Rachel Getting Married (2008)

* * *

The Jist
Rachel Getting Married is not so much the story of Rachel, but the story of her drug and tragedy addled sister Kym, played by Anne Hathaway. Kym is home from rehab for the first time in years for her sister's wedding and confronts her past mistakes as she tries to recapture a sense of normal life. The nature of coping, forgiveness, and the structure of family relationships are explored as a dysfunctional family is reunited for a weekend.

What's Good
Directed by Jonathan Demme, best known for Silence of the Lambs, Rachel Getting Married may be the most honest film of the year. The events of a weekend wedding, from rehearsal dinner to reception, aren't sugar coated or dramatized whatsoever, but presented as they really occur, for better or worse. The "take it as it is" approach Demme utilizes allows his cast to disappear into their characters which yields several solid performances. Bill Irwin, as Kym's dad Paul, turns in a strong performance as a not so in-touch father always trying to look at the bright side of things, and Tunde Adebimpe (of TV on the Radio) is surprisingly good among veteran actors as Rachel's husband-to-be. The script, by debut screenwriter Jenny Lumet, is blunt and dark but also has a few light-hearted moments, just like the dysfunctional family it involves. The situations are real and believable, and the direction, script, and performances allow the viewer to feel as if they are within the scenes.

What's Not so Good
At times, Demme's "home video" filming style leads to scene's dragging on way beyond their welcome, at times minutes longer than the audience would expect or desire. The rehearsal dinner, which has its share of crucial moments for the film, feels like literally the entire rehearsal dinner. And just like the real thing, where the toast speeches start to run dry after the second or third one, the stories begin to grow old fast and by the time Kym delivers her powerful speech, it has been tainted by all the unnecessary footage that came before it. Almost every main scene drags on as the camera continues to follow the action well beyond what would be necessary to advance the plot in order to deliver the "window into reality" perspective. The film easily could have been 15-20 minutes shorter, and would have been a much tighter, more fierce portrayal of the weekend, even if some of the intimacy of the moment was lost.

What You'll Remember
This film is Anne Hathaway's announcement to the world that she is the real deal. She was a major figure in Brokeback Mountain, but until now, Hathaway was just the girl from Princess Diaries. But with this performance as Kym, likely the best of the year by any actress, she has proven that she can bring depth and range to a role. Kym is high strung but burnt out, desperate to change but stuck in a rut, apologetic but bitter, hopeful but defeated, and Hathaway delivers the full spectrum with great intensity in nearly every scene. Her performance is up against the odds of tedium, but a great role and a solid supporting cast provide the perfect recipe for her career-best effort.

Good for: fans of dysfunctional family films, Hathaway fans, filmmakers, addicts

Bad for: people who sleep through movies

The Gallery
The Surfer: * * * *

Son of Rambow (2008)

* * *

Films with a primarily pre-pubescent cast are behind the eight-ball from the start. Toss in British humor and the remaining audience willing to watch such a film is sparse. But Son of Rambow is more than just a comedy for kids, its a tribute to youthful adventure and the spirit of creativity. The film stars Bill Milner as Will Proudfoot, a young boy raised in a overwhelmingly strict religious household in 1980s Britain. Will's mother keeps him in check both at home and at school, and his life of constant order has made him extremely shy and quiet. A bully in his grade, Lee Carter, played by Will Poulter, saves him from trouble one day by taking the blame in the principal's office. In return, Carter demands that Milner act and assist in creating his homemade full length feature "Son of Rambow." The situations and drama that ensue is a mixed bag of hearty laughs and predictable plot twists, all spiced with British dialogue and humor. Poulter and Milner, both in their acting debuts, deliver solid performances considering the circumstances, and the friend/foe chemistry between them drives the plot quite a ways. Director Garth Jennings guides the cast of mostly children into believable performances, and his witty script is both deadpan and satirical. Jennings love for film-making is apparent in the detailed references Lee Carter espouses in his quest to make a full-length movie. The story is cute and there is plenty to laugh at, but the final third of the movie devolves into typical children's movie conclusions most everyone has seen far too many times. The film is much more effective in highlighting artistic passion and exploration than familial relationships and decision making. The energy and playfulness of the film can only carry the story so far, however, before it becomes more of the same. Jennings has improved over his dreadful interpretation of Hitchhiker's Guide to the Galaxy, but Son of Rambow still leaves something to be desired. Expect to see more of Poulter and Milner, however, as their onscreen tag-team is reminiscent of a young Simon Pegg and Nick Frost.

