960s cold war battle reigned between the super-secret spy agencies of CONTROL (good guys) and KAOS (bad guys). The film is set in modern day and CONTROL is alleged to have been disbanded, but of course, it hasn't. Maxwell Smart is a CONTROL analyst yearning to be a field agent and when KAOS learns the identities of the CONTROL agents, Smart is finally called up to go check on suspicious KAOS movements in Russia. Being a newbie, the Chief sends veteran Agent 99 (Anne Hathaway) to go with him because, conveniently enough, 99's just had plastic surgery and KAOS will never recognize her.

Overall we have a bunch of people running around using the names from the original show and a few catchphrases but not much else. Steve Carrell's Maxwell Smart is actually really good at his job - and not just by accident. Of course he still is a bit klutzy like the original, but that's mainly used for gratuitous violence against him. The Rock makes a notable appearance as Agent 23, the super agent Max aspires to be like (more about him in the spoiler section). Meanwhile Anne Hathaway shows she can do some action movie moves, but her most impressive move is with her voice. About a half hour in, she slips on a bobbed wig (very reminiscent of an original 99 do) and slips into the voice of Barbara Feldon (the original 99). Whether it's intentional or not, It actually made me feel a bit more comfortable with this Get Smart alternate universe.

If they'd renamed the characters, agencies, and the movie itself this could have been a decent movie. But when it comes to the bar set by the original, this film does fancy tricks all around the bar but cannot quite reach it.

Rating: 2.5/5
Recommended for: People who've never seen the tv show.

Extended Review: A plot line taken from the first few episodes of the show is the ally who actually works for KAOS. For the film, it's Agent 23/The Rock. Between distracting us with just being awesome and the writers pushing him off screen for a large chunk of time, it is actually a surprise when he's revealed. The chase sequence that ensues is impressive, but perhaps too high-quality for this movie. It serves as another reminder that this movie could have been better if they called it something else.

Charlie Bartlett (2007)

Charlie Bartlett starts with a typical setup: Charlie is the only child of an affluent family who has been bouncing from private school to private school due to misbehaving/illegal activities. Seemingly out of options, his mother sends him to a public high school where the kids all are highly stereotyped yet hang out in one big group right outside the front door.

Anton Yelchin's Charlie charges on in his quest to be popular as he believes that's all there is at this stage of your life. Charlie plays psychologist to his classmates and doles out medication for their various ills until you realize this is an alternate universe Ferris Bueller. From the voice to the charisma and even a bit of the clothing, Yelchin is Ferris Bueller. It's distracting but, along with Robert Downey Jr.'s sad yet strong performance, gives the movie an interesting flair that puts it a notch above your typical movie about high school. Then they end with the high-school-musical-within-a-movie and it goes right back down again.

Rating: 2/5
Recommended for: People who miss Ferris Bueller.

Extended review: In the beginning of this film Hope Davis' performance as Charlie's mom seems awkward and like a caricature. As the movie progresses there's a revelation about her medicated status and her husband's absence; we begin to see why she acts the way she does. It brings a clever turn to the story plus a message about medicating. When we find out why the husband is in jail, her character takes a turn again and just comes off over dramatic. The story takes a step into details but doesn't provide the depth to further justify her behavior. Perhaps it was a time issue, or perhaps it was never written. Either way it serves as one of the distractions that prevent ultimate buy in to this story.

Atonement (2007)

The film Atonement is based on the 2001 Ian McEwan novel of the same name. It begins in the summer of 1935 on the gigantic English country estate of the Talis family. When a 13-year-old aspiring writer, Briony Talis, accuses the gardener's son, Robbie, of a crime he didn't commit, it changes the lives of several people forever. This includes Briony's sister Celia, who had just admitted her love for Robbie the same evening.

Christopher Hampton had the daunting task of turning the 371 page story into a 2 hour film. Unfortunately, he is unable to capture everything that would have made this a truly captivating movie. The first part of the film sets everything up for and includes the accusation. It is long even in the book and requires a lot of patience, but is vital to the rest of the story. Of special note is Saoirse Ronan's portrayal of Briony with depth that you don't often find in such young actors; you can practically see thoughts forming in her head. Her Best Supporting Actress Oscar nomination was truly deserved and even with her unsympathetic self-centered, and self-created, drama, she's the highlight of the film's beginning.

