Ratatouille (2007)

* * * * *

Ratatouille is a success because like its main character, it never gives in. Disney Pixar comes through again with its story about a rat who wants to be a cook, and this may be its greatest achievement. Written and directed by Brad Bird, the story stars Remy (voiced by Patton Oswalt), a rat who aspires to be a chef despite family and peer pressures to stay with the clan and do what is safe. Ratatouille is loaded with allegory, fable, and life lessons but presents them in a fresh and funny way that never follows the beaten path. Another Pixar film enjoyable for both kids and adults, a viewer of any age can relate to the characters and situations in this film and can learn about themselves and others. There is equal doses of touching scenes involving decisions to be made and lives to be affected, and hilarious jokes, one-liners, and uncomfortable situations. Ratatouille never succumbs to gag jokes and never plays down to its intended young audience. The script and animation combine to yield some truly laugh-out-loud scenes and all of the voice-over work is spot-on. Somehow, beyond explanation, Pixar has yet again managed to make this film even more visually stunning than their previous efforts. The animation is remarkable and bring the viewer into a stunningly unique environment that is both engaging and entertaining. What makes this film important is the guts Bird, Pixar, and Disney had to stick to their instincts and make a movie that tackles issues ranging from leaving the family, pursuing goals, going against the grain, resisting peer pressure, and leaving a mark on the world without falling victim to cliche or using a preachy tone. The score sets the scene perfectly and the editing provides a fast-moving, appropriate length film that dashes fable, humor, and art like salt, pepper, and oregano. Ratoutouille approaches real-life issues facing children and adults through the eyes of an animated rat chasing his dream, and results in one of the best animated features of all time.

Good for: kids and adults of all ages, fans of Pixar's previous movies

Bad for: mean people, those afraid to go against the establishment

The Gallery
The Film Maker: * * * *
The Writer * * * * *

I Am Legend (2007)

* * *

Will Smith's career has been a little unsatisfying. He is a veteran of big budget, box-office smashes, but has yet to become a staple of truly powerful films despite his surprisingly strong acting chops. I Am Legend, the story of the survival of the last man on Earth, had the potential to merge the two aspects of Smith's career, using a big budget to create a popular and meaningful film. For most of the film Smith is the only character on screen, so I Am Legend provided plenty of opportunity for him to shine. For the most part, Smith comes through, elevating a slightly-above average script and mediocre directing to a riveting character study on isolation and despair. As Dr. Robert Neville, Smith plays a scientist trying to find a cure in a post-apocalyptic New York City where he has been the only man alive for years. Except for a few scenes where the Fresh Prince of Bel-Air and Men in Black era-Smith shine through, he raises his game to what may be his best performance. There are several notable scenes that were both acted superbly by Smith and shot beautifully by director Francis Lawrence which truly take on the feelings of loneliness and grief. Lawrence's choice of CGI effects will likely bother some viewers, as nothing CGI is different from any other use of it in the past. But for what may be the first time, the CGI and special effects are not what make this Smith film worth watching. Science fiction fans will be interested by the attention to detail, and the plot isn't entirely predictable. As a whole, the film comes across as one of those cases in which the book was probably better than the movie. For those who haven't read the book, however, Smith has made I Am Legend a fun experience with a decent dose of suspense, humor, and creativity.

Good For: zombie movie fans, sci-fi fans, Will Smith fans

Bad For: people who don't like CGI, people who dislike big-budget films

The Gallery
The Economist: * *
The Surfer: * * *
The Writer * *

I'm Not There (2007)

* * * *

There are two approaches to disrupting the monotony possessing the current trend of musical biopics; mock the films like the upcoming "Walk Hard" film, or create something entirely and completely different. Todd Haynes has chosen the latter, and with I'm Not There, he has created a film that depicts the life and times of Bob Dylan in a thoroughly non-traditional sense. I'm Not There divides Dylan's life into distinct segments, and each Dylan, or each aspect of Dylan, is played by a different actor. Whereas Ray and Walk the Line reenacted the exact events as they occurred, I'm Not There creates a somewhat abstract image of periods of Dylan's life and the character's and themes of his songs. These include an 11-year old boy, played nicely by Marcus Carl Franklin, who calls himself Woody Guthrie, who may or may not represent the young Dylan striving to make his own image in the shadow of his heroes, and Jack Rollins, played by Christian Bale, who may or may not represent Dylan's rise to fame, treatment by the press, and strange Gospel period. Other actors include Ben Whishaw, Richard Gere, and Heath Ledger who all are captivating as their own piece of what Bob Dylan means. All of the portrayals are about equal, except for the one glaring exception of Cate Blanchett. Her performance as super-star Dylan, the creative genius growing up in front of America in his mid-twenties, is not only legendary, but perfect in its subtlety and honesty and deserving of awards and acclaim. It is breathtaking how completely she captures the essence of Dylan and how effortlessly she becomes a mythic figure. Haynes has both hits and misses in his first widely-released film. Hits include the great soundtrack compilation of Dylan songs covered by a multitude of artists which is great for both the artists and the placement of songs within scenes, the psychedelic feel to the editing, and the mixture of color, black-and-white, and superimposed graphics. Misses include the sometimes too fast and confusing cuts and jumps between characters, and the Behind the Music style presentation of the Christian Bale scenes. The direction, writing, and performances produce a work of art in its own, but those completely unfamiliar with Dylan will almost certainly be confused, and even some Dylan fans will be scratching their heads at times. But the film truly embodies the spirit of Bob Dylan, whose songs and personal life never really went as planned, and could never be read only at the surface, or the same way by more than one person. I'm Not There is an experiment that worked because of the clear devotion of Haynes and the great cast to the legacy and meaning of Bob Dylan.

Good For: Dylan fans, Blanchett fans, people who like art, people looking for something different

Bad For: those who know nothing about Dylan, people looking for a straight-forward story, the easily confused

The Gallery
The Surfer: * * * * *
The Film Maker: * * * *

No Country For Old Men (2007)

* * * * *

The Coen brothers have done something truly remarkable with No Country for Old Men; they have made a film that is equally funny, original, and groundbreaking as Fargo, and topped it with a more suspenseful, artistic, and bizarre work of cinema. It's not often that great casting, iconic performances, masterful camera work, ingenious editing, and sound-work beyond description come together once in a career, let alone twice as the Coens have now achieved. Adapted from a novel of the same name, No Country tracks a hunter who stumbles across a treasure in the desert and his fugitive-like flee from the senseless murderer to whom it belongs. Josh Brolin, who has had an amazing 2007 with stand-out performances in Planet Terror and American Gangster, turns in the performance of his career as Llewelyn Moss. Brolin's portrayal reveals a man trying to take advantage of what he believes is a once-in-a-lifetime event to change his life, and the personal conflict of morals and values associated with making decisions about his own life and others'. We see Moss as brave, scared, confused, certain, clever, and dumbfounded, as Brolin and the Coens mix the spectrum of emotions through a sequence of unlikely events. Tommy Lee Jones, who has played numerous gritty characters, plays Sheriff Ed Tom Bell, a cop near retirement who is unsure of his place in history and the value of his life to this point. The character is utterly human in relying on habit and past experience to solve problems all while feeling the uncertainty of having done the right thing. Almost anyone who watches the movie will relate to either Moss or Bell, or both. The most memorable character, however, is Anton Chigurh, as played by Javier Bardem. The combination of style, appearance, use of weapons, and delivery of dialogue are fantastic and sinister, and Chigurh is instantly a classic film villain. The Coens, who personally crafted the screenplay and film, pay attention to every minuscule detail, and in doing so create an atmosphere unlike any other. The suspense is so heavy you can feel it forcing you into your chair, and the emotions run so high the sound of a pin-drop could be heard in the theater. This is partly due to the superb sound-work done by the Coens, which is one of the best in that aspect of all time. There is no swelling music; actually, no music at all. No Country is one of those films that leaves the audience talking for days. The Coens leave something left on the table, respecting the audience's judgment and the viewer's role in cinema. The camera work, regular, everyday sound, and performances bring forth all that is needed from this, or any film. Script-writing, direction, and acting unite to create a beautifully twisted piece of art that is likely to be the film of the year.

Good For: all movie fans, fans of the Coens previous films, suspense fans, people who like art

Bad For: people who do not like violent movies, those who like to be told a film rather than presented a film

The Gallery
The Economist: * * * * *
The Surfer: * * * * *
The Film Maker: * * * * *
The Writer * * * * *

Fred Claus (2007)

*

Four years ago Elf came along and showed that a big-name actor, the right cast, and the right intentions could result in a timeless Christmas movie meant to make kids and their parents smile. Fred Claus has shown that given a star-studded cast, a putrid script, and three weeks, Hollywood can put Christmas presents under a few actors and some cast members' trees. Three weeks may be generous; it looks like it took about a week to make this film. The joke is on the audience here though, as the film is a solid thirty to forty minutes in before the first joke that even elicits a smirk comes across the screen. Vince Vaughn, as Santa's delinquent brother Fred, got paid for being himself, which after ten years isn't so funny anymore. While other high-profile comedians such as Will Ferrell and Steve Carell have shown great diversity and have achieved success across multiple genres, Vaughn is still playing the same character that made him a star in Swingers. Paul Giamatti does play a respectable Santa Claus, but the script is so typical and unfunny that his performance it doesn't matter. Rachel Weisz and Kathy Bates are irrelevant in throwaway roles that someone else could have played for millions less, and Kevin Spacey is surprisingly disappointing in a role you would expect an actor of his caliber to avoid. The plot can be predicted twenty minutes in advance by a 4 year-old on the nastiest Sour Patch Kids sugar high, and is borderline painful for adults. There is nothing clever, witty, or original in Fred Claus, which is based on a premise that had some potential. It is possible to make a family Christmas movie that becomes a staple of the holiday season years after it was made, and it is possible to rob parents of a few hard-earned dollars that could go toward little Bobby's Playstation 3.

