Butterflies Are Free (1972)

Butterflies Are Free is based on a play by Leonard Gershe. It retains some of that theater intimacy through it's limited set, long shots and small cast of characters. 90% of the movie takes place in the apartments of Don (Edward Albert) and Jill (Goldie Hawn). Don is a blind man trying to have a life of his own away from his oppressive mother (Eileen Heckart) and Jill is his hippie actress neighbor.

I know. Goldie Hawn as a hippie. Suprise! Right? Well she plays the free-spirited life-lover well. There's no doubt about that. What bothered me more so was that this set up feels an awful lot like Cactus Flower which came out in 1969. Oddly enough the play Butterflies Are Free opened on Broadway in 1969 too. Cactus Flower had Hawn as a free-spirit in yet another hodgepodge apartment whose life revolved around her relationships with men. And in both her neighbor is a more suitable match for her than the man she's with outside the apartment building. The stories aren't exactly the same and Cactus Flower is more of a comedy, but the Goldie Hawn character and theme are major elements in both and it was enough to distract me throughout this movie.

The bright spot that really brought me back from that distraction was the entrance of Eileen Heckart as Don's mother. Watching a character so thoroughly fleshed out come in swinging is captivating. She's more than that too, but if I talk about her any further I'll spoil things. Let's just say her Oscar win for the role is not unexpected.

The movie has it's share of corniness too. For one the opening credits don't fit with the seriousness of the film. It opens like a TV show... title... all the credits over a song and street scenes... You almost expect characters to appear in freeze frame.

In the end it's an endearing enough movie.

Rating: 3.5/5

Recommended for: anyone whose mother has encroached a little too much in their life... also Goldie-Hawn-as-a-hippie fans

Everyone Says I Love You (1996)

If Charade was ridiculous, Everyone Says I Love You is downright wacky. The amount of suspension of disbelief required to accept this movie is more than could be asked of most movie-goers. And to top it off, it's a musical.

I didn't realize that last part going in, only to be greeted by Edward Norton singing to Drew Barrymore in the film's opening. That's right. Edward Norton. Singing. Happily. Director Woody Allen did round up an extensive well-known cast. The movie is narrated by Natasha McLyonne as DJ, the daughter of ex-couple Steffi (Goldie Hawn) and Joe (Woody Allen). She tells the story of her life with her mom, step-dad (Alan Alda), step-brother (Lukas Haas), step-sister Skylar (Barrymore), and half-sisters (Gabby Hoffman & Natalie Portman) as well as the time she spends with her Dad.

Oh, wait. Did I mention Julia Roberts is in this too? Yes, she is - as the woman Woody Allen's character is interested in, of course. And of course with it being a Woody Allen comedy and an ensemble like this hijinks ensue. There's even a man in trouble with the law and gasp! - it's not Edward Norton. It's Tim Roth.

I'm sure many people would find this whole thing charming and silly. I got hung up on the silly part and was too busy staring in disbelief at the screen. The singing is not perfect, but they say that's what Allen was going for. The dancing is sort of impressive.

It's just all so.... wacky.

Rating: 3/5

Recommended for: viewing on a day you're feeling giddy

Inception (2010)

When writer/director Christopher Nolan was figuring out this film, I'm pretty sure he said multiple times,"Oh look. There's a stake we haven't raised yet. Let's raise it."

Inception is a dramatic, action-packed, science fiction, thriller of a heist film. So if you were looking for mindless summer blockbuster entertainment, run away. You need to go into watching this one knowing that your brain will be running the gambit.

Mine likes to wander off sometimes when I'm watching a movie. I'll start thinking about what other movies I've seen these actors in, or why they chose to light that scene like that, or, if the film is especially not engaging, things I should be doing instead of watching this movie.

Inception did not let me wander to any of those places. My attention was completely wrapped up for all 148 minutes of it. Plus, with how they mess with the concept of time, it doesn't even feel like 148 minutes. Actually, it doesn't feel like any specific amount of time. At the end I had no idea how long I was sitting there. And I wanted to see it again.

As others have said, it's not an easy movie to describe without having to say too much, but here's the premise. Cobb (Leonardo DiCaprio) leads a team that steals ideas out of people's dreams, usually in the name of corporate espionage. After trying to prove they can do it undetected to energy company head Saito (Ken Watanabe), Saito offers them a job doing the much tougher opposite--inception. He wants them to plant the idea of breaking up his dying father's energy empire into the mind of Robert Fischer (Cillian Murphy). Cobb's point man Arthur (Joseph Gordon-Levitt) has reservations about it, but Cobb insists it can be done. If they can do it, Saito will make sure Cobb can see his children again.

There's no standalone star here, even if Leo is on the poster. Instead it's a great ensemble--so much so it reminded me that there should really be a Best Acting Ensemble award at the Oscars. A solid team makes for such a more enjoyable and easier to get lost in film. Ellen Page who plays the team's new architect even manages to remove most of her Juno-esque line delivery and falls right in with the rest of the crew. Marion Cotilliard as Cobb's wife, Mal, pulls off being both caring and menacing. Tom Hardy (Eames, the forger) and Joseph Gordon-Levitt's banter is amusing without becoming tedious. And Dileep Rao as Yusuf the chemist plays the science guy without resorting to a stereotype.

In fact, the whole movie follows the balance you see in the acting. It has strange concepts without getting too trippy. The special effects are amazing without relying too much on CGI. Dialogue moves the story along and informs without hit-you-over-the-head narration. There's a lot of chase scenes without it becoming tiring. Even with some comparing it in ways to The Matrix, the whole thing just feels so fresh. Although the best part of all when I saw it was the collective noise most of the audience made at the end. It's a brilliant move.

Of course, as with most things, if you think about certain elements long enough you can start to pick it apart. But don't do that. Just enjoy the ride.

Rating: 5/5

Recommended for: Its elegant complexity

A Single Man (2009)

A Single Man is so morose but so pretty. It makes me sigh just to think of it.

The story follows George (Colin Firth), a British professor teaching at an American university, as he tries to get to the end of his day after the death of his long-time partner. Firth's performance is so intimate and intricate. It's quiet and reserved but deep. And it's really a portrait of love and grief. What do you do when someone who was such a fixture in your life is gone? Every day can be a struggle. It's complimented nicely by the rest of the cast (especially Julianne Moore and Matthew Goode) sliding seamlessly into supporting positions.