Good for: British comedy fans, parents with children, film-makers

Bad for: people who don't like kids, those who don't get British humor (humour)

Charlie Wilson's War (2007)

* * *

Compared to the weak war films of the past few years, Charlie Wilson's War stands out as the smartest, funniest, and easiest to watch. That's not saying too much, though, when you look at the competition. For having the word "war" in the title, the film, like the Cold War, has very few guns fired and focuses much more on the behind-the-scenes aspects of American politics. Starring Tom Hanks as politician Charlie Wilson, Charlie Wilson's War is based on the true story of a Texas politician and his overt and covert efforts to defeat the Soviets, chronicling from the late seventies to the end of the eighties. Director Mike Nichols (The Graduate, The Birdcage, Closer) assembled a star studded cast with Hanks, Julia Roberts, Amy Adams, and Philip Seymour Hoffman to deliver a witty script written by Aaron Sorkin (A Few Good Men, The West Wing). The Charlie Wilson character is perfectly suited for Hanks who embodies the southern playboy congressman's clever and charming personality. Roberts and Adams hold their own alongside Hanks as his love interest and assistant, respectively, but once again Hoffman steals the screen and is clearly the best actor in the film despite being only a supporting character. As an obnoxious CIA agent and Wilson's partner and, at times, antagonist, Hoffman turns an average character into a memorable one with a nuanced performance equal parts funny and annoying. If only more actors could bring such depth to characters as Hoffman does; in any size part the story is enhanced by his intricate approach to his roles. The film is to the point, running right on time around 100 minutes, and for the right audience is thoroughly entertaining. Nichols manages to make a decade of political struggle and slow progress fun to watch by only including the important parts of the story, particularly the parties, sex, spying, and backhanded deals. The film isn't that thought provoking and comes across more as a "can-you-believe-this" true story than a reflection on the Cold War or politics in general. For some this will be refreshing, as Hanks and Hoffman together on screen are great fun, and for others it will be too run of the mill. Charlie Wilson's War doesn't fail on any levels, and succeeds in telling a story most people didn't know about in a way that will keep their attention.

Good for: people who study history, politicos, fans of true stories

Bad for: people who dislike politics, uptight people

The Gallery
The Economist: * * *

Get Smart (2008)

* * *

For the casual movie fan looking for a mindless summer diversion, Get Smart fires on all cylinders. Equal parts action and humor, the big screen adaptation pretty much picks up right in it's predecessor's footsteps. Starring Steve Carell, Get Smart starts before Maxwell Smart is promoted from analyst to special agent and details his first mission alongside Agent 99, played by Anne Hathaway. Carell essentially carries the movie on his shoulders and proves once again how extremely talented and versatile he is. Ten years ago, when this film was first pitched to studios, Jim Carrey was slotted to play the lead role, but Carell saves this questionable idea from being another pointless summer bust. The supporting cast was well chosen, including Alan Arkin as the Chief, James Caan as the president, and a cameo by Bill Murray. Dwayne "The Rock" Johnson stands out as Agent 23 in what is easily his funniest and most natural performance to date. The usually spot-on David Koechner, however, delivers a forced performance that seems too similar to his characters in Anchorman and the Office. The screen writing duo behind Get Smart are veteran TV writers and it shows as the film feels like a two hour prologue to the series. The humor is absurd but sharp, and some jokes will undoubtedly fly way over the target audience's head. There are some surprisingly raunchy jokes that will make even the most stubborn comedy fan laugh, but there are also too many lines that are completely predictable and sound like they were taken from a children's joke book. The action is up to modern standards, will impress action aficionados, and is far more over-the-top than anything ever seen in the series. Director Peter Segal has stood behind plenty of duds including Anger Management, 50 First Dates, The Longest Yard, and the last of the Naked Gun series, but also directed the gem Tommy Boy. Get Smart falls somewhere in the middle, a bit closer to Tommy Boy. Segal rode Chris Farley to huge success, and will likely ride Carell into a big payday with the fun and funny Get Smart.