Good For: Vince Vaughn fans

Bad For: anyone 3 years of age or older, people who like to laugh at funny jokes

American Gangster (2007)

* * * *

If you have the balls to name a movie American Gangster, it better be bad-ass. Ridley Scott, who teamed up with Russell Crowe to make another bad-ass movie, Gladiator, partners with Crowe again in Gangster, in a film that lives up to the hype and hits the audience with a .44 magnum blast to the side of the head. Crowe plays Det. Richie Roberts, a workaholic cop fighting through a divorce, studying for the Bar exam, and pursuing New York City's most wanted criminal, Frank Lucas. Scott used Crowe in Gladiator as a bottom-of-the-bucket warrior who used his wit, strength, and honor to rise above oppressive forces. But in Gangster, Scott's breadwinner is Denzel Washington who portrays the cunning, intelligent, ruthless Frank Lucas in his climb from a mindless muscle-man in the New York City crime ring to the king of the drug-trade. We should all be accustomed to Washington stealing the screen, but his chill-inducing turn as Lucas is a highlight in his legendary portfolio. Other noteworthy performances include Josh Brolin who is perfect as a rival cop to Crowe's character, and Ruby Dee as Frank Lucas's strong-willed mother. The film is one of the longest of the year at over two and a half hours, but the plot is constructed smoothly and never seems long. Scott develops the Lucas character so that we see how his personal and professional lives intersect and how his values determine his choice of actions. Unfortunately, the focus on Lucas leaves a little to be desired in terms of Crowe's character, Roberts. Crowe delivers a strong performance, but the lack of depth to support his character leave him standing in the shadow of Washington's menacing performance. American Gangster is clearly the crime film of the year and deserves substantial acclaim just for living up to the hype. The lack of character development separates it from being elevated from a crime hit to a crime classic on par with Good Fellas. And although there are a handful of memorable scenes and lines, the script isn't catchy enough to become a pop culture phenomenon like Scarface. But that isn't necessarily a bad thing, as the twisted side of Frank Lucas never strays from a strangely human element unlike the over-the-top, cartoonish nature of Tony Montana. Gangster captures Washington at the prime of his career in one of the most bad-ass roles in recent memory.

Good For: Denzel fans, fans of crime movies

Bad For: people bothered by violent movies, people who dislike long movies

The Gallery
The Economist: * * * *
The Surfer: * * * *
The Writer * * * *

Black Snake Moan (2007)

* * *

How often does a film's soundtrack completely overshadow its plot? Aside from an entertaining performance by Samuel Jackson and a wild turn by Christina Ricci, the soundtrack is unfortunately all Black Snake Moan has to offer. The story of a down-and-out young sex addict who is taken in and nursed back to stability by a Bible thumping former bluesman is so over-the-top that even those who are attracted to it for being different will be overwhelmed. Scenes involving a girl chained to a radiator and violent sex driven flashbacks reminiscent of the Exorcist will chase away 90% of the potential audience, and the chance that that remaining 10% will find this film worthwhile due to a remarkably well chosen and executed soundtrack is slim. For those who do stick around for the ride, Christina Ricci is somehow both scorching hot and repulsive as a trailer-raised southern girl on a sex-spiked spiral after her boyfriend leaves to fulfill his service commitment. Justin Timberlake, who plays her boyfriend, seems to have been cast due to his name and not his talent. He doesn't fit into his role at all, takes most scenes beyond where they need to be without any nuance, and overall sticks out like a sore thumb in this dirty, gritty film. Written and directed by Craig Brewer, Black Snake Moan is an entertaining follow-up to Hustle and Flow, but not nearly as good. Where Hustle and Flow surprised many by being an excellent film, Black Snake Moan takes an intriguing premise and brings little substance to the screen. For those looking for a freak show, Jackson and Ricci are more than a good time, but for most the film goes too far in terms of content and time, running at least thirty minutes too long. Buy the soundtrack and fill in the blanks yourself.

Good for: blues fans, Ricci fans, people who go to carnival freak show tents

Bad for: the easily offended

The Gallery
The Surfer: * *

The Darjeeling Limited (2007)

* * * *

There is no mistaking a Wes Anderson film. His signature style of dark humor and emotional button-pushing is omnipresent in the Darjeeling Limited, and is put to its best use since Rushmore. Anderson wrote the Script for Limited, but Jason Schwartzman, star of Rushmore, subsitutes for Owen Wilson as his screenwriting partner. Wilson is involved, however, as one of the co-stars alongside Schwartzman and newcomer Adrien Brody, who play three brothers reunited in a quest to meet their estranged mother on a revelatory trip through India. Only Anderson could make a good film based on such a bizarre premise, and he has made a solid career out of turning absurd family and personal hardships into comical and revealing stories. Limited is everything the Life Aquatic with Steve Zissou wasn't; laugh-out-loud funny, emotionally accessible, and not over most people's heads. The three stars occupy the screen for most of the film, and bring the script to life just as Anderson would have hoped for. Wilson and Schwartzman are veterans of Anderson's films and portray their characters as one would expect, but Brody is the pleasant surprise. As Peter, the middle brother, he is funny, violent, selfish, pathetic, and sympathetic. Sri Lankan actress Amara Karan plays supporting character Rita in her first major film role and delivers a noteworth performance that is both sexy and troubled. The setting of India itself becomes a character and is captured brilliantly. The contrast of the three financially spoiled but emotionally deprived brothers against the spiritual atmosphere of India and the authenticity of the Indian characters maintains an awkward but entertaining tone against which the odd circumstances occur. Unlike past Anderson films, Limited never seems too long or drawn out and will keep newcomers to his style interested. Although he has made yet another film in the same mold as all of his past works, he is still the only one making these movies. The script is so distinctly fresh and so unquestionably different from anything else that it is hard not to enjoy the films. The combination of humor and tragedy presents a film experience with something for almost everyone. And Anderson's use of slow motion, multiple frames, and repeating soundtrack's add even more unique style to already good dialogue and plot. Darjeeling is not groundbreaking, and it may be more of the same, but every two or three years you get a new version of the same successful formula. The approxiametly ten minute short that preceeds Darjeeling entitled "Hotel Chevalier" includes Natalie Portman in what may be her most sizzling performance.

Good For: Wes Anderson fans, someone looking for something new and different, fans of dark comedies

Bad For: people who don't like unconventional movies, people who are bored easily, people who enjoy comedies for the jokes only

The Gallery
The Film Maker: * * * *
The Writer * * * *

The Heartbreak Kid (2007)

* *

Once upon a time in the nineties the Farrelly brothers towered together over the comedy realm after directing and producing Me, Myself, and Irene, There's Something About Mary, and Kingpin, after starting it all with Dumb and Dumber, a top ten comedy film of all-time. With comedy legends Jim Carrey and Ben Stiller at their disposal, the Farrelly's seemed destined to create countless classics. Instead, they started off the new century with a series of duds including Osmosis Jones, Shallow Hal, Stuck on You, and Fever Pitch. After using the likes of Jack Black and Jimmy Fallon, the Farrelly's returned to Stiller as their leading man with a script eerily similar in plot and raunchiness to Mary. Unfortunately, the revert back to Stiller doesn't make a difference as The Heartbreak Kid is not nearly as funny and twice as generic, continuing the brothers' cold streak. The plot involves Eddie Cantrow, played by Stiller, and his attempt to finally settle down with one woman at age forty. Malin Akerman plays the Cameron Diaz role and is just as unamusing if not more, but tries harder. Michelle Monaghan is cute but again, not funny, as a girl who catches Stiller's eye, and Carlos Mencia's performance will make you wonder who he knows in the industry how this guy is making a living as a comedian. The only noteworthy performance is by Jerry Stiller as Eddie's father. It's not entirely clear whether the lines are truly comical, or if it's just funny to see an old man say intensely profane things in front of his real-life and on-screen son. Now this isn't to say that there aren't any funny parts. Two or three scenes are laugh-out-loud funny and a few lines are particularly memorable, but the ten minutes of hilarity aren't worth the admission price or your time. Save the Heartbreak Kid for DVD or cable, or rent it from that friend we all have that thought Fever Pitch was hilarious.

Good For: people who like bad movies, obnoxious movie-quoting people, fans of either Stiller, guys who like attractive girls naked

Bad For: critical movie watchers

The Gallery
The Surfer: * *

3:10 to Yuma (2007)

* * * * *

Remakes aren't often successful, and typically fail at trying to bring a modern twist to a previous work. 3:10 to Yuma doesn't try anything that groundbreaking or currently fashionable, but sticks solely to what made the film work the first time. The addition of Christian Bale and Russell Crowe, two of the best actors avaiable today, was enough of an update. Add in James Mangold as director, fresh off Walk the Line, a stellar supporting cast including Peter Fonda, and some surprising cameo appearances, and 3:10 to Yuma is one of the most enjoyable film experiences of the year. Mangold makes a remake original by employing every cliche of classic westerns until the viewer feels completely immersed in the dangerous, cutthroat atmosphere of the wild west. Christian Bale, who would be cast perfectly in any role, plays Dan Evans, a struggling Civil War veteran family-man trying desperately to make ends meet. When a huge bounty is offered to finally put an end to ruthless outlaw Ben Wade, Evans joins forces to bring Wade to Yuma. Russell Crowe is in full bad-ass mode as Wade and transforms him into a memorable villain both loved and hated. Ben Foster, who may be recognized from HBO's Six Feet Under, steals every scene as Wade's despicable, lunatic sidekick Charlie Prince. These powerful performances, an authentic western score, and the desolate landscapes combine to provide a trip back in time not just to the turn-of-the-century west, but to the fifties when films like this were made. Most directors would throw in a modern soundtrack, excessive violence or choreographed action scenes, but Mangold provides an overload of over-the-top machismo, perfectly timed subtle humor, and classic western shots and angles. The script is genius with amazingly well-crafted dialogue, and intriguing fast-paced plot, and a perfect resolution. Elmore Leonard would be proud of Mangold's Yuma, a respectful, perhaps even better-than-the-original update of a classic film and genre.