But even with Firth's terrific (and Oscar-nominated) turn, he's slightly out-shined by the styling. Directed by fashion designer Tom Ford, the whole movie is like a slick pictorial come to live. It's set in the 1960s but not the neon, flower-power 60s. Instead it's the cool, clean world also seen in TV's Mad Men. In fact, the same production designers worked on both.

Not too many movies anymore can be paused and leave a beautifully composed image on the screen. Not only does A Single Man do that, but it leaves an image worthy of fashion ad.

Rating: 4/5

Recommended for: viewing in your slickest outfit on a rainy day

The Imaginarium of Doctor Parnassus (2009)

Terry Gilliam likes his movies fantastical and quirky and The Imaginarium of Doctor Parnassus is no exception. Despite his successes, Gilliam is also known for his string of unfortunate production problems. Again, The Imaginarium of Doctor Parnassus is no exception.

This is the movie where Heath Ledger died during a filming break. Upon Ledger's death production shut down until Johnny Depp, Jude Law, and Colin Ferrell stepped up to take over Ledger's role. Magically, this role sharing actually works with the story.

Ledger was playing Tony, a man found hanging from a bridge in London by the gypsy-like performing group of the 1,000-year old Doctor Parnassus (Christopher Plummer). Tony stays with the group as they go around inviting people into Doctor Parnassus' Imaginarium. Like the name implies, inside people can experience worlds of their own imagination, but it's also where Parnassus can collect their souls. Soon the group has to hurry to capture five souls before Mr. Nick (Tom Waits) does. It's an alternate to Parnassus' old deal with Nick that required him to surrender his daughter Valentina (Lily Cole) to Nick on her sixteenth birthday.

No doubt the film is wacky. It's part of the fun. But eventually it flounders before it reaches the end and any concern I had for the characters was gone just when it was called for most. It's really too bad. The cast does a nice job. I especially look forward to seeing more of Lily Cole and Andrew Garfield (another member of the Parnassus group) in other films. And of course there's Ledger. Ledger had reached new levels as The Joker in The Dark Knight and he was still going strong in this movie.

Rating: 3/5

Recommended for: Anyone who wants to see Heath Ledger in one more movie

Extended Review: At certain points it seems like Ledger is channeling Johnny Depp (especially Jack Sparrow Johnny Depp). So when Depp is the first to play Ledger, there's a great symbiosis.

Charade (1963)

Charade is one odd cookie of a movie.

Audrey Hepburn is Regina Lampert, who upon returning to Paris from a holiday plans to ask her husband for a divorce. When she returns to their home though she finds it completely empty and is soon notified that her husband was found dead after someone threw him from a train.

Strangers show up at his funeral and test the body to make sure he's really dead. She then finds out from CIA agent Hamilton Bartholomew (Walter Mathau) that her husband was part of a group of soldiers who buried money that they were supposed to give to the French Resistance during World War II. Mr. Lampert had recently gone back to the site and dug up the money for himself but no one could find it in his possessions. So now Regina and her new randomly-found friend Peter Joshua (Carey Grant) need to figure out where the money is so they can return it to the US before Mr. Lampert's fellow ex-soldiers hunt them down and take it from them.

If it sounds goofy with serious elements that aren't taken seriously, that's because it is. It's also all over the board.

Regina is threatened and intimidated by the ex-soldiers. But then for no apparent reason they don't scare her anymore. Then they follow suit and become more accommodating.

Regina trusts Peter even though she just met him. Then she thinks maybe she can't. Then again maybe she can. Then again, oh look there's Audrey Hepburn managing to be the most fashionable and out-of-nowhere stealthy person in Paris. (Well she was dressed by Givenchy.)

And after all this dated flightiness, I was ready to write it off. But then, in the last fifteen minutes, it becomes this suddenly gripping, really serious, really interesting film. It's as if the film was a balloon floating around Paris and suddenly someone jumped up on a chair, grabbed the string, tied a rock to it and grounded the darn thing. Really it was for the best.

Rating: 3/5

Recommended for: People who like their well-dressed screwball comedies to have sudden moments of gravitas and violence that doesn't involve animals or a man being hit in the crotch

Shutter Island (2010)

When Leonardo DiCaprio and Martin Scorsese collaborate you have certain expectations. For example, you expect the movie to be good. Maybe you expect it to be a little violent. You might even expect it to not treat the audience like idiots.

Well... Shutter Island at least lives up to the second one. And it has an interesting plot. Or at least it makes you think it has an interesting plot.

Teddy Daniels (Leonardo DiCaprio) is a US Marshal in 1954 on the case of a missing patient from a hospital for the criminally insane on the allegedly unescapable Shutter Island. With his new partner Chuck Aule (Mark Ruffalo), Teddy comes across several roadblocks from the staff to the investigation and begins to suspect that something akin to the sinister activities he witnessed in death camps during World War II is taking place on the island. Things are further compounded by a hurricane, more escaped patients, and Teddy's dead wife.

Unfortunately Teddy and Chuck tell us way too many things explicitly. At some points it wouldn't be surprising if they turned to the camera and relayed the lines. And with the storm and the fireplaces and the men sitting in high-back chairs, you almost expect Teddy to announce it was Col. Mustard who absconded with the missing patient in the library with the candelabra.

There's a fair amount of suspense but it gets tiring after awhile and the story really starts to drag. Eventually, it's just annoying and tempting to fast forward to the end.

The actors do a fair enough job with what they've been given. Patricia Clarkson probably gives the strongest performance, but then again she was just making the most of the 5 minutes she's in the movie. DiCaprio and Ruffalo seem like an odd pairing. I never think of them as being in the same genre of films, but they work well together here.

In the end, only parts of it were the thriller I expected and instead of finding the ending itself clever, I felt betrayed. Looking back I see where all the seeds are sown, I just didn't care any more when it came time to harvest.

Rating: 2/5

Recommended for: People who like to be reminded that sometimes great film people put out a not-so-great movie

The Assassination of Jesse James by the Coward Robert Ford (2007)

There should be some sort of rule that movies with foregone conclusions aren't allowed to run past the two hour mark. The Assassination of Jesse James by the Coward Robert Ford drags for over two and a half.