Good for: fans of the original series, Carell fans, casual movie fans

Bad for: people looking to think, uptight people

Flight of the Red Balloon (2008)

* * *

Flight of the Red Balloon is a remake of the 1956 short-film The Red Balloon, directed by Taiwanese director Hsiao-hsien Hou and shot in Paris in French. The story revolves around a young boy, Simon, who continually eyes a red balloon as the everyday chaos of urban life surrounds him. His mother, played by Julitte Binoche, is a stressed out single mother trying to earn a living as a voice over actor for puppet shows while maintaining a somewhat normal family life at home. She loves her son, but has little time to spend with him if she intends to pay the rent, so she hires Song (played by Fang Song), a Taiwanese student, to babysit him. Simon and Song develop a close relationship and share their imagination to pass their time together. Hou's shooting style is very unique, as Flight of the Red Balloon plays out as an extremely slow paced movie, and his choice of a quiet, ambient score suits his camera work well. Individual scenes may last up to five minutes with the shot at the same camera angle, and there are many long, silent shots of Paris, the sky, and the ever-present red balloon. The calm, reflective pace is juxtaposed against the unsteady lifestyle of the characters, and the film is deep in symbolism. As in the original, the balloon represents the innocent spirit of childhood as Simon seems oblivious to the disordered adult-life surrounding him when he has his Playstation, piano, books, and love for his mom to worry about. The cast fit together quite well, and at times appear as if they are a real family, which makes the film successful as a meditation on urban life and unconventional families. The visuals are appealing, and the acting is engaging, but the pace is so slow that some may have trouble maintaining constant attention or even alertness for the entire film. The original short was only 34 minutes, and this remake comes in at under two hours but feels like every bit of 113 minutes. Flight of the Red Balloon is pretty and worthwhile, but material seems stretched. Perhaps Hou should have split the difference between his version and the original at around 80 minutes.

Good for: fans of French films, art film fans, diehard fans of the original

Bad for: easily bored, people who dislike subtitles, tired people

Walk Hard: The Dewey Cox Story (2007)

* * *

Usually when box office trends reach absurd redundancy the beat-it-'till-its-dead writers of the Scary Movie, Epic Movie, Date Movie, etc. series come calling and mock Hollywood with little intelligence or humor. Who better, then, is there to call than Judd Apatow to send-up the musical biopic trend of Ray, Walk the Line, Dreamgirls, and others and to do it right. Walk Hard, the life story of Dewey Cox, played by John C. Reilly, pokes fun at countless Hollywood cliches and music icons, and does so not by shooting direct imitations of the films, but creating a refreshingly original character in the mold of the biopic. Reilly is brilliant as Cox, the musical prodigy who strives throughout his life to find love, stay high, please his father, all while walking hard. Reilly proves he is more than a Will Farrell side-man and can carry a comedy on his shoulders, and carry it hard. The casting director was brilliant in pairing two of the best female comedy actors available around Reilly to play the mother of his children and his "June Carter." Kristen Wiig (SNL) and Jenna Fischer (The Office) provide plenty of laughs and surprising depth in bizarre scenes without resorting to only gag humor. The most memorable supporting character, however, is Tim Meadows as Sam, Dewey's drummer. Meadows is, like usual, right on point with his trademark delivery of ridiculously funny lines, including a few particular sequences involving drugs that are the funniest parts of the film. There are many big-name cameos including Harold Ramis, Frankie Muniz, Jack White, Eddie Vedder, Jackson Browne, Ghostface Killah, Jonah Hill, and Jack Black, Jason Schwartzman, Justin Long, and Paul Rudd as the best on-screen Beatles of all-time. The script was well written by Apatow and director Jake Kasdan, and from the first scene is packed tight with sharp dialogue and sprinkled with nonsensical, loony lines that will leave you wondering where they came from. Like any farce, the jokes tend to get somewhat repetitive, and some of the parody will go over the head of those who aren't music fans or haven't seen the movie being mocked. As in most Apatow-produced films, there is enough pointless nudity, extreme profanity, and genuine humor to make everyone laugh at some point. Walk Hard, like a Cox concert, shouldn't be taken too seriously and may be best enjoyed with some type of drugs on hand.