Good For: fans of Westerns, any male above age 20, particularly males above age 50, fans of bad-ass villains, people who liked Grindhouse

Bad For: guys who never watched Westerns with their dad, close-minded females

The Gallery
The Economist: * * * *
The Surfer: * * * * *

The Lookout (2007)

* * *

The suspense-thriller genre involving mentally handicapped protagonists is beat. Memento and The Score, and dozens more have eliminated the "wow" factor of an actor playing an altered mind state in a pressing situation. The Lookout is no different, casting Joseph Gordon-Levitt, known from Third Rock from the Sun, as a young man trying to get his life back together after a deadly car accident. Struggling with simple daily life as a result of brain trauma, Chris Pratt tries to get his future on track both socially and professionally. The suspenseful twist comes courtesy of Gary Spargo, an older guy within the small town who hopes to rob the bank Chris works at. The catch is that Gary needs Chris to pull of the heist. Gordon-Levitt is impressive as a from-the-mold character and personifies the difficulty of having a malfunctioning mind. The supporting cast is just as impressive with notable portrayals by Matthew Goode as Spargo, Isla Fisher as Luvlee, and a handful of other characters that were clearly carefully selected. Jeff Daniels stands out as Pratt's blind friend, another cookie-cutter role. A heist involving a vulnerable, recovering mental patient and his blind sidekick plainly show the script is a little lacking in originality. Veteran screenwriter Scott Frank, who penned screenplays for Minority Report, Get Shorty, and Malice, steps into the director's chair for the first time and is somewhat successful. The Lookout keeps you on the edge of your chair for a few pivotal scenes and touches deep in others, but for the most part you know what is coming. Great acting can only take a lousy, rehashed script so far, but the skill shown in selecting an appropriate cast may earn Frank some attention toward his follow-up.

Good For: fans of heist films, Isla Fisher fans, people who like psychological thrillers, Jeff Daniels fans

Bad For: someone looking for something new, people who get frustrated easily

United 93 (2006)

* * * * *

United 93 may be the most important film of the 21st century to date. Many will say that, because of how difficult it is to watch, this film is not for everyone, and those people are wrong. United 93 is a thoughtful, painstakingly effective portrayal of the events of September 11, 2001, particularly United flight 93 which crashed into a field in Somerset, Pennsylvania. Directed by Paul Greengrass, known for parts 2 and 3 of the Bourne series, the film employs no well known actors and many engineers, officers, and various personnel playing themselves. The direction is phenomenal as every single scene captures the raw emotion and intensity of the bizarre sequence of events. The casting of little known actors prevents the viewer from being star-struck, and eliminates the feeling of watching an actor in costume. There is no swelling, pulsing, sappy Hollywood score to tell the viewer how to feel because the emotions are right on the screen. The frantic editing and documentary-like cinematography create a window into how different people from all angles felt and acted throughout the events. Aside from the technical and artistic brilliance, United 93 is such vital film because of its presentation. The complete neglect of Hollywood techniques and marketability as a film leave behind truth and reality. This wasn't meant to be enjoyable but a chronicle of a terrible event, life lost, indecisiveness under pressure, and the sheer courageousness of humans fighting evil, grasping for their lives. A film like this could only be made about an event as tragic as 9/11, and no other film about 9/11 should ever be made. It may be too soon after the event for the brilliance of United 93 to sink in, and the fact that it was nominated (without winning) only two Academy Awards is an embarrassment to the Academy. In a country full of media and political bias divided along ideological lines, it is refreshing and necessary to take a step back and understand what happened, why it happened, and honor the life that was lost. This movie is a depiction of fact without any opinion, spin or twist. United 93 is a groundbreaking accomplishment and a landmark achievement in film that must be watched.

Good For: everyone

Bad For: overly emotional people

The Gallery
The Economist: * * *
The Film Maker: * * * * *
The Writer * * * *

The Birdcage (1996)

* * *

The Birdcage, like the club it is named after, is a fun time for the night but just something you do and forget about the next morning. Directed by Mike Nichols, the Birdcage is not as strange or subversive as Closer but flamboyant and charming. Robin Williams and Nathan Lane star as a gay club owner, Armand, and drag queen, Albert, who together raised Armand's son Val. When Val falls in love with Barbara Keeley (Calista Flockhart), the son of right-wing politician Senator Kevin Keeley (Gene Hackman), Armand and Albert agree to act as if they have no relationship for the weekend as to not scare away Val's fiancee's family. Williams and Lane are hysterical when on screen together and clearly had a great time improvising with the script. Hank Azaria, known primarily for his many characters on the Simpsons, steals the show as the couple's butler Agador. Nearly everyone line spoken by Azaria is side-splitting and when he, Williams, and Lane are on the screen, watch out. Unfortunately, the good comedic acting, and acting in general, stops here. Hackman and Flockhart put in very average performances and Dan Futterman is sub-amateur as Val. The Birdcage screenplay was adapted from a Broadway show, so there was likely little room to make significant changes and retain authenticity. The film does very little to address actual issues, and the few scenes involving meaningful dialogue are few are far between. Gay rights, homophobia, and tolerance and intolerance are briefly skimmed across and the relationships between characters are not well developed. For these reasons the Birdcage is more fun than it is important and more silly than memorable.

Good For: watching after a few drinks, ladies night

Bad For: homophobes, Larry Craig

The Gallery
The Surfer: * * * *
The Writer * * * *

City of God (2003)

* * * * *

City of God is one of the rare movies that is both entertaining and disturbing. If this film was a baseball player it would be a five-tool player, which means it has something for everyone. An urban drama about drugs and poverty, City of God chronicles a teenager's struggle to survive the slums of Rio de Janiero. The cast is almost entirely composed of amateur actors, and is narrated by Alexandre Rodrigues as Rocket, the main character. Fernando Meirelles directs and with genius combines style and purpose to create a unique film experience. The editing and cinematography are both top notch as multiple story lines and characters are interwoven into a fast-moving but deeply focused film. What makes City of God different from most urban dramas is the honest portrayal of how violence and poverty affect the development of children and young adults. The film is bleak but not without subtle bits of humor. It is this interjection of humor that allows the viewer to know and feel the young character's struggle. There are no Hollywood subplots, sappy plot twists, or exploitations of sex or violence. City of God beautifully shows a life of danger and desolation and how difficult it can be to make it out. But there is no happy ending. The film's veracious perspective of a cyclical pattern of violence and turmoil beg the question of what can be done to make changes.

Good For: genuine film fans

Bad For: those who can't read subtitles, people who liked Rush Hour 3

The Gallery
The Economist: * * * * *
The Film Maker: * * * *
The Writer * * * * *

Mean Girls (2004)

* * *

Like far too many movies, Mean Girls comes out of the gate firing but halfway through loses steam and crawls across the finish line. The first forty-five minutes is entirely fresh, funny, and honest; the second forty-five is stale, bland, and cliche. This is a teen comedy, so the acting is nothing more than should be expected. Lindsay Lohan stars as Cady, a girl trying to fit into a new school and wade through the cliques and hierarchy that exists in a modern high school setting, and Rachel McAdams co-stars as Regina, the queen of mean. No individual performances are distinctly funny aside from SNL vets Tim Meadows as the high school principal and Amy Poehler as Regina's mother. What makes Mean Girls a success is Tina Fey's script. The film is brutally honest in portraying high school age girls and the high school experience and is entirely unique in this respect. The first half of the film is a no-holds-barred, hilarious perspective on shallowness, frivolousness, and superficiality. Almost anyone who grew up in the 90s and 00s personally knows these characters, some better than others. Poehler's portrayal of the tragically pathetic mother of the popular girl is written and performed perfectly. But, sadly, halfway through the movie Mean Girls begins to fall down the hill it climbed so bravely, and like a cliche-snowball builds and builds to the size of Lindsay Lohans coke lines. In an attempt to churn the humor into morality, Fey falls into every trap, using plot lines that have been beaten to death. Mean Girls has more than enough memorable quotes to be worth watching, but also more than enough rehash from all other teen comedies to be shut off halfway through.

Good For: fans of teen comedies, girls of all ages

Bad For: 99% of the male population

The Gallery
The Economist: * *
The Film Maker: * *

Say Anything (1989)

* * *


Say Anything could be considered a teen movie classic for being one of the first of its kind, or a film travesty for inspiring the generation of terrible teen movies that followed. With Say Anything, Cameron Crowe became the first writer/director to use the teen romance/comedy as a platform to genuinely showcase the divergence within society known as Generation X. Released in 1989, the film start John Cusack as a confused post-high school graduate and his chase after an academic superstar and soon to be high school graduate played by Ione Skye. Before even mentioning any other cast members, it must be made clear that the only performance even worth noting briefly is Cusack; the acting is definitely not the strong point of this movie and at times is painful. Cheeseball performances paired with an even cheesier 80s-synth score create the typical atmosphere you would expect from an 80s film starring teenagers. Crowe's writing, however, pushes through the cheese at some points to cast light on relevant issues. The central theme is the confusion of which path to follow to adulthood that many 17-20 year old's experience. Lloyd, Cusack's character, struggles between joining the army, like his father, and becoming a professional kickboxer all while trying to coax a girl and her father. Although this may be a bit of a stretch, the dilemma of tradition and safety versus breaking the mold all while worrying about creating an image that will scare away others is presented surprisingly effectively through Cusack's performance. The side-plot involving John Mahoney (the dad from Frasier) as Diane Court's father seems unnecessary and the ending isn't particularly illuminating, but many of the scenes seem honest and real; much of the film could have actually happened. Say Anything should never surpass the Breakfast Club in terms of classic teen dramas, but does contain its fair share of memorable quotes and scenes, especially Lloyd holding the boombox over his head. For those who can look through the cloud of sappy 80s-ness, Say Anything will be a somewhat enjoyable experience.