After that the story moves ahead 4 years to WWII and the pace picks up tenfold; we're left with a beautiful-looking film, but due to the severe trimming of the story, we lose our emotional attachments to Ceilia and Robbie and even some of our anger at Briony. The whole event doesn't seem as tragic anymore. It's as if director Joe Wright, was too focused on making the impressive, 5 minute-tracking shot on the beach mentioned in everyone's reviews. The actors definitely try to revive the emotions with what they've been given though. Keira Knightley as Celia is sad and resentful, but trying to cope with the poor cards she's been dealt as a nurse in London. Romola Garai steps in as an older Briony, meekly undertaking the huge task of seeking atonement and making things alright again. And James McAvoy does the best of all with the brooding Robbie who has lost too much, taking a position in the army to escape more jail time.

I'll discuss more about the ending in the extended review below, but here I will say this: It still makes you question what you've seen, but the way the book did it was much more dramatic and poignant and I don't see why they had to change that too... other than to give more for Vanessa Redgrave to say out loud.

Rating: 3/5
Recommended for: Cinematographers and people over 18 who'd like to stare at beautiful things for two hours. Read the book.

Extended review: At the end, an off-camera journalist is interviewing a much older Briony about her new novel, Atonement. During that time, she reveals everything we saw from four years after the original incident to now are part of her book. It's a shock in the movie, but since the film lost the emotional buy-in during those fictional events, it's difficult to care. Vanessa Redgrave's performance sweeps in and brings some emotion again in that you see how much regret Briony feels. But this has all been Briony's childlike attempt to make things right. It didn't.

Celia and Robbie die young without rejoining and without ever knowing that Briony has realized her mistake. So while you find yourself questioning just what happened, the film shows you a scene of what could have been - Celia and Robbie frolicking on the beach. It just makes things more confusing though, especially if you're not familiar with the book. It's a "Wait. But I thought they were dead..." moment. In other words, the film tries to tug at your heart strings with tragedy once more, but instead just loses the viewer.

WALL-E (2008)

I've never been so emotionally invested in a robot.

WALL-E is a well-thought-out story of a lone robot trying to compact all of Earth's garbage while humans drift through space waiting for their home to become livable again. Andrew Stanton, with some assistance from the Grand Master of Sound, Ben Burtt, has given us characters that can win you over without saying a word. There are plenty of other elements to laud this film for - improved camera work over past Pixar productions, original concepts, biting socio-environmental commentary, more nods at other films than at which you can shake a fish... But the true, achievement of this film is how easily you can engage with it.

It's not that this film is perfect. It has it's share of plot holes/logical fallacies, but, unlike so many other films, I didn't feel the need to think about them until after the movie was over. And yes, there's some rather drawn out moments in the second act. But the powerful story of a creature looking for companionship overwhelms the flaws. Even when WALL-E takes more beatings than you'd like to see, it's a testament to the reason you don't want to see him get hurt: you like him. He's the deepest animated character possibly ever and for that, I can forgive him for looking a lot like the horrid No. 5 from Short Circuit.

Rating: 5/5
Recommended for: Everyone everywhere.

Extended review: I first have to mention WALL-E's beat up VHS of Hello, Dolly. It's the only complete dialogue in the first 30 minutes. Even though it's a film I don't really enjoy, I like it here. The two numbers selected fit harmoniously with WALL-E's aspirations - in a way giving him an extra voice. In a way it was a bold choice, but it paid off.

The other "character" meriting a more in-depth mention is/are the humans. Or, to put it more precisely, the large, lazy, floating tubs of lard. On Earth, WALL-E comes across an old billboard ad for The Axiom and it highlights that even grandma can come along on this ship because of the floating chair technology. Once aboard The Axiom you see everyone uses the chairs due to bone-loss from being in space so long and sheer laziness. It's elements like that which show how well-thought-out and detail-oriented the people behind this film are. And that's definitely appreciated.

Bonnie and Clyde (1967)

One morning Bonnie Parker, played by Faye Dunaway, catches Warren Beatty's Clyde Barrow trying to steal her family's car. The way they play it, you'd think this was a daily occurrence. It's not though, and Bonnie's spur-of-the-moment decision to run around with Clyde for the day turns into a lifestyle.