When just from your title and setup your audience already knows the who (Robert Ford), the what (kills Jesse James), the when (somewhere towards the end of the movie because that'd be more dramatic), and the how (probably with a gun considering the time period and the fact that these guys were train robbers) - all you have left is the why, and even that is partially answered (because he's a coward). The challenge is to fill in the details and the rest of that "why" in a gripping manner for the rest of the film. And that's where this film fails. It's no small undertaking but anyone would be hard pressed to sustain tension with this story for two and a half hours.

It's too bad because it is such a striking film visually. Grain shines in the sunlight and sways in the wind. The sky is full of appropriately threatening and tumultuous-looking clouds. The train lights fall on Brad Pitt's Jesse James creating a perfect silhouette before a moment of action. The men disappear through the steam like ghosts. The cast is an array of familiar and vaguely-familiar faces (Brad Pitt, Mary Louise Parker, Casey Affleck, Sam Rockwell, Zooey Deschanel, Jeremy Renner, Paul Schneider). They all do a fine enough job but everything is too subdued for anyone to shine through like the aforementioned grain.

Rating: 2/5

Recommended for: lulling yourself to sleep

The Frisco Kid (1979)

I admit it. I decided to watch The Frisco Kid because it's a western with Harrison Ford. You don't come across that too often (you know, besides his two episodes of Gunsmoke). And I had to know how combing these two elements turned out.

And the result, as you might have guessed, is strange. But it's not just from the aforementioned combo. After all, the tagline is "The greatest cowboy ever to ride into the Wild West. From Poland." The movie also stars Gene Wilder as Avram, a Polish rabbi sent to make his way across the United States (mainly the Old West) so he can lead a synagogue in San Francisco. As Avram makes his way, he crosses paths with Ford's bandit Tommy - except nothing happens the first time. Tommy holds up a train Avram is riding but Avram is in the bathroom and misses the hold-up completely.

Later Tommy comes across Avram trying to stab fish with a huge wooden pole in a stream. He helps the rabbi out by shooting the fish. Then they bond a little and Tommy decides to help Avram navigate the rest of the way. Apparently Tommy has a heart of gold but just considers robbing people his job. They have a few mini-adventures along the way and then eventually their journey is over. And that's pretty much it.

The trailer for The Frisco Kid, builds on Wilder's roles in Young Frankenstein and Blazing Saddles. While slightly endearing this is not the comedy it's built up to be. In fact, it's not a Mel Brooks movie nor is it close to that brand of funny at all. And it certainly doesn't take itself seriously enough to be a drama. It just sort of floats in and out of a few comedic styles and ambles to the end.

I kept thinking "This came out between Star Wars: A New Hope and The Empire Strikes Back."

Rating: 2/5
Recommended for: People who wonder what it'd be like if Han Solo was a softer individual from 1850

Vertigo (1958)

Vertigo stars James "Jimmy" Stewart as recently retired, acrophobic police detective John "Scottie" Ferguson. Scottie's been hired as private investigator by an old college friend to follow his wife Madeline (Kim Novak). Despite Madeline's apparent ritualistic behaviors and suicidal tendencies, Scottie finds himself falling for her.

I'm more a fan of Hitchcock's mental thrillers than his more blatant harming people right in front of your face. I'll take Notorious over The Birds any day. So since I knew Vertigo would include an on-screen death, I felt I was getting a little adventurous with this movie choice. And in a way, I was.

This movie is sort of amazing. With the time period in which the movie was filmed I expected some hokeyness - perhaps along the lines of Dial M for Murder which came out four years earlier. While a little hokeyness persisted in Vertigo, it's not enough to make a lasting impression. Instead it's surprisingly deep story. Jimmy Stewart is more known for uttering lines that include the phrase "hot dog!" but here he gradually transforms into a man compelled by one dark notion.

My only gripe is one that transcends this movie into a general Hitchcock gripe. It's the use of glasses to make a girl "unattractive" so the audience can dismiss her as being anything but a character who will be used by our protagonist. In Vertigo it's Barbara Bel Geddes as Scottie's friend (and former girlfriend), Midge. Her big, red frames (and prior Hitchcock knowledge) telegraph right from the beginning that despite her being the most likable character and the biggest help for Scottie, we can't even hope anyone will take stock in her. You could spin it and say the glasses are a sign that only she sees what's happening to Scottie, but with Judy's existence that seems less likely the case. It's too bad because she's a fantastic character and Bel Geddes give a fantastic performance.

I don't want to give too much more away. It's definitely more fun to view it not quite knowing where it's going. But I was impressed - with the story, symbolism, and acting. I guess I haven't seen enough of the films that came out in 1958 to understand why Stewart didn't at least get an Oscar nomination (although he did win the Zulueta Prize at the San Sebastian International Film Festival).

Rating: 4/5

Recommended for: seeing an exquisite Hitchcock balancing act

The Young Victoria (2009)

The Young Victoria is such a pretty movie to view. And sure enough, it won Best Achievement in Costume Design at the 2010 Oscars and was nominated for Best Art Direction and Best Makeup as well. The sets could swallow you whole with their grandeur - no doubt helped by the fact that many of them were real homes and castles.

The film also focuses on a intriguing subject - the British monarchy - in particular Queen Victoria, whose reign began in 1837 and didn't end until 1901. This particular film chose to focus on the events leading up to her coronation and those first few years as Queen.

Victoria (Emily Blunt) is aware that she's next in line for the throne. Her mother (Miranda Richardson) is too, possibly even more so, as she's done everything possible to keep Victoria in a bubble - not just for her protection but in an attempt to mold Victoria into the leader she and the scheming Sir John Conroy would prefer her to be. Victoria is too aware and too smart to be an ideal piece of clay.

Blunt convincingly portrays the complexity of a young woman who refuses to be pushed around and enthusiastically wants what's best for her people while holding the knowledge that she has absolutely no practical experience at her job. She acknowledges duty but chooses to marry Albert (Rupert Friend), a man she loves. Their relationship makes for an endearing core to the story.