Good For: teen comedy/romance fans, John Cusack fans, 80s movie fans, fans of Cameron Crowe

Bad For: anyone older (at heart) than 20

The Ice Harvest (2005)

* *

Is the Ice Harvest supposed to be funny? dark? thrilling? stylish? funny? Considering a cast headlined by John Cusack and Billy Bob Thorton and direction from Harold Ramis, the Ice Harvest should be better than it is. The film attempts to be too many things at once without being really good at anything. A lawyer and strip club owner played by Cusack and Thorton, respectively, attempt a heist on Christmas Eve and madness, or dullness, ensues. The film takes place in one long night and involves a cast of shady characters strangely interacting with each other. There are a few interesting scenes of dialogue with both Cusack and Thorton including one that involves a man in a box. The only supporting actor worth noting is the typically over-the-top Oliver Platt who is surprisingly entertaining as a drunken husband and father unsatisfied with life. Richard Russo (with no previously noteworthy works) and Robert Benson (Kramer vs. Kramer, Superman, Bonnie and Clyde) collaborated on the screenplay which comes across as some sort of side project that didn't receive much attention. The plot twists are generally not surprising and by the time there are surprises you don't care about them. It seems as if Ramis had hoped to combine violence and unlikeable characters in a darkly humorous, Tarantino-like fashion but the Ice Harvest doesn't contain any of the wit or intelligence needed for this to work. What was meant to be a film noir-ish heist movie comes across as boring and worthless.

Good For: Billy Bob fans

Bad For: heist fans, those who are easily bored

The Gallery
The Economist: * *

Superbad (2007)

* * * * *

There is usually one comedy each year that stands out head and shoulders above the rest. 2003: Bad Santa. 2004: Napolean Dynamite. 2005: 40 Year Old Virgin. 2006: Borat. 2007: Superbad. The sick masterminds at Apatow Productions (Anchorman, Virgin, Talladega Nights) have one-upped themselves yet again. After releasing the hilarious Knocked Up earlier this year, they have delivered the comedy of the year; a laugh out loud, endlessly quotable comedy timepiece that is non-stop funny. Superbad, which takes place in one day, is about two high school buddies' quest to party and get lucky one last time (or first time) before graduation. Of course this has been done before (American Pie), but never as funny or honest in depicting normal, everyday kids. Seth Rogen, who starred in Knocked Up and began writing this movie at age 13 in 1995, has brilliantly captured what it felt like to come of age in the late 90s and early 21st century. Jonah Hill and Michael Cera are cast perfect as best friends and deliver vulgar and profane dialogue like the camera just happened to catch one of their real conversations. Rogen, alongside SNL veteran Bill Hader, play two of the most memorable cops in film comedy, but Christopher Mintz-Plasse is the breakthrough star of Superbad. Mintz-Plasse plays Fogell (who has more than one alias), the lovable nerd on a bad streak. These characters encounter some unlikely events that on second-thought aren't that implausible when booze and girls are in demand. Superbad is genius for showcasing average people. There is no Chris Klein, Tara Reid, or Lindsay Lohan, and none of the actors will be modeling between this and their next movie, not even the token hot girls. The dialogue is hysterical but real, and the plot is surprising but mostly feasible. This is a comedy with more wiener jokes than one could even think is possible, but also genuinely delves into insecurity, first time experiences, and the bond between best friends. Anyone can relate to either Evan or Seth, or maybe even Fogell, and most people have experienced some or all of the feelings they portray. The film runs a little long at nearly two hours and could have been ten or fifteen minutes shorter, but the dry spots are only slightly less hilarious than the side-splitting bouts of laughter. Whether you’re in your 20s and watch in rememberance of similar adolescent experiences or in your teens and watch to learn how to be cool yourself, Superbad is the definitive film of what it felt like to grow up in the early 21st century.

Good For: a date, the 16-30 year old demographic, the young at heart

Bad For: those who are easily offended by four letter words and genitalia

The Gallery
The Economist: * * * * *
The Surfer: * * * * *
The Film Maker: * * *
The Writer * * * *

300 (2007)

* * * *

For all its outrageous violence and gore, 300 is one of the most visually beautiful films ever. Yes, ever. It’s also safe to say that there may not be a more "kick-ass" movie premise than the tale of 300 blood thirsty warriors defending their honor, country, and pride against an army of thousands of savage men and man-beasts. Having said that, visually beauty and kick-ass premise aside, 300 is a fairly average film. Director Zack Snyder deserves all the credit in the world for taking Frank Miller's comic vision and somehow crafting it into a two hour picture. Snyder used a cast of little-known actors but got above average performances out of most all of them. Some acting is over-the-top, but almost everything in 300 is over the top. No actor stands out, but this agrees with the all-for-one mentality of the Spartan army anyway. The battle scenes are executed brilliantly but become a little repetitive. Emotions ride high throughout the film, but are limited to the testosterone fueled feelings of aggression, adrenaline, and power. There is very little beneath the surface of 300, but it was never intended to be an AFI Top 100 classic. Many films today use CGI, in fact, way too many, but there may not be one that has used it more attractively and effectively than 300. The out-of-this world experience of 300 will hit a grand slam with some audiences and strike-out with others. But make no doubt about it, 300 will definitely strike out swinging.

Good For: fans of war movies, men drinking beer, CGI fans

Bad For: squeamish viewers, art-movie types

The Gallery
The Economist: * * * *
The Surfer: * * * *
The Writer * *

Easy Rider (1969)

* * * * *

Easy Rider has all the ingredients needed for a classic; groundbreaking direction, genius editing, thoughtful acting, and a killer soundtrack. Nearly 40 years from its release, the definitive film of the counterculture movement of the 1960s still feels as beautiful and shocking as it did during the summer of Woodstock, Vietnam, and the Manson family killings. The brainchild of writers/co-stars Peter Fonda and Dennis Hopper, the film details two rebels cashing in on a big score, traveling from LA to New Orleans in the search for Mardi Gras and the American Dream. Hopper's direction is phenomenal, especially considering the work he followed Easy Rider with. It is difficult to think of a movie that more artistically presents the natural landscapes of America. Hopper's acid trip sequence is as memorable as it is horrifying and must surely represent the most genuine visual reproduction the sensation. The film is purposefully slow in pace giving the viewer the true feel of a road trip. The acid-flash feel of the editing is so unique that Easy Rider may have been the first and only film since to use it. Hopper and Fonda completely embody their characters, but Jack Nicholson steals the show in his first major performance as the lawyer George Hanson. Nicholson's character is one of the most memorable in film history as he delivers carefully crafted lines with authenticity and distinctiveness. The soundtrack becomes a character itself as Easy Rider was the one of the first movies to take advantage of using previously recorded popular music, rather than a composed score, to color the action. The tracks are not only classics but fit the imagery perfectly. But what makes Easy Rider truly legendary is the layers of artistry it presents. Many films today are nice of the surface or entertaining, but Easy Rider is in the select group of films that are deeply thought out bodies of work, in this case glorifying and critiquing a diverse America. Strong characterizations illustrate the polarized America of the forward thinking hippie movement from the conservative backlash that was provoked. The film is full of visual and verbal allegory, metaphors, and symbolism, and the stunning conclusion questions just how successful the counterculture uprising was in changing America. When Peter Fonda's character says, "You know Billy, we blew it," it is one of the most crushing, thought provoking lines in film. Simply put, Easy Rider is a masterpiece that was and is mandatory viewing.


Good For: everyone, fans of road trip movies, artists, those in an alternate state of mind

Bad For: narrow minded viewers

The Gallery
The Surfer: * * * * *
The Film Maker: * * * * *

Hot Fuzz (2007)

* * *

Hot Fuzz is the 21st century British version of the Naked Gun, but not as good. One of the most critically acclaimed movies of 2007, Fuzz had a lot of hype but does not live up to the billing. This is not to say it is a failure, but an overall funny movie with too much fat on the sides. Simon Pegg, who could stand in front of the camera making faces and be hilarious, and Nick Frost, his sidekick, have proven to be a top comedy tag-team. After Shaun of the Dead, however, Hot Fuzz feels like a bit of a letdown. The story is nothing groundbreaking; an over-achieving cop is transferred to a small town and runs into more trouble than he expected, but the lack of originality in story line is cancelled out by the tremendous death scenes (think Final Destination). Whereas Shaun of the Dead was solidly amusing throughout, many, but not all, of the best jokes in Hot Fuzz will have already been seen in the previews. The direction is as good as any comedy this year and action scenes feel authentic, but are way, way too long. Hot Fuzz loses steam time and again to be rebounded by a good joke, and many of the British jokes will fly right over most viewers’ heads. Fuzz is a solid comedy, which is hard to come by, but nothing special.