Good for: Apatow fans, music fans, people who like parodies

Bad for: serious thinkers, people who don't like music, uptight people

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

The Bank Job (2008)

* * *

The Bank Job is a guilty pleasure; a thrill ride that is quite fun at the time but has little, if any, redeeming value. Thoroughly British, the film is based on the true story of the most lucrative and peculiar heist in the history of England. Jason Statham, most well known for his role in The Transporter series, stars as Terry Leather, a part-time villain given the opportunity to strike-big one last time before getting out of the world of crime. Saffron Burrows co-stars as Martine Love, the bombshell ex-model who gives Leather the tip on the caper. The heist is complicated but plausible, but what Leather doesn't know is the role and stakes Martine and the British government have in the heist. The back story involving government corruption, political and social radicals, and the underworld of pornography and the sex business provide a terrifically entertaining counterpart to the thrills involved with the heist itself. Unfortunately, beneath the shell of entertainment, the audience will likely find absolutely nothing. The acting is definitively mediocre, the direction rips off countless heist movies of the past, the score could not possibly be more chiche', and everything from the characters' names to most of the dialogue is pure cheese. The only noteworthy performances are by Peter De Jersey as Michael X, Britain's counterpart to Malcolm, and David Suchet as Lew Vogel, a smut-director and sex entrepreneur who has paid off Britain's finest for years. The two bad-guys are both deliciously dirty and the few scenes involving the two of them together stand out. There are more than a handful of honest laughs, most provided by the typical "team" of friends and specialists involved in the completing the heist. The laughs are supplemented by a twisting plot involving many shady characters who have a lot to gain and even more to lose. The silver-lining surrounding the entire film is that it is somehow based on truth. The plot seems inconceivable in terms of reality and cheesiness, yet the fact that the events actually happened the way they are presented takes away some of the shame felt for having enjoyed a film with zero emotional, artistic, or social value. The loony British humor and "how did this happen?" factor make The Bank Job an unexpected, yet slightly embarrassing, suspense-thriller indulgence.

Good for: heist fans, fans of "based on true story" films, British film fans, someone bored

Bad for: "film" lovers

The Gallery
The Economist: * * *

The Savages (2007)

* * *

Philip Seymour Hoffman and Laura Linney are two of the finest actors in Hollywood, and the pairing of the two seems like a great match, but even their subtle, nuanced performances cannot make the drudge of a script very memorable. Written and directed by Tamara Jenkins, The Savages is the story of a brother and sister brought together to care for their aging, ailing father who is rounding the last lap of life. The film is billed as a dark comedy/drama that takes an honest look at the dynamics of family. The Savages clearly approaches the family unit from a unique perspective, that of the baby-boomer generation coping with the role-switch from care-receiver to caretaker within their own family, but the story and script offer very few laughs and plenty of awkward sadness and pity. Hoffman and Linney, as Wendy and Jon Savage, both create distinct characters that come across as very real people the audience can identify with. Many will be able to relate to the older brother, younger sister relationship and all of the disappointment, tension, cooperation, competition, and ultimately love, that it involves. The most memorable performance is likely by Philip Bosco, who portrays the Savage father, Lenny Savage. Bosco embodies the infinite spectrum of mindsets that accompany dementia and the gradual loss of one's mind and self and reminds us all too well of someone we may have in our lives. But unfortunately, the performances alone cannot carry the film as the direction and writing don't pull the viewer into the storyline or leave a lasting impression. The most memorable scene occurs in the film's first five minutes and involves the use of bodily fluids. The Savages will appeal to those who can directly relate to the characters and the circumstances, but those looking for laughs may find that the wait is pretty long and may not have been worth it.