The choice to focus on that time is refreshing - since Queen Victoria movies don't usually focus on how she got there. And yet, this choice also makes the film a little awkward. I felt like things were just revving up when the movie ends. Showing the coronation at the beginning also steals some of the thunder. But still, it's an interesting watch with captivating performances by Blunt and Friend. And for the most part, it's even historically accurate.

Rating: 4/5

Recommended for: quiet, rainy afternoon viewing

Fantastic Mr. Fox (2009)

If you've seen a Wes Anderson film, you know his movies are infused with quirkiness. Fantastic Mr. Fox is no exception.

And if you're a big Wes Anderson fan, you'll also be delighted with the homages to his other films. From a tussle and caper planing worthy of Bottle Rocket, to a precocious, multi-talented cousin out of Rushmore, to a compartmental overview of the Fox tree like in The Life Aquatic to the farmer character introduction and segment labeling out of The Royal Tenenbaums, they're all pieces that work in this movie too.

I don't remember ever reading Roald Dahl's Fantastic Mr. Fox, so my review is based on the movie on its own. And it definitely stands on its own.

Depicted in stop-motion animation is Mr. Fox, who is voiced by George Clooney. He likes to steal squabs, but one time when him and his wife (Meryl Streep) are in trouble during a theft, she tells him she's pregnant and makes him promise that if they get out of this alive, he'll find a less dangerous career. 12 fox years later, Mr. Fox is now a newspaper columnist and the father of the mopey Ash (Jason Schwartzman). Mr. Fox is getting restless though. He moves the family into a tree across the way from the farms of Boggis, Bunce, and Bean and the temptation to return to his old lifestyle becomes too much. Soon he's planning raids of the farms with opossum building superintendent, Kylie (Wallace Wolodarsky), and his visiting nephew, Kristofferson (Eric Chase Anderson - the illustrator of all of the maps, covers, and other packaging of the Criterion Collection editions of his brother Wes' films).

Incredible suspension of disbelief is required to watch this - beyond that of accepting talking animals. Plenty of things that don't quite make sense take place, but if you don't bother questioning it all, it's a fun ride. There's plenty of dry humor but it's also whimsical, amusing, and features some great performances by the voice actors.

Meryl Streep is calm, grounded, a bit more timid than we're used to hearing her. Willem Defoe proves he can be creepy as anyone, especially a rat. Mario Batali even makes an appearance as a rabbit who is also a chef... because of course we need accuracy in our rabbit chef portrayal. Wes Anderson seems to have even pushed George Clooney into the Wes Anderson Line Delivery Method. Anderson had the cast go out to a real farm and record their lines as they were acting out their scenes. So many times animated movies are missing that chemistry that appears when actors are actually performing in the same space. But this technique really helped bring the performances into cohesive ensemble work.

I think this movie even has a broader appeal than his others. Some people might assume with Wes Anderson at the helm, the movie's meant for adults but I think kids can enjoy it too. It carries a message that it's ok to be different. And by the end, no matter what your age, you'll probably find yourself wanting a bandit hat.

Rating: 4/5
Recommended for: Anyone in the mood for fun and bandit hats

An Education (2009)

If you've read some of my other recent reviews, you'll have noticed I've been disenchanted with the lack of freshness in some recent films. Well... consider me refreshed. An Education is a sweetly charming viewing experience with a quiet solidity that keeps it from flying away.

It's a coming-of-age movie and yet it's not corny or silly. It helps that the main character, Jenny, is already fairly mature and intelligent for her 16 years - there's just some things about life that school hasn't taught her. It's the 1960s in the London suburbs and Jenny is waiting in the rain for the bus after orchestra practice when a man about twice her age, David, offers to give her a ride home. Nowadays one might think stranger danger. Jenny does too for a moment, but his sincerity and offer to protect the cello and let her walk along side the car eventually convince her to get in.

They bump into each other some more and she ends up dating him. Her parents are even ok with it. David has a convincing story for everything. He tells them he just wants to expose her to culture. Before she met David, Jenny wanting nothing more than to read English at Oxford. But now the life David presents seems so much more interesting and the Oxford priority fades.

Carey Mulligan plays Jenny. Several critics have likened her to Audrey Hepburn - although I think a lot of that comes from the time period of An Education and Mulligan's vague resemblance. While Hepburn often played the wide-eyed girl experiencing things for the first time, Mulligan is much more coy. We can see her excitement and her sadness but it all plays out on a less extreme spectrum than Hepburn's usually did. Mulligan has this heft to her performance as she balances maturity and self-awareness with surprise and naivete. Jenny knows so much but there's still so much she doesn't know and Mulligan pulls this off so well it's no wonder she's won several awards for the role.

Meanwhile Peter Sarsgaard plays David, pulling off a decent English accent in the process. He clearly knows his own intentions for Jenny but he hides behind a haze of mystery, sweetness, and reasoning for Jenny, her family and the audience. He skates just along the edge of the creepy line and then back into the territory of maybe-he-just-wants-the-best-for-her.

At one point, David gets permission to take Jenny to Paris - a place she always wanted to go. And it's refreshing to see people go to Paris without driving through the entire city for a montage. Director Lone Scherfig and her team capture a carefree, romantic Paris, only popping in a few landmarks without letting them pull the focus. The color of Jenny's time with David stands opposite the appearance of her dreary school life but the contrast is smooth and subtle enough that it doesn't hit you over the head. And the costumes are beautiful and tailored without it becoming a costume drama.

The whole movie is a beautiful balancing act around a compelling story.

Rating: 5/5
Recommended for: Showing Audrey Hepburn how it's done today.

All Through the Night (1941)

Not too long ago I decided I wanted to watch every film Humphrey Bogart made. His characters tend to be similar to each other but, unlike Clooney characters, Bogart's never seem to materialize out of nowhere. Each has a backstory, each has some heavy weight they're carrying.
They're all well-rounded in that way and yet they're all a bit different. I've seen nine so far, but after seeing, All Through the Night I might just be happy with what I've already seen and move on.

All Through the Night came out right after The Maltese Falcon, Bogart's big break as a leading player. But in All Through the Night, Bogart plays a gangster, a role he pretty much always played in B movies before The Maltese Falcon. So all that character depth I previously mentioned? Not so much. In fact, at least three other guys in the movie are playing almost the exact same part as Bogart. And everyone except the Nazis and the women are talking in wise-guy voices that all sound exactly the same. Turn away from the screen and there's a good chance you won't know who is talking.