Good For: fans of cop comedies, Brits, stoners

Bad For: people who get bored easily, tired people

The Gallery
The Economist: * * * *
The Film Maker: * * * *

The Simpsons Movie (2007)

* * * * *

Is the Simpsons Movie any different from the television series? Not really. Is that a bad thing? Not at all. The Simpsons is one of the greatest, most consistent television series of all time and fans have been waiting for the big screen version for years. It’s hard to believe how anyone could be disappointed with the feature film; it was worth the wait. The movie version is essentially a 90 minute episode which means a deeper plot and more laughs. Many notable characters from the series appear briefly, but the most important of all reminds us over and over again why we love him. Homer is a bonafide movie star and steals the show. His errors and triumphs as a father, husband, and man are what allow so many people to relate to the Simpsons. The remaining family members each have their time to shine as well, and provide both laughs and insight into the bizarre nature of the family unit. The story itself isn't shocking or groundbreaking, but the writers deserve high praise for delivering countless jokes full of irreverence, irrelevance, sarcasm, and wit all while keeping the story moving at a fast pace. There is absolutely no filler, and like any classic Simpsons episode, there are a handful of lines that are sure to be quoted time and again. The move from small to big screen and a PG-13 rating afforded the writers a little more creative freedom, but there is nothing any kid who watches the series shouldn't see. The fact that little or no profanity, obscenity, or vulgarity was used to make the funniest movie of 2007 shows the creative team’s brilliance. How else can a nearly 20 year-old franchise still feel so fresh? Those just discovering the Simpsons and die-hard fans who have been there from the beginning will love the Simpsons movie which is more than worthy to be on the big screen.

Good For: Simpsons fans, people who laugh at funny things

Bad For: people that suck

The Gallery
The Economist: * * * *
The Surfer: * * *
The Film Maker: * * *
The Writer * * * *

Sicko (2007)

* * * *

A documentary is difficult to review because there is no acting, nothing really "special" about watching it on the big screen, and no overwhelming sense of creativity or artistry. Documentaries must, therefore, be critiqued for their thoughtfulness, relevance, entertainment value, and truthfulness. Michael Moore, one of the most polarizing figures in popular culture, is hated by one and loved by another. He has perpetuated this characterization by creating films that strongly attack distinct parties, persons, and ideologies, but Sicko is break from the old Michael Moore. For the first time Moore has singled out a problem that everyone in America can relate to because everyone gets sick, or has family that gets sick, and experiences the U.S. health care system. With his typical wit, humor, and ability to pull heartstrings, Moore explains the sad state of the system by showing how we have gotten to where are today, who has suffered along the way, and ideas for change. Whereas in the past his spotlight shined on conservative, right wing politicians and personalities, Moore points that finger at everyone responsible and delivers blows across the political spectrum (one of the hardest hits is aimed at Hilary Clinton, and its a knockout). The combination of touching personal stories and sprinkles sarcasm keep the viewer entertained, informed, and moved. Sicko isn't perfect. Few scenes come across as excessive or unnecessary but the ones that do stand out. In addition, Moore doesn't go too far in showing critiques of universal health care. But these problems are few are far between and don't take away from the relevance or importance of the film. Moore comes across not as an agitator or trouble maker but as a passionate human being trying to figure out how America can be a better place for everyone. Sicko challenges the viewer to consider how such a powerful country can overlook such a significant problem that affects so many people. Moore has raised a flag that should be at least noticed by all Americans.

Good For: everyone with a thinking brain

Bad For: people who cry at movies, the ignorant, the narrow-minded

The Gallery
The Film Maker: * * * *
The Writer * * * *

Harry Potter and the Order of the Phoenix (2007)

* * *

Is it possible to recreate the detail of nearly 900 pages of source material in a little over two hours? The fifth installment of Harry Potter seems to point toward "no." New director David Yates and new screenwriter Michael Goldenberg, who have done nothing remotely close to the grandiosity of Potter, faced a terrific challenge adapting the massively detailed Order of the Phoenix into a film enjoyable for both those who have and have not read the book. In trying to make the film exciting, scary, action-packed and never a hint of boring, the two appear to have left out what makes the Potter series special; friendships, adolescent confusion, and multitudes of characters interwoven through shared experiences and fascinating dialogue. The film is so fast paced in its attempt to include as much as possible from the book that it feels like visual Cliff notes. There is considerably less acting compared to other Potter films because scenes are rushed and cut short, but what little acting is left has improved tremendously. As has become expected, Gary Oldman is once again a standout as Sirius Black and Ralph Fiennes is haunting as the dark wizard Lord Voldemort. Surprisingly, Radcliffe, Watson, and Grint all turn in their most funny and touching performances as the big three of the film. Radcliffe finally seems like a true actor, and Grint, despite seeing the least time on film of the three, displays subtlety as the hero's best friend. As in all the films, the most underrated actor in the series, Alan Rickman, is perfectly horrifying as Professor Snape. Newcomers Evanna Lynch as Luna Lovegood and Imelda Staunton (from Vera Drake) are some of the few spot-on representations of their literary counterparts. Although the film strays from the book more than any of the previous four, this should not count against it; it must be able to stand as its own for those who have not read the book. It's clear that such a fast pace will not recreate the intricate plot lines found in the book, but it also seems that the movie itself does not provide its own narrative reward for the viewer. With almost zero character development, way over-edited dialogue, and quick jumps in storyline, all that is left is dazzling special effects that would look amazing on the IMAX screen. The dramatic climax involving Harry and a close friend seems to pass by without in an instant, but the final fight scene between Professor Dumbledore and Lord Voldemort is massive and one of the most memorable in the film series. So maybe this is what the fifth Harry Potter movie truly is, more of a thrill ride than an art piece.

Good For: Harry Potter fans, fans of action movies

Bad For: those who have not read the book, those who who have not seen all four films

The Gallery
The Film Maker: * *

Shrek (2001)

* * * *

Shrek was billed as "the greatest story never told," and may infact be one of the best non-Disney/Pixar animated films. By now everyone knows the story about Shrek, the ogre voiced by Mike Myers, and his unlikely quest for Princess Fiona (Cameron Diaz), and this is a testiment to both the writing and direction. Shrek is filled with both child and adult humor ranging from fart jokes to pop culture references. Although there are few weak points to the film, nothing is as strong as scenes involving both Shrek and Donkey, voiced to perfection by Eddie Murphy. Hearing Murphy completely embody the outlandish Donkey makes one wonder how he has done films like the Adventures of Pluto Nash and, of course, Norbit when he is one of the very few comedians who can be hilarious both dropping F-bombs or saying "poop." Being a fairy tale, Shrek has the typical, sentimental hero rescues Princess from evil Prince storyline, but the Donkey/Shrek combination make what is commonplace seem new and fresh. Memorable characters like the Gingerbread Man get too little screentime, whereas above-average (at best) characters like Lord Farquaad get too much. The visuals, however, are amazing and when combined with an impressive score transport the viewer into what truly feels like a land far, far away. Shrek isn't a landmark film but is the type of movie that can be watched repeatedly and quoted and who doesn't like those?

Good For: kids, families, a date, people who like donkeys

Bad For: mean people, people who don't like donkeys

The Gallery
The Film Maker: * * *

On the Waterfront (1954)

* * * * *

Most people forty or younger will only recognize one thing about On the Waterfront; the line "I coulda been a contender." Movie fans will have seen the film listed on all-time best lists and some know Marlon Brando is considered the Babe Ruth of acting but don't know why. It’s hard to imagine that any film created over a half-century ago can still have impact on young viewers. One watch of On the Waterfront, though, is like a revelation of why acting, directing, and scoring of films is the way it is today. One can see that each shot, line, acting choice, etc., inspired a film that followed it. The film is more than a history lesson, but the coming-of-age, fight against corruption story of Terry Malloy (Brando) and his decision to testify against the mob which controls the waterfront union. Watch any movie from years before On the Waterfront and it becomes clear that the subtle choices Brando brought to the screen had never been conceived by previous generations of actors. Every scene with Brando is magical, but this isn't a classic only because of him. Karl Malden plays Father Barry, the waterfront's local priest, and is almost as crucial to the film as Malloy. Malden plays a priest in a way that is rarely, if ever, seen on film. Father Barry is a regular person, drinking and fighting with society, but has the courage to stand up against injustice, speak out against corruption and initiate movement toward change. Elia Kazan, also known for A Streetcar Named Desire, created an efficient masterpiece with no fluff; every scene is necessary and overflowing with emotion, beauty, and relevance. It seems that many "classics" are overrated films that are more nostalgic than artistic, but On the Waterfront is everything it is hyped to be and more. The movie transcends Hollywood, popcorn, and DVDs, and saturates the viewer with a complete, powerful film experience.

Good For: anyone who watches movies, a date, to watch with mom or dad or even grandpa/grandma, film buffs, future actors

Bad For: people who can't stand black and white films

The Gallery
The Film Maker: * * * * *

Smokin' Aces (2007)

* *

Smokin' Aces runs 108 minutes; edit out 45 or 50 minutes and you have a good movie. Trailers made Aces appear to be a fun, stylish action/comedy and the first half of the movie is just that. The second half of the movie, however, completely falls apart leaving an unlikely, unimaginative, and disappointing resolution with heaps of useless violence. The idea of hit men and cops both after a snitch to wipe him out or keep him afloat, respectively, is a good idea that should have worked. Don't fault the actors for the collapse. Jeremy Piven of Entourage fame plays the Vegas showman turned drug dealing gangster wanna-be turned rat. The character seems like a strung out Ari Gold that finally gave up chasing Vincent Chase around and succumbed to women and cocaine, but is that a bad thing? Ryan Reynolds, who plays one of the cops chasing Buddy "Aces" Israel, can actually be taken seriously for decent acting, which surprised me more than any of the plot twists. Ben Affleck, Andy Garcia, and Ray Liotta are all above average characters, and Common and the beautiful Alicia Keys both shine in their first appearances in a major Hollywood release. The story is presented in stylish text, quick cuts and short scenes that provide a fast moving plot. Even the soundtrack is put together well with a mix of old and new selections. Unfortunately, after about an hour the writing begins to fall apart until it is riddled with bullets just like most of the characters in the movie. Writer-director Joe Carnahan, who made the above average crime film Narc, attempts to tie many unrelated characters together and resolve a plot full of holes in the last forty minutes. In doing so, he rips off True Romance, Pulp Fiction, Usual Suspects, Reservoir Dogs, and more while providing absolutely nothing of substance or artistry. Watch this movie for an hour of fast-moving dialogue between interesting characters as they pursue Buddy Israel. About an hour in, shut off the movie and make up your own conclusion. Trust me, it will be more satisfying than the "is that it? who cares?" ending to Smokin' Aces.