Good For: psychologists, people who like family dramas, people who like sad films

Bad For: fans of dark comedies, Wes Anderson fans, the easily bored

The Illusionist (2006)

* * *

Like the magic tricks depicted in the film, The Illusionist is great fun to watch, especially if you allow yourself to be entranced within it, but the more it is analyzed the less special it seems. The Illusionist tells the story of a peasant magician who uses his magic to win the heart of an aristocrat girl. Its hard to go wrong with a cast headlined by co-stars Edward Norton and Paul Giamatti. Watching the story of Eisenheim the illusionist, played by Norton, is worth the time of anyone who enjoys movies simply for his performance. Norton is disturbing, mysterious, affectionate, at all times captivating and although this isn't a relatively important or award-winning film, he brings everything to the table, showing why he is one of today's best actors. He and Giamatti shine in the scenes they are in together, which are thoroughly enjoyable. Rufus Sewell is perfectly despicable as Crown Prince Leopold, rival to Eisenheim and tyrannical ruler of Austria. The three actors are involved in almost all of the scenes, which is good, because the cast outside of them is below average. The most notable example of poor casting was Jessica Biel as Sophie, Eisenheim's love interest. She is unbelievable as a high class nobility in a time piece set in a foreign country and cannot remotely compare to any of the actors, particularly Norton. The film is written and directed by Neil Burger, and as a mystery-romance holds its own against anything else released recently. The script is attention-grabbing, fast-moving, and entertaining, and the score, direction, and cinematography create a dark, mystic atmosphere and the tension is high throughout. The conclusion, like the rest of the film, is quite satisfying on the surface but breaks down a bit upon further inspection. The story of Eisenheim the Illusionist will appeal to anyone who likes David Blaine or Criss Angel and anyone else looking for a fun diversion.

Good for: a date, someone looking for a 90 minute distraction, fans of romance films, Norton fans, people who like mysteries

Bad for: people who figure out conclusions before the conclusion

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

Syriana (2005)

* * *

In just over two hours Syriana may say more about the oil industry than all other films about "big oil" combined. The film succeeds as an expose of the greed and corruption surrounding the industry, but if the inner-workings of oil and the spider web of political involvement are as confusing as Syriana, its no wonder it hasn't been stopped. No one can figure it out. Written and directed by Stephen Gaghan, the writer-director the multiple storyline Academy Award winner Traffic, Syriana weaves five or more stories together. George Clooney stars as Bob Barnes, a US government employee who finds himself caught up in the dealings of the oil business. Clooney gained over thirty pounds for the role, and is engaging and sympathetic in the role. Other narratives include characters played Matt Damon, Chris Cooper, and Jeffrey Wright, and the acting throughout is above average. The script is well written, illustrating the behind-the-scenes decision making, and is as educational as it is entertaining. Few films have as many meaningful things to say about a single topic and do so while maintaining the interest of the audience. Unfortunately, the tension that builds as the plots build and begin to entwine will never fully climax for most viewers. Although there is an emotional, possibly unforeseen conclusion, the revelatory epiphany will leave many viewers dissatisfied. The intricate script constructs a story that will leave no doubt as to the problems the entire planet faces concerning oil, but more time will be spent attempting to decipher the plot than debating the ethics and issues surrounding the oil industry.

Good for: fans of conspiracy films, Clooney fans, very smart people

Bad for: those who are confused or frustrated easily, people bothered by violence, people who ask too many questions

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

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 * *

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 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

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 * * * *

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

Hot Fuzz (2007)

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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: * * * *

Harry Potter and the Order of the Phoenix (2007)

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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 the Third (2007)

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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

Fracture (2007)

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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: * *