And yeah, there's that Nazi thing. What starts out as some gambling gangsters trying to figure out who killed their favorite cheesecake baker spins into the discovery of an evil Nazi plot for chaos and destruction. I almost can't even believe it as I type it. It all pops out of nowhere amongst fight scenes that are borderline slapstick.

It's all so ridiculous that the only redeemable part that comes to mind is Peter Lorre, who is as creepy as ever as Pepi, the watchdog/hitman.

Rating: 1/5
Recommended for: People who cannot get enough of the 40s movie gangster accent

Whip It (2009)

Whip It is Drew Barrymore's directorial debut. And I guess I was expecting something amazing. She's been in the movie business most of her life and instead of propelling originality, it seems to be a lot of the classic shots and telling techniques we've seen so many times before. Now what she gave us wasn't bad - it just wasn't what I was expecting.

The story, set in small-town Texas, is about a teenager named Bliss (Ellen Page) whose mother heavy-hands her into local beauty pageant after pageant. Bliss is less than thrilled but goes through the motions until she discovers roller derby. Becoming part of the underdog team The Hurl Scouts becomes her secret passion. She sneaks off to practices and games. Her best friend is in on it. She finds some understanding in her situation with her mother from her father. And she's really good at her sport.

And voila... we have a roller derby version of Bend it Like Beckham.

It's a charming enough movie. It's a well-acted enough movie. The ensemble cast is great. It's about roller derby - a sport that is definitely not over-saturated in the way of movie depictions. And it's predictable in many aspects but not overly-predictable as a whole. In the end though, it just didn't seem distinct enough for me.

Rating: 3/5
Recommended for: Those of you who haven't seen Bend it Like Beckham (especially if you're unfamiliar with British culture).

Up in the Air (2009)

George Clooney plays Ryan Bingham - or he's playing George Clooney. It's really hard to tell. But more about that later. Anyway, Ryan Bingham's job is to fly around the country firing people for companies that don't want to fire their own employees. Ryan enjoys the perks of his job - namely frequent flyer miles. What he doesn't enjoy is the threat brought by newcomer Natalie Keener's (also relative newcomer Anna Kendrick) ideas for change.

The layoff element of the plot is very topical, painfully so for some people. It was an interesting choice to use actual recently laid off people in the firing scenes. It was nice of the production to give these people a job for a day and it gave a real voice to the feelings of the situation. But after they say their piece, they get put by the film in the out-of-sight-out-of-mind files. And the amount of screen time they had to give so that these people could really say something made the movie drift into the borderlands of documentary. That just doesn't mesh so well with the sarcastic comedic drama stylings of writer/director Jason Reitman.

George Clooney does seem like he'd be a good Reitman fit - except instead he comes off as if he'd play his part the same way no matter who the director was. George Clooney's Ryan Bingham is also his Danny Ocean from Ocean's 11 involved in more legal but still questionable ventures, his slightly less goofy Jimmy Connelly from Leatherheads as well as a slightly toned down Harry Pfarrer from Burn After Reading. It's all charm, leadership, and conviction. He plays it well, but it's also not that far off from his public persona. So how many times can you watch it? For some the number is much lower than others.

Vera Farmiga and Anna Kendrick on the other hand pull their weight with the freshness that Clooney lacks. Farmiga is smooth as Alex Goran, an also-seasoned traveler who meets up with Bingham whenever they're in the same town. And Kendrick is eager without becoming a caricature. Although I don't recall thinking Oscar! Oscar! while watching them, I was impressed with their work and didn't mind them being nominated.

But even with the great female leads and the topicality, Up in the Air isn't very grounded. It's lacking the gravity to seem substantial enough to really care while watching it. People firing your loved ones and living fancy lives aren't so easy to connect with. It misses on the emotions that could really strike home for the masses.

Rating: 3/5
Recommended for: People who haven't been laid off and will watch George Clooney in anything.

Alice in Wonderland (2010)

Alice's Adventures in Wonderland has been directly adapted in no less than 24 movies and television shows. It's inspired premises and episodes of 13 additional TV shows and 22 more films. Tim Burton's 2010 Alice in Wonderland is listed as one of those 22 inspired pieces.

I read somewhere that Burton didn't consider his Alice a sequel to the original story. Maybe he meant the term "sequel" didn't explain it enough. Perhaps he meant it's a sequel of sorts that take elements of Alice's Adventures in Wonderland and Through the Looking Glass and mixes it all together into a story where most of Alice's Adventures in Wonderland took place before this one, but they're calling it by the name they use for most movies that directly adapt the first story only.

Yes, that must be it.

Alice is now 18 and finds herself at a surprise engagement party for the surprise proposal she's about to get in front of a crowd of around 100 people. Taken aback, she runs off to think about her situation and ends up falling down a hole that, you guessed it, leads to Wonderland. She's been there before but doesn't remember it and so she goes through the whole "Eat me." "Drink me." bit before we get to the newer stuff.

The Queen of Hearts (Helena Bonham Carter), who is really an amalgamation of The Queen of Hearts and the Red Queen from the original stories, has taken over Wonderland, turning it into a grisly place where everyone lives in constant fear of death and/or harm to their loved ones. The Mad Hatter (Johnny Depp) is there to guide Alice because she can save them all from this miserable existence, but only if she's the "right Alice".

And while Depp adds depth to a character that doesn't seem to have much, it should be noted that if he played any other character, that character would have been Alice's guide and he'd have been able to squeeze some sort of depth out of that character too.

The screenplay was written by Linda Woolverton, who has been marked by the media as a "girl-power specialist" due to her work on Disney's Beauty and the Beast. In an interview with The New York Times, Woolverton mentioned that she “did a lot of research on Victorian mores, on how young girls were supposed to behave, and then did exactly the opposite.” That's all fine and dandy even if it's becoming pretty commonplace - the heroine who doesn't follow all of society's rules and finds happiness.