Good For: Jeremy Piven fans, drunk people

Bad For: people upset by violence

The Gallery
The Economist: * *

Knocked Up (2007)

* * * *

There hasn't been much competition, but Knocked Up is the funniest movie so far in 2007. The simple premise of a guy played by Seth Rogen "knocking up" a girl way out of his league is colored with over-the-top raunchy, laugh-out-loud jokes. Rogen is known as the big guy from the 40 Year Old Virgin, and in his first starring role gets the job done but isn't great, and I'm not sure he could star in any film except this which seems to have been written for him. Regardless, because the jokes appear to have been written particularly for him he delivers them perfectly and most of them are made better by a great supporting cast. Katherine Heigl is suprisingly funny for an attractive lead and will draw in the Grey's Anatomy crowd, but Leslie Mann, also in 40 Year Old Virgin, steals the show as the funniest female. Her character is similar to Jeff's wife on Curb Your Enthusiasm as a brutally honest, profane wife of a rich, successful Hollywood husband. Her on-screen husband Pete, played by Paul Rudd, is the movie's best character. Hilarious and sensitive, he provides a laugh almost everytime he is shown with subtle sarcasm and simply great acting. Rogen's crew of stoners include the fat guy, the pervert, the oddball, and the Jesus look alike-blunt of the jokes, and each are equally funny and memorable. As Judd Apatow's follow up to the 40 Year Old Virgin, Knocked Up may be just as funny but less consistent and a little too long at over two hours. Rogen isn't nearly as strong a lead as Steve Carell, but Apatow has shown a knack for selecting great supporting casts. Knocked Up's highs are much higher than its lows and has countless great writing including one at a gynecology appointment which may be an all-time movie line. It's not perfect, but Knocked Up is a great summer comedy that anyone with a good sense of humor will thoroughly enjoy.

Good For: immature people, people who like jokes about weiners, bongs, and the combination of the two, a date

Bad For: easily offended people

The Gallery
The Economist: * * * *
The Surfer: * * *
The Film Maker: * * *

Shrek the Third (2007)

* * *

Disclaimer: I saw Shrek the Third without having seen the first two, but I think that this provides a better review as to how the movie stands on its own feet. Having seen about half of the computer animated movies that have been released this decade, I was blown away by the visual aspect of my first Shrek experience. Whatever animators the Shrek series is using, hopefully they are getting paid well. The animations look amazingly life-like, and they alone provide an interesting movie experience. The story behind Shrek the Third seems a little cookie-cutter. The king has died, Shrek must find the heir, the heir isn't worthy of being king, a villain takes the throne, madness ensues. What makes Shrek stand out among other animated movies is the amount of immature slapstick humor. There is no shortage of poop and vomit jokes, which I found to be excellent. I could listen to Mike Myers talk in his strange ogre accent for hours (although he still doesn't do the accent as well as Norm MacDonald), and Eddie Murphy doesn't suck as Donkey. Antonio Banderas and Cameron Diaz are both average at best in voicing their characters, and Rupert Everett, Justin Timberlake, and Larry King all fail to stand out as the supporting cast. The Shrek series has received praise for being so different in an industry that produces four and five remakes of the same film and retreads of the same storyline. Shrek the Third, however, seems a good place to bring the series to an end as the story and characters begin to lose their uniqueness. There are no surprises, and the use of many former Disney characters isn't cute or necessary. No one wants to see Captain Hook or Sleeping Beauty again, and everyone wants to see more characters like the wild little Gingerbread Man. I also don’t understand the scoring of the film. How does a Wolfmother song fit into a land called Far Far Away with a frog as king? Unfortunately, like most sequels, part three of Shrek doesn’t appear to live up to its predecessors and shows signs of wear and tear. It doesn't seem necessary at all to have seen the first two Shreks to enjoy the third, and it may be possible that someone who has seen the first two will be more suspect to disappointment. I would recommend, though, that someone who truly enjoyed the first two should take the time to finish the series. Overall, Shrek the Third is funny but not hilarious, and interesting but not captivating.

Good For: Shrek fans, kids, Mike Myers fans

Bad For: sophisticated individuals, mean people

Happy Feet (2006)

* * * *

It’s not often that a movie can be incredible for children and even reasonably tolerable for adults. Happy Feet, however, employs a typical animated, children's movie storyline but entwines parable, symbolism, and allegory to bring much more value as a film. Will young kids pick up the deeper meanings behind the characters and their actions? Who knows, but if they do notice anything beneath the surface and begin to ask questions, Happy Feet has considerable value. In the Antarctica of Happy Feet, penguins are all born with a song unique to their personality. The main character, Mumble, is dropped while in the egg and is born unable to sing a note but has better dance moves than Emmitt Smith. His striking difference leads to isolation and persecution, and a cast of interesting characters join him on the resulting journey to find acceptance. None of the characters are as funny as the Penguins of Madagascar, but each is much more complex and contribute more to an evocative story. Happy Feet has an A-list of celebrity voiceovers including Nicole Kidman, Brittany Murphy, Elijah Wood, Hugh Jackman, Hugo Weaving, and even Fat Joe, but none are very noticeable. This may be a plus, though, as none of the characters are looked at as a cartoon version of the person doing the voices. Robin Williams voices a few characters and turns in his least annoying voice-over performance since playing the Genie in Aladdin. The only other notable film by director George Miller was the Mel Gibson cult-classic Mad Max. However, the entire production team also created Babe, one of the best films of the 1990s. Although Happy Feet doesn't quite live up to Babe-status, it is similar in that is an entry in the under-12 genre that appeals to an audience of all ages. Happy Feet has received acclaim and criticism for both subtle and blatant messages about issues such as the environment, but it is Happy Feet's depth as a story and talking point that make it something that should be seen by both children and adults. It isn't just another computer animated movie designed to make money at the box office, and has earned a spot in the conversation with legitimate cinema.

Good For: kids, a date, someone babysitting, hippies

Bad For: people who enjoy littering, zoo employees

Fracture (2007)

* * *

Fracture is somewhat similar to Breach in one way, and similar to 9 out of 10 suspense films in every other way. This movie should be seen for one reason only; the on-screen interaction between Anthony Hopkins and Ryan Gosling. It should be skipped for many reasons, including a terribly unrealistic plot and impossible circumstances, bad acting outside the two stars, and generic direction. Hopkins plays a genius engineer who kills his wife and acts as his own lawyer in court. He is matched up against Gosling's character, William Beachum, who plays an up-and-coming prosecutor in the LA law system. Gosling, who is proving time and again that he is a seriously good actor that is here to stay, holds his own on screen with film legend Hopkins. Beachum is a good character both on script and on film, and many college-age and business men/women viewers will compare him to an over-achieving, charming golden boy they know in real life. Hopkins character Ted Crawford is, suprise, surprise, a genius psychopath. But, fortunately, Hopkins plays the character very well and creates yet another spin on this over-used persona. None of the supporting actors are worth mentioning as good or bad, they are all completely forgettable. There are a few twists and turns that aren't apparent at first and provide an actual mystery, however I was disappointed with the conclusion. Despite everything that won't be remembered from this movie, Hopkins and Gosling are great fun to watch, and its a shame that they didn't have more to work with.


Good For: fans of psycho-genius suspense films, people who like movies about the legal system, people with a crush on Gosling

Bad For: lawyers who can pick apart the conclusion at least an hour early

The Gallery
The Surfer: * *

Grindhouse (2007)

* * * * *

Grindhouse can be viewed in two ways; Planet Terror and Death Proof individually, or, as it should be, as a complete double feature with segments before and in between the movies. As a double feature Grindhouse runs right around three hours, but unlike grueling three-hour epics, it is split into two films with plenty to keep you entertained during and in between the films. True film fanatics can't ask for a better pairing of modern writers/directors than Robert Rodriguez and Quentin Tarantino. Regardless of your opinion of the two individually, they are two of the few directors in Hollywood with the balls to make groundbreaking movies each time out. And with Grindhouse, they have done it again. The viewer is entirely transported into the 1970s where double feature B-grade horror movies were showing at drive-ins every weekend. From the first frame, the sounds and pictures are 100% genuine retro-exploitation, and it is clear that meticulous attention was paid to every detail. The scripts are sure to provide countless lines that will be quoted for years to come, along with action scenes that will be talked about for days. To get the real taste of Grindhouse, you have to watch the not funny, but hilarious fake trailers that come before and in between the movies. Directed in part by Rodriguez, Tarantino, and Hostel director Eli Roth, each preview is so funny that you will be wishing one of the directors next work actually somehow turns out to be Machete, Don't, Werewolf Women of the S.S., or Thanksgiving. There is a distinction between being different just for the sake of difference, and bringing something new to the table. Grindhouse is genius in giving its viewers a no-holds barred, over-the-top, thrilling trip in the way-back machine. The films can be discussed at-length both as independent works and as a whole, but few people will watch Grindhouse without having a good time. It won't, and shouldn't, win an Oscar, but it will not be soon forgotten.

