Sicko (2007)

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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)

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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 (2001)

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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)

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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)

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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)

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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

Happy Feet (2006)

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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)

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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: * *

Grindhouse (2007)

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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