The problem with it in this movie is that Alice is supposed to become a strong, brave, independent woman in order to save the "good guys" in Wonderland, but she's already that person from the beginning. There's not much room for her character to grow and since that's the whole point of her journey... her journey seems almost pointless. Before she gets to Wonderland we already see her eschewing proper clothing, plainly stating her beliefs, questioning others, refusing to conform, doing whatever she thinks is best in the moment, etc. I guess you could say her time in Wonderland reminded her of who she is so she could make a choice in real life that she wouldn't regret. Except that I don't get "reminder" out of this story. It's clearly supposed to be "journey".

So between that and this story being done so many times, this whole movie came off as unnecessary. And that's too bad because the acting was all done well enough, and the visuals are intriguing (even though I thoroughly dislike the concept of shooting in 2D and converting it to 3D in post).

Burton usually brings an interesting spin on things. I hope to see more of his Edward Scissorhands/Corpse Bride/Big Fish side and less of this Planet of the Apes/Alice in Wonderland. If his next project isn't something we've seen 58 other variations on, we're already stepping in the right direction.

Rating: 2/5
Recommended for:People who enjoy talking animals.

The Hurt Locker (2009)

Within the first ten minutes of The Hurt Locker you know you're watching a wonderfully crafted film. You may think from the poster and the critics' quotes that pepper the advertisements that it's going to be an ultra-violent, non-stop adventure. But it's not. The nerve-wrecking, explosive episodes are delicately balanced with moments of quiet and reflection. It's so well thought out. And with fantastic cinematography, there is so much to see.

With her trusty team of handheld cameras and a psuedo-documentary style director Kathryn Bigelow provides a realistic (although I have no idea at how accurate) look at three men's approaches to modern war. She doesn't give us action heroes. She gives us regular men who specialize in certain activities just doing their job. Each time this Explosive Ordnance Disposal team goes out to do that there's an element that makes it different from the last even though it's essentially the same job. And each time has it's own tension, despite the monotony that also exists in their task being never-ending. The main actors (Jeremy Renner, Anthony Mackie, and Brian Geraghty) flow along with this balance. Their lines are brief but they show you everything they're thinking and feeling.

The whole film is definitely show more than tell. Bigelow presents a story and in doing so raises questions and lets you take what you want from the film. The most poignant question seems to be how do men and women live in those tense conditions eventually come back to their regular lives back home? How do they reconcile those two lives?

If this doesn't at least get the Oscars for cinematography and directing, I'll be disappointed.

Rating: 5/5
Recommended for: its real feel and suspense appeal

Grey Gardens (2009)

HBO's Grey Gardens follows the lives of Jackie O.'s cousins, Edith Bouvier Beale (aka Little Edie) and her mother Edith Ewing Bouvier (aka Big Edie), from Little Edie's premiere as a debutante in 1936 through the filming of the documentary Grey Gardens circa 1975 - where this movie got a fair amount of it's source material.

Drew Barrymore is Little Edie and Jessica Lange is Big Eddie. And I use "is" because if you've ever seen the documentary, you'll know that these two are the embodiments of the Edies. Barrymore and Lange earned their awards. And I don't think it's going too far to say that had his been released in theaters, they could have been up for Oscars (although it might not do as well at the box office due to the Beale's modern day obscurity).

It's this possessive, co-dependent, passive-aggressive relationship that sits at the heart of the film. They're each captivating characters. Big Edie lives in her own world, refusing to bend to anyone or anything. Little Edie feels compelled to bend to her mother's will, even at the cost of forgoing having her own life. Both women stand on their own but recreate the interaction between mother and daughter beautifully. The crew did a great job aging them 40 years over the course of their story but the actresses don't rely on their hair (or lack there-of) and make-up as a crutch. It's all there in their voices, their posture, the way they seem to carry this lifetime of memories. Little Edie says that it's hard to keep a line between the past and the present and it's shows so true. They play the society-mavens craving attention and they play the recluses living in a house that is literally crumbling around them. It's amazing juxtaposition further enhanced by the fact that it's all true.

To the audience, the Beale women's circumstances don't seem normal, but it's all business as usual for the Beales - and that's part of the fascinating charm this movie provides.

One of my favorite instances of that charm comes from Little Edie. She wore rather unconventional ensembles in her later years that she referred to as "the costume for the day". When the Maysles brothers come to film their documentary she tells them about that day's costume explaining her choices and ending with "Mother wanted me to come out in a kimono, so we had quite a fight."

Rating: 5/5
Recommended for:People who really understand the phrase "a beautiful train wreck".

Moon (2009)

Moon centers around Sam Bell (Sam Rockwell), who is two weeks away from the end of his 3-year contract running mining operations on the moon. He's desperately looking forward to seeing his daughter and wife in person again after not being able to get a live connection to them his entire term. He gets in an accident while out checking on broken down equipment. He wakes up back at his station and is taken care of by the station's robot Gerty (Kevin Spacey). Sam discovers things he's not supposed to and then it starts to get weird.

There's so much to like about this film, but in the end it's ever-so-slightly off balance. This is Duncan Jones' first full-length feature film. His background is more so in commercial work and he and his crew are very good at using models to make things seem realistic and do more effects in camera without having a huge budget. While the story is interesting and Sam Rockwell deserves major props for all the acting he did in the film (where was his due at awards time?), there's an imbalance between the love and attention to detail put into fantastic lunar sequences and the story itself. The good news is the imbalance isn't so large it ruins the film.

I won't say much more regarding the plot because I could easily dive into spoiler territory and I think, if you're going to watch this film, you should learn all the info as you go. Knowing the ins and outs will definitely ruin the allure.

So here's what I will say... With such obvious allusions to 2001, this film manages to still be fresh. The plot raises questions about general human behavior even in the most unusual of situations. And the film-making itself is rugged and hands-on. It makes me look forward to what else Jones has up his sleeve.

Rating: 4/5
Recommended for: Anyone who'd like to see some good sci-fi that doesn't involve people in alien masks or rely on CGI

Revolutionary Road (2008)

Kate Winslet and Leonardo DiCaprio play April and Frank Wheeler in this depressing drama about a dissolving marriage in the 1950s. The film is dedicated to Joe and Mia, the children of Kate Winslet and this movie's director Sam Mendes. I realize it's because it's Winslet and Mendes' first film collaboration, but if I were them, I'd rather dedicate something much more uplifting to my children. I'd also like to chose one where we don't see at least eighty cigarettes being smoked.