Good For: a summer night, a date, with friends, horror-movie fans, fans of the directors, adventurous people

Bad For: tight asses, people against film violence, people who like romantic comedies, squeamish people

Death Proof (2007)

* * * *

Death Proof, the second half of the Grindhouse double feature, is pure Tarantino. Extensive dialogue sets the mood and pushes the plot, and major plot turns are accentuated by action and violence. Death Proof isn't as fun as Planet Terror, but like all of Tarantino's works, it puts a brand-new, unprecedented twist on a thoroughly explored genre, and his new version is just as good if not better than the what has come before. The story revolves around Stuntman Mike, played by Kurt Russell, who preys on groups of females with his death-proof car. The only other well-known actor (other than a Rose McGowan appearance) is Rosario Dawson, who plays Abernathy. She and three friends go to test-drive a Dodge Challenger and encounter Stuntman Mike's death-proof car on some back roads. The movie plays out in two parts; Stuntman Mike's meeting and chase after two different groups of girls. Each part comes with plenty of dialogue that humorously explores each character and plenty of action involving the cars. Just like the B-movie genre Death Proof was made to be a part of, the movie has its fair share of cheesy lines, unrealistic action, and fantastic gore. The acting is top-rate, the directing is always on point, and the soundtrack and visuals create a "what's going to happen next" atmosphere. As an entire film, Death Proof may not be as thrilling as Planet Terror, but it presents something different for part two of the double feature so that you aren't watching the same movie twice.


Good For: people who like action scenes, car junkies, Tarantino fans

Bad For: people who get bored with dialogue, people with weak stomachs

The Gallery
The Economist: * * *
The Film Maker: * * *

Planet Terror (2007)

* * * * *

A good film will take you out of reality and into a world you haven't seen or heard before. Simply put, Planet Terror is an hour and a half trip to a different time and place that most people under 35 haven't seen or been to. This is the perfect zombie-gore, B-movie, exploitation film. But its not just a remake. Everything about the film is 1970s except the setting and the characters. The plot involves infection with a strange virus and the uninfected running from and fighting the infected, nothing groundbreaking or never-before seen. Unlike anything that has been released in my lifetime, though, this movie is over-the-top everything. Every minute detail has been carefully put in place so that each shot, line, and sound, is authentic. There's laugh-out-loud lines and visuals, cheesy love scenes, unrealistic action sequences, jump-out-of-your-seat scary moments, and the best gore ever captured on film. Every character is perfectly bizarre, including comedian Freddy Rodriguez as El Wray, Josh Brolin as Dr. Block, Jeff Fahey as J.T. the barbeque man, appearances by Bruce Willis and Fergie, and Rose McGowan, as hot as ever as Cherry Darling. Planet Terror is more than just a pretty (or horrifying) visual piece; its a completely overwhelming sensory experience. Robert Rodriguez has created a masterpiece in both direction and writing that hits the bull's-eye over and over again.


Good For: people who like thrill rides, zombie-movie lovers, B-movie fans, someone looking for a good time

Bad For: people with weak stomachs

The Gallery
The Economist: * * *

Prime (2005)

* * * *

To call Prime a romantic comedy is to banish it to movie wasteland where no normal humans will watch it, especially no males with functioning testicles. But Prime is essentially a romantic comedy; a story that tracks the ups and downs of a couple with bits of humor injected here and there. The difference between this and every other romantic comedy, though, is that this is what a romantic comedy should be. Great acting, a good script, and unique direction. Uma Thurman stars as Rafi, a 37 year-old career woman fresh out of divorce. Meryl Streep plays a psychologist who helps her to cope with the divorce and her surprising new relationship with 23 year old David, played by Bryan Greenberg. Thurman is as hot as she has ever been, and one can understand why a 23 year old would be in love with her character. Streep is fantastic as an eccentric, dominant, Jew who can help her patients handle stress but cannot deal with her own. Thurman and Streep are the only actors most people will recognize. Greenberg is okay as the male lead but seems to be a better fit for TV, which is what most of his career has been besides Prime. The film was written and directed by Ben Younger, whose only other major film was Boiler Room with Vin Diesel. The script is intelligent, funny, and has a modern feel that is very fresh. I'm anxious to see what is next for Younger. Although it wasn't a box office hit, Prime stands out among the trash heap of Romantic comedies. Sandra Bullock was originally slotted to play Thurman's character but left the film after the director refused to make major changes in the script. It makes me wonder if Bullock does this to every movie she stars in. Her last ten films have been garbage, and the film she leaves due to creative differences is a smart, unique entry in a terrible category of movies.

Good For: a date, women, people with a crush on Uma Thurman, people in relationships with odd age differences

Bad For: rednecks, people who like action movies

Blades of Glory (2007)

* * * *

If anything, Blades of Glory proves, once and for all, Will Ferrell is the funniest person in the world. Ferrell takes a movie that has no business being funny and fills it with scenes and quotes that will be rehashed over and over again. The trailers for the movie tell you everything you need to know about the plot, there isn't a single surprise or twist waiting for you in the theater. But unlike what I, and likely many people may thought going in, all of the jokes are not in the preview. In fact, Blades of Glory has some hilarious, dirty, adult jokes, and not all of them are Ferrell's. Napolean Dynamite, aka Jon Heder, is basically a feminine Napolean on skates. He doesn't bring anything new to the table, but with Ferrell by his side, this is his best non-Napolean performance. Amy Poehler, a loud-mouth who is rarely funny on Saturday Night Live, finally is worth a laugh. She and Will Arnett play a brother-sister skating duo that make incest funny again. Jenna Fischer, otherwise known as Pam from the office, plays a role somewhat similar to Pam. She is not quite as sarcastic, but be careful eating popcorn when she talks. She has the funniest line of the movie. Craig T. Nelson doesn't really do anything spectacular, but his somewhat serious role allows Ferrell's role to be that much more ridiculous. The storyline is no different than any other sports comedy, that being introduction to the characters at their height, a fall, and a rise back to the top met with a resistance that almost takes everything away. The difference between this and other sports movies is the writing. I expected a lot of "falling down, knocking things over" type humor, and there is a fair share. But what makes this movie a must-see is the hilarious lines that hit you over and over. It's not as funny as Anchorman or Talladega Nights, but it is in the same ballpark, and Ferrell fans will be pleasantly surprised.

Good For: immature people, Ferrell fans, a date, sad people

Bad For: old people

The Gallery
The Economist: * * *
The Surfer: * *
The Film Maker: * * *

The Number 23 (2007)

* *

While I was watching The Number 23, I was trying to decide if it was a one or two star movie. Then, I decided that it maybe a two star film. One plus two; three. The number of stars I gave it; two. Two, three. 23. If reading that made you ill, then you will hate The Number 23. If you can stand to watching connections like that be made for 90 minutes, The Number 23 may be your favorite movie of all time. Joel Schumacher, who has made other terrifically average movies such as Phone Booth, Batman Forever, and Batman Returns, has created yet another mediocre-to-bad thriller that is more confusing than anything. Jim Carrey stars as a man obsessed with the number 23 and its bizarre connection to almost everything in the world. Like almost all of Carrey's films, he is fun to watch whether funny, dramatic, or crazy. This is clearly not the dramatic role he played in Eternal Sunshine of the Spotless Mind, and comparing the two is a mortal sin, but watching him in his emo-haircut go insane will probably be enjoyable for the casual movie watcher. Virginia Madsen (who looks very good with dark hair) also collected a paycheck for this movie and is as average as she could get. Although neither her nor Carrey are terrible, the writing for this movie was dreadful. The lines were written and delivered like they were meant for a high school or junior high play. This doesn't seem to be a fault to the acting though, as every character delivers their lines with the same bland, fake tone. Despite all of this, the film keeps you at least somewhat interested until the plot twists start to unfold. At this point, the Number 23 reverts into every other thriller with the same, predictable explanations, bringing nothing new to your movie-watching experience. As a thriller, you aren't too scared or thrilled, and as a mystery, you're more confused than intrigued. But for the average movie watcher, the Number 23 is something to do on a Friday night. (The number of words in this review; 348. 8 divided by 4; 2, which leaves 32. 32 backwards; 23.)

Good For: mindless movie watchers, general suspense/thriller fans, a date

Bad For: easily confused movie watchers, obsessive compulsives

The Gallery
The Economist: *
The Surfer: *

The Doors (1991)

* * *

The Doors is a great musical, and an okay film that is enjoyable for a select audience. Oliver Stone recreates the sixties with a vivid atmosphere of peace, love, and the Vietnam War, but like almost all his movies, it is also filled with explicit symbolization, over-the-top acting and story lines, and truth-stretching. Because of this, Stone fans will love the Doors as a quintessential Stone film. Others may be confused or frustrated by scene-after-scene of Val Kilmer as a destructive drunk. Regardless, Kilmer's performance as Jim Morrison may be the best of his career. At times it is scary how much he resembles the Lizard King, and the great similarity in looks helps you to truly imagine Morrison on the screen. He captures the poetic genius of one of rock's most legendary frontmen, and also portrays a rambling madman. In the late sixties and early seventies, Morrison was both the very essence and a complete waste of life, and Kilmer shines in both roles. Kyle MacLachlan, now more well known for parts on Sex and the City and Desperate Housewives, is very good as Ray Manzarek, the keyboardist for the Doors. His relationship with Kilmer's Morrison produces some of the more memorable scenes. Also worth mentioning is Meg Ryan, whose role as Morrison's most steady love interest is far from anything she played in any of her nineties romantic comedies. She holds her own as the sex and drug crazed girlfriend. For rock fans, the Doors is worth watching for the music alone, as all of the Doors prominent songs (except Peace Frog) are included. The live performances are where Kilmer and Stone shine brightest. Kilmer reproduces Morrison's eccentric stage act almost flawlessly, and Stone recreates the exotic atmosphere of a Doors live show perfectly. Unfortunately, Stone gets a little carried away with the music and abandons dialogue for a good part of the film. Watching more of Morrison speaking with his philosophical quips and deep, profound thoughts would have been nice. Those who can't catch the vibe of the music may be ready for Morrison to pass away in his bathtub after two hours of drunken mistakes and abuse.