A hitch in the flow of this free-wheeling film is the score - and sometime lack of it. There are moments where it feels like something is missing and that's when you'll notice the silence. The music that does exist, often feels (for lack of a better term) a bit too hillbilly - even for a film set in the south. The resulting corniness makes you expect those sequences to be played in double time for added comedic effect in an otherwise serious story.

Dunaway's Bonnie is a desperate escapist who doesn't shirk from the idea of becoming a criminal. In fact, no one in the Barrow gang seems to even think twice about it, even though half of them are sucked in at the spur of the moment. This is perhaps the most intriguing element of the film. Even Clyde's incredibly annoying banshee of a sister-in-law never actively finds a means of escaping the Mr. Toad's Wild Ride of an adventure even though she clearly doesn't enjoy it.

This is the first film to portray a shooter and a person getting shot in the same frame. The results are pretty gruesome especially in contrast to the rest of the movie. The juxtaposition of a whimsical couple having fun with the serious crimes, incidents, and injuries puts a harsh but needed perspective on a time where bank robbers were glamorized.

Rating:4/5
Recommended for: Anyone over the age of 12 who doesn't mind a little fun before being brought back down to Earth.

Extended review: The film's end shows how so many infamous criminals of that era met their end: being too cocky. Criminals like Bonnie and Clyde were treated like movie stars. They'd introduce themselves during their crimes, make visits to their families, and wave to people in the streets - never thinking that any of these people would dare turn them in. Mrs. Parker's warning that they better keep running is brushed off almost as a joke. To the audience, C.W.'s father's arrangement with the police is understandable. But the Barrow gang doesn't think of it even as a possibility. The sudden demise of Bonnie and Clyde brings their reign and the film to an abrupt end. The audience is left alone with their thoughts; you feel bad for them because they never saw it coming, yet you're reminded that they these two were the bad guys in the first place. It's an interesting balance.

The Queen (2006)

Fact and supposed fact are blended seamlessly in Stephen Frear's The Queen. Set in the days after Princess Diana's death in 1997, this film tells the story of what most likely happened to bring HRM Queen Elizabeth II from frigid silence to public mourning.

Helen Mirren earned her Oscar by not only presenting an impeccable visual replication of the Queen, but bringing a real understanding of this woman who sits so high atop her throne. Especially interesting is Michael Sheen in Prime Minister Tony Blair's role and his efforts in the queen's decision to go public. Beautifully filmed and realistically portrayed, this is a compelling story, even though you know how it ends.

Rating: 5/5
Recommended for: Everyone (except maybe small children who won't have the attention span/memories of Princess Diana)

Extended Review: Peter Morgan, who wrote the script, was able to interview several government insiders and structure a likely story of what happened behind closed doors during this time. Between that, using actual news footage, and the use of lighting in the filmed part, the filmmakers really blur the lines and make you feel as if you've been granted special access to see the events unfold.

Sweeney Todd (2007)

This film could also have been titled There Will Be Blood.

Sweeney Todd stars the irrevocable chameleon Johnny Depp as a barber seeking revenge for having his family stolen by the nefarious Judge Turpin (played with wicked glee as always by Alan Rickman). Based on the stage musical by Steven Sondheim, this gritty rendition directed by Tim Burton is not for the faint hearted, lacking most of the cheesiness that can come with a musical and possessing much more blood-loss.

Dark sets project the dank, old London with black, white, and shades of gray reigning so supreme, the red blood stands out even more. Helena Bonham Carter co-stars as Todd's accomplice, Mrs. Lovett, and while she doesn't have the strongest singing voice, the easy camaraderie between her and Depp makes up for it. Memorable appearances are made by Sascha Baron Cohen, as rival barber Pirelli, Ed Sanders, as workhouse orphan Toby, and Jamie Campbell Bower as a sailor named Anthoy Hope whose gentle performance of "Johanna" will be floating through your head for days. Even with great music and a compelling story, it is not appropriate for small children.

Rating: 4/5
Recommended for: Anyone who likes a gripping tale of revenge (or Johnny Depp) and doesn't mind the sight of blood.


Extended review: It becomes so easy to get used to the dismal grays of the atmosphere, that when Mrs. Lovett fantasizes during "By the Sea", the sudden shock of a blue sky actually made me gasp out loud. It contains the film's silliest moments, but audiences might find the sequence a bit of respite in the midst of Todd's bloodier and bloodier descent into revenge. It may only be Lovett's imaginary world, but even in her dreams, she sees there's only one thing on Todd's mind.