Within the first ten minutes you can see what kind of trouble we're in for - not only with the words but with the visuals. As they walk down that long hall to exit the building, the overhead lights hit Frank while April is in the dark, and then April while Frank is in the dark over and over again until it's clearly evident these two are not on the same wavelength. After their argument on the side of the road, the interior shot of the car makes it look like they're so far away they're not even traveling in the same vehicle.

Mendes had the production rehearse for three and a half weeks before filming and it shows. Every line sounds like it's come out of the moment, every character is clearly thinking something even when they're saying nothing. More of the aforementioned visual metaphors abound and the whole production is beautifully shot. But it's such a tough story to digest as a helpless audience member.

Rating: 3/5
Recommended for: if you're not feeling crappy enough and really want to take yourself down a peg.

The Brothers Bloom (2009)

It's not often that I'm beguiled by a trailer. I usually see through the marketing ploys and am keenly aware when one month the trailer is presented as a drama and the next it's been recut as a comedy. But then along came Brothers Bloom with its Wes Anderson-esque whimsy in camera shots and characters and smaller, yet acclaimed Ocean's 11-ful cast and plot.

Point to you for that one, The Brothers Bloom. Too bad you won't be scoring much more than that. First let's start with the title. The brothers in it are lifelong con artists Stephen (Mark Ruffalo) and Bloom (Adrien Brody). They do not appear to have a last name. So why is the film titled after one of the two brothers? If anything it should be called "Brothers, Bloom."

Then there's the mess of a plot. We're constantly out of the loop because more than one character is out of the loop but they are all out to varying degrees. And even when you think you've been let in, you're usually still left out. Us audiences tend to like to be in on things from the beginning, or left totally out and surprised at the end, or slowly have things revealed to us over time. None of this see-sawing crap, please. Some sort of flow or balance is missing. Ironically, towards the end a character essentially promises the story will be better next time.

At least some of the characters are fun. Rachel Weisz's Penelope Stamp is a reclusive heiress who collects hobbies. Weisz seems to be having a blast in this comedic role. She actually tried to learn every hobby her character has. I kept thinking if only Wes Anderson could scoop up Penelope and the brothers' mute associate Bang Bang (Rinko Kikuchi) and give them a better story in which to play... if only.

An alluring trailer and two fun female characters just aren't enough though.

Rating: 2/5
Recommended for: Penelope's hobby montage.

Bottle Shock (2008)

I've never had a movie make me want to own an old beat-up pickup truck before. Although I guess it's not really the pickup truck itself. It's the whole atmosphere of this movie: the California sunshine, the vast fields of grape vine, and of course the wine.

Bottle Shock is based on the real-life 1976 competition to see which wines were better - the classics of France or the up and coming Napa Valley, CA.

It's not the most fantastic movie and there's not really any suspense despite the competition but it's a sweet little film. The poster makes it look like it's going to be a little quirky. It's not. The characters aren't weird. They're just in bellbottoms and messy haircuts - Chris Pine being the worst offender.

Seriously though, they present as pepole who are really devoted to making wine and it's that devotion that makes them somewhat lovable. It adds to the idyllic quality wafting off the screen too. And best of all, they don't lull you to sleep like Sideways.

Rating: 3/5
Recommended for:If you've never been to Napa and really want to go.

Star Trek (2009)

I guess I should start with a warning that I watched this movie without immense amounts of Star Trek knowledge. In fact, a large amount of my Star Trek knowledge comes from an episode of Futurama. I think I've seen a part of an episode or two but never a movie. And somehow in my life I became familiar with phrases like "I'm giving her all she's got, Captain." and "Dammit, man! I'm a doctor, not a physicist!" Add to that the facts that director J. J. Abrams said this was made so anyone could watch it regardless of Star Trek background, and writer Roberto Orci has mentioned Star Wars influence and I couldn't help but be curious.

Ironically in a feature on the DVD, they discuss that they felt Star Trek was always like classical music while Star Wars was rock and roll and they wanted to bring some of that rock and roll to this film. Abrams specifically cites that he felt the Star Wars: Empire Strikes Back pace was what modern audiences needed.

So that makes it very interesting that the movie has such a stunted start. While it provides background on some of our main characters, most of it is also relayed later through dialogue that does just fine letting us know what we need to know. So instead of editing that early stuff out, it jarringly skips to a few minutes of one character's life here and another's there. Before you know it, it feels like five false starts and we're already nearly fifty minutes in before the film really gets going. The pacing gets better but the injections of comedy soon fade away and we're thrown into summer blockbuster-style action and it's just not quite as fun.

There are some great filmmaking techniques at play here though. Abrams actually followed the camera around tapping on it and shaking it to get a more organic shudder to action sequences. It's one of those things that you don't give much thought to but really helps make a sequence. ILM did the CGI work on this film and they actually had to find a way to replicate that shaking for consistency. They ended up putting a motion sensor on their desks and tapping it like Abrams did and voila... seamless style.

Abrams also hired kids to walk and run through certain sets to make them seem bigger than there were. It's a pretty brilliant shortcut to saving materials. In another sequence the characters are supposed to be quickly falling down towards a planet's surface so instead of hanging them upside down on wires, the production team built a platform and shot down at the actors standing on mirrors. The mirrors reflect the sky, it really looks like they're falling on film, and no one had to have all their blood rush to their head.

It's this kind of innovation and creativity that makes me curious as to what Abrams and his team have up their sleeve next. This effort was cooled by a story that could have used some more editing and more of a challenge for the characters. It was fun to watch and the acting was fine, but it wasn't anything fantastic.

Rating: 3/5
Recommended for: if you're bored and you like space but you're not a scientist

Avatar (2009)

James Cameron revived himself to bring us another movie people will see in theaters six times each, supplementing his bank account for another twelve years. This time it's Avatar, a really pretty video game complete with abrupt dialogue, running, and plenty of weaponry.

The concept is Jake Sully (Sam Worthington), a paraplegic ex-marine, is taking his dead twin brother's place, in an operation focused on mining the ridiculously-name unobtanium on the planet Pandora. He's now part of a scientific team lead by Dr. Grace Augustine (Sigourney Weaver) which uses avatars of the native population, the Navi, to learn about them and the biology of their planet.