Good For: Doors fans, Stone fans, stoners

Bad For: alcoholics, spouses of abusive alcoholics

The Gallery
The Surfer: * * * *
The Writer * * * *

Idiocracy (2006)

*

Throughout the nineties Mike Judge proved he could make versatile comedy across multiple genres. Office Space was a cult classic, smart, and satirical. Beavis and Butthead was the complete opposite, the ultimate display of immaturity that used its stupidity as genius comedy, and King of the Hill was a mainstream comedy that is still in syndication. Idiocracy, which has garnered a respectable cult following as it has lingered in Hollywood purgatory for years, is none of the above. Absolutely nothing is smart about Idiocracy, the stupidity is not funny, and after not being released in theaters or distributed by any major film company, it is unlikely to ever gain a mainstream audience even on DVD. The premise of Idiocracy is in itself brilliant. Joe Bauers, played by Luke Wilson, is the most average human being on earth. As part of a U.S. army experiment he is frozen to be re-thawed a year later, but actually is not rethawed until over 500 years later. In the distant future, 500 years of evolution has selected for an incredibly stupid human race and Joe finds himself as the smartest human being on earth. Maya Rudolph plays a prostitute who is also a part of the experiment. Wilson and Rudolph are painfully not funny especially when they are on the screen together. Dax Shepard plays one of the humans of the future and talks in an awful future "hick, ebonics, valley girl" combination accent that is way more annoying than funny. Where Office Space was the perfect satire of life in the cubicle, Idiocracy completely whiffs at the chance to poke fun at the increasing stupidity of the human race. Occasionally there are a few fart jokes or plays on four letter words that get a chuckle, but as a full length feature, the film falls flat on its face. I'm not sure what Judge was thinking, and I see myself for the first time siding with the film companies. This should not have been released and needed major work, probably a hit of the reset button. Its a shame such a great idea is wasted on a terrible plot with a funny joke every 30 minutes.

Good For: people who liked Norbit, Beavis and Butthead (themselves)

Bad For: people with a double digit IQ, people with hobbies/friends/relatives

The Gallery
The Economist: *
The Film Maker: * * *

Zodiac (2007)

* * *

Zodiac is a hit-and-miss movie, as its three star rating states, but in a movie this long, thats a significant amount of misses, and the misses overshadow the hits for the most part. Based on the true story of the Zodiac killer, Zodiac is more of a chronicle of how detective work is done than a jump-out-and-scare-you, hold you to your seat thriller. The "based on a true story" factor is one of the strong points of the movie, as it is interesting and entertaining to watch how such a bizarre turn of events over such a long period of time could happen. You are led down several paths, but unlike most films, all of the characters are right along with you with either no idea who the culprit is or sure they have him when it is in fact wrong. The directing is done quite well, as you feel transported right into the late sixties. The style of the set and wardrobe are completely authentic and the soundtrack could be a #1 album. Although David Fincher creates a genuine atmosphere for a true story to take place, fans of his other great films Seven and Fight Club will be disappointed. The biggest miss of this film is the length; it is entirely too long. There is a nearly forty-five minute stretch of the film where the main character, Jake Gyllenhaal, is not on camera. The acting is very average with no stand-out performances. The previously mentioned Gyllenhaal is not bad but not great as Robert Graysmith, who tirelessly researched the Zodiac killer and authored the book Zodiac. Robert Downey Jr.'s performance is very, very entertaining, but does not hold much artistic merit. He is memorable as an eccentric coke-snorting drunk Paul Avery, but is this any different from the real life Robert Downey Jr.? His wardrobe, including some late sixties dress-shirt-scarf combinations, is without question sweet. Mark Ruffalo is completely forgettable as Inspector David Toschi. John Carroll Lynch, who many will remember as the lovable Norm Gunderson from Fargo, is only on-screen briefly but performs well as a possible suspect. Another performance worth mentioning is Donal Logue, the taxi driver in early nineties MTV commercials and the star of the former Fox series Grounded for Life, as Ken Narlow. Unforunately, the small roles outshine the stars in the film, and even so only by a little. As can be said for Robert Downey Jr.'s performance, the film is entertaining, but is it really art? Or even good film? For a suspense movie, this is far above the usual five Hollywood suspense thrillers that are released each week, and will find a certain audience. With more editing, a more concise story line, and a stand-out performance, it would be a must-see.

Good For: suspense fans, a date, people who like movies based on truth

Bad For: people who can't hold their pee well

The Gallery
The Economist: * *
The Surfer: * * * *
The Film Maker: * * * *

Babel (2006)

* * * *

Babel is a moving film about the inter-connectedness of the world we live in, but the most important message it conveys may be the importance of recognizing the equality of individual people across the globe. An ensemble performance with a huge cast, Babel is a scene-jumper which weaves multiple story lines together that don't form a whole until the film's last ten minutes. The plot may be difficult to follow for some. The scenes not only jump between characters but also back and forth in time, and it takes some time to understand where the film is at. The acting is great across the board as it shows how people react to incredibly demanding situations. Brad Pitt and Cate Blanchett are the big names, and both perform well in their roles, but it is the little known actors who make Babel a success. Adrianna Barraza and Rinko Kikuchi are both phenomenal as a Mexican housekeeper and Japanese school girl, respectively. Both had extremely difficult roles and are nearly flawless in every scene. Kikuchi, whose character is deaf, does not even speak a word and still steals every scene. Her performance is a model of what acting should be and was robbed of the Oscar she was nominated for. One of the story lines involves an Arab family whose names as actors I do not know, but the two young boys and the man who plays their father were tremendous and should be recognized. The score is fantastic, one of the best of 2006, as it creates a distinct atmosphere for each scene, and the visuals that it complements across multiple cultures (a Japanese rave, rocky wasteland of the Middle East, a U.S. desert land) are breathtaking. The acting rarely seems forced as well as the point it is trying to get across, and this may almost be to a fault. The directing is great, but it seems as if Alejandro González Iñárritu was trying to whisper his message rather than shout it or even say it with authority. Regardless, I am very anxious to see what he comes with next. Overall, Babel has great acting, an intricate storyline, and an important message. Those are three things you rarely find in movies these days.

Good For: people who like socially conscious films, people interested in many cultures, fans of little known actors

Bad For: people who can't read subtitles, people upset by full frontal nudity, ethnocentrists

The Gallery
The Economist: * * *
The Surfer: * * * *
The Film Maker: * * * * *

Half Nelson (2006)

* * * *

There is nothing great about Half Nelson, but there's nothing wrong with it either. It is a dark, honest drama about a drug addict school teacher and a student he forms a close bond to. The film is very quiet with no pounding score to accentuate the emotional scenes and short, terse dialogue with quick cuts. Throughout the movie you get a sense that the director was trying to create a feel of reality with scenes that get right to the point without sugar coating. You aren't told when or what to feel, and the acting alone gets the point across. Ryan Gosling's performance as Dan Dunne was worthy of an Oscar nod (but not a win). His character is "getting clean" from past drug use but transforms from a teacher who dabbles with drugs at night to a man whose life is nearly destroyed by substances. Shareeka Epps more than holds her own as Drey, a student in Dunne's history class, and we will surely see her pop up in more films in the near future. She portrays a young girl trying to stay straight with a crack-addict teacher, a mother constantly getting the double shift, and neighborhood dealers trying to get her to run dope. It's the connection between Epps and Gosling which makes Half Nelson worthwhile. The film exposes the harsh reality of what can happen to someone who can't get loose from the hold drugs place on them. This is clearly an independent film that doesn't use any of the Hollywood cookie-cutter techniques to make a statement. This is both its flaw and its bright point, as general audiences may become bored at some points. Half Nelson isn't for everyone, but its honest illustration of drug addiction and its effects make it worth watching.

Good For: independent movie fans, people who like movies about the inner-city, someone interested in drugs

Bad For: people who get bored easily, crack-cocaine addicts

The Gallery
The Film Maker: * * * *

The Deer Hunter (1978)

* * * * *

There are great movies, and then there are the ones that change the way you look at other movies, society and the world. The Deer Hunter, simply put, is one of the most powerful movies, start-to-finish, of all time. It chronicles the story of a few small-town guys from rural Pennsylvania that are swept into the whirlwind that was the Vietnam War. Unlike other Vietnam movies which focus on the violence and corruption, The Deer Hunter illustrates the devastation a war imparts on not only an individual but an entire town. Clocking in at an epic three hours and two minutes, the film shows a group of guys' daily life from work, to a bachelor party, to a wedding and how it all changes when they go to and return from Vietnam. Robert Deniro plays the lead role of Michael and is in his prime as one of the greatest actors ever to appear on the screen. He is flawless as the staunch, but softspoken leader of the group. Christopher Walken turns in a performance most people from this generation have never seen from him, as Nick, a powerful supporting character and best friend of Michael. Meryl Streep, another legend of the big screen, is excellent as is the rest of the gang including John Savage and the late John Cazale. The Deer Hunter includes a few of the most memorable scenes I can remember, such as an emotionally rivetting game of Russian Roulette that showcases some of the most phenomenal acting I've ever witnessed. The acting is clearly top-notch throughout, but the directing is what sets the Deer Hunter apart from other films. There has never been such a vivid portrayal of the impact war has on a community. The characters in this film could be anyone; the kid next door, your best friend in high school, or even you. War changes the characters deeply, and parallels can easily be drawn to what war has done to communities in the present time. The conclusion is heartbreaking but extremely meaningful, and the three hour film will leave you exhausted. However, this is what good films are supposed to do; stimulate your deepest senses and pull at your heart strings.

Good For: people who like epic movies, fans of socially conscious films, Best Picture fans, Vietnam film fans

Bad For: people who can't enjoy long movies, people with no emotions

The Gallery
The Film Maker: * * * * *
The Writer * * * * *