Jake becomes the driver of his brother's avatar and the aforementioned running ensues. While the concept is complex, the story beyond that is practically nonexistent. And what is there feels very recycled. Some have been saying it's Fern Gully, Pocohantas, and Dances with Wolves rolled in one. I'm inclined to agree.

Luckily the actors bring serious gravitas to some ridiculous dialogue. They try their best to make lines that are clearly there just to inform the audience or to hit you over the head with a message seem like something their character might naturally say.

This movie's strongpoint is definitely its visuals. Cameron and his team have made advancements in CGI but since the focus was definitely on that, I couldn't help but be reminded a bit of The Phantom Menace fiasco. And many of the vehicles created look like they've been lifted from the Halo series as well as other video games (although one vehicle is clearly a retooled piece from Aliens). On top of the CGI though, Team Cameron uses 3D to their advantage. There were no cheap "Hey, look this thing is pointing at/reaching out to get you." shots.

Part of the problem with 3D in this movie (and probably others to come) is that like any other live action film, selective focus is used. While this technique is employed to draw your attention to a specific place in a scene, in 3D the issue comes up where something appears physically closer to you but is out of focus. Sometimes the out of focus item isn't closer to you but since it still pops out from the background, it can still be distracting. And that messes with your brain. The headache the whole thing gave me eventually passed as my eyes were worn down and beaten into submission.

Avatar runs nearly 3 hours. It appears since Cameron was also the editor (in addition to the director/producer/writer), there was very little left on the digital cutting room floor. When you see a slow-motion screaming/running/things exploding sequence, don't be surprised when yet another one comes five minutes later. If you didn't get enough of a soaring sequence, don't worry you'll get another one soon enough.

Rating: 3/5

Recommended for: People who enjoy the color blue and small children with long attention spans.

Extended Review: Dr. Augustine's group goes through all the trouble of growing these incredibly expensive Navi avatars so they can infiltrate the native population. And yet, the avatars wear human clothing which looks nothing like the very distinct Navi garments. It seems like a lot of trouble to go through just to announce that you're not really one of them without even saying a word. The Navi are quite large (about twice as big as humans) so I guess it'd take longer to walk through the forest if you weren't using your avatar. Also, I guess this way the humans can talk to the Navi eye-to-eye. But there seems to be no reasoning behind making the Navi so tall except to and yet another element of different-ness. When the humans and Navi are in the same scene, it just looks ridiculous.

District 9 (2009)

District 9 is not only a sci-fi movie; it's a smart movie. And it's intense - really really intense. Around ten minutes in it grabs you and won't let go, building momentum along the way until it's time to roll credits.

In the film, twenty-some years ago a massive alien ship stopped over Johannesburg, South Africa. An exploratory team found many unhealthy extraterrestrials inside and brought them down to live in a camp - District 9. Eventually it's a highly-secured slum and several "prawns" (as they're sometimes called derogatorily) are involved in violent protests and crimes.

So in 2010 Multinational United (MNU) is contracted to relocate the aliens to District 10, 200 km outside the city. In documentary style, the audience follows Wikus Van De Merwe (Sharlto Copely), a bureaucrat on the team serving eviction notices. After an accident, Van De Merwe learns what it's like to be on the other side of MNU's armored vehicles. Don't let what happens to Van De Merwe turn you off, and you'll be glad you stayed.

We get to see the district through a blend of filming styles that also includes security camera footage and traditional Hollywood style filming. Eventually it totally gives way completely to that last style. That transition is just one of the many smooth, thought-out aspects from Neill Blomkamp and his team in this movie. This is not mindless entertainment.

There is never just action for action's sake. There are motion-capture CGI aliens and violent explosions but they are used sparingly. It's clear the film isn't about how well they can make alien special effects - it's about the story. But the sparse use also helps make it all seem more realistic. There's this gritty, dirty feel to the whole thing. The production filmed in an impoverished neighborhood where residents had actually been relocated to a government-run housing district.

District 9 deals with many of the same issues in South Africa during the Apartheid - such as racism (rather speciesism here) and forced relocation. The treatment of refugees is another embedded element. These layers are woven in thanks to Blomkamp's own experience growing up in South Africa, but it's not a parable. You could be entertained by this film without knowing about the history in which it's entrenched.

Neil Blomkamp had the opportunity of a lifetime in making this movie. It was his first time directing a feature-length film and Peter Jackson as his producer just let him run with it. The finished product is fantastically made and very interesting to see.

Rating: 4/5

Recommended for: Those who don't mind a shot of world history with their sci-fi

(not recommended for small children)

THX 1138 (1971)

Before the incredibly well-known Star Wars series, George Lucas made THX 1138. Based on a short-film he'd made in college, THX 1138 is set in the 25th century in a strict underground society where daily sedative consumption is required and everyone has been assigned a function. Cameras and computers monitor every move. It's not too far outside the vein of books like The Giver or 1984.

When THX 1138 and his roommate LUH 3417 stop taking their medication, they start to have feelings - like attraction. This new awakening leads to actions that throw them in the spotlight, where they are deemed unfit for regular existence and arrested.

It's difficult to say too much more without giving the whole story away because there's not too much more of the story. In fact, throughout the film it feels like you're circling outside a story, never really getting into details or why things are the way they are, just hanging in space as things happen in front of you. It's borderline trippy.

Weirdly enough, it sort of works. The vague, lost quality of it all lets the audience feel what it's like to live in THX's society. Also, it's very apt for Lucas, who's known for only speaking minimally to his actors while directing. He's always seemed to have a strong vision for his films but not always the best success of fully sharing it with everyone else. Here the visuals do a lot of the speaking for him.

Time spent in quiet, all white, endless rooms contrasts with that spent in loud, crowded, grittier transportation areas. In fact those transportation areas are the most fantastic of the visual sequences. They seem to be paving the way for running down the trenches of the Death Star in Star Wars: A New Hope. In reality it was clever use of places like the San Francisco International Airport, Caldecott Tunnel, and the (at the time) unfinished BART subway system.

Robert Duvall also helps with his commitment to the character of THX 1138. Without saying much, he's easy to latch onto and take seriously.

This movie might not be for those who thrive on a great story, but it's definitely something different than what you can see any given day.

Rating: 3/5

Recommended for: Adults who'd like to see pre-stormtroopers