American Movie (1999)

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The Jist
American Movie is a film about a film. Filmed in small-town Wisconsin in the mid 90s, it is a documentary that follows Mark Borchardt, an amateur film-maker, as he tries to make his film Coven with the help of his friends and family. The camera tracks the making of Coven from pre-production through filming and includes confessional style interviews with the main characters.

What's Good
While most widely-distributed documentaries tackle broad subjects involving politics or well-known events, American Movie tracks small-town nobodies trying to do big things. When the film was made in the mid and late 90s, America was a different place than it is now. The economy was booming, there was a sense of prosperity, and things in general seemed to be on the rise. American Movie captures the can-do American spirit in unemployed landscaper/writer/director Mark Borchardt, but also reminds that even during one of the richest times in the country's history, there was still a large group of people struggling to pay the bills and achieve the American dream. Director Chris Smith does a good job presenting both the struggle to live and create and the forces behind the struggle. All documentaries strive to compress multitudes of footage into a watchable film, and at 107 minutes American Movie is just long enough to tell Borchardt's story of humor, drama, information, and tragedy, but mostly humor. American Movie is thoroughly entertaining. To see strange, small-town people speak honestly to the camera about their bizarre friend/director, and then follow their comments with something equally ridiculous, illustrates the flaws and desires in the people we live with and walk past everyday.


What's Bad
Although the film is a documentary in every sense, American Movie is so outrageous, at times it seems unbelievable that the subjects weren't prompted to say or do the things that happen. Some of the situations seem just too good to be true, and aside from the first-person interviews, no one ever notices the camera following them. For people who seem so astonishingly simple-minded, it is hard to believe they didn't have trouble looking into the lens constantly following them, especially characters that appear only once or out of the blue.

What's Memorable
The subjects of American Movie are characters more than people, and show that at times life is more entertaining than art. Anyone who grew up in a small town knows someone like Mark Borchardt; the guy who has great intentions and big dreams but seemingly no concept of reality. Despite his flaws which include drinking too much, an inability to hold a job, and a tremendous lack of focus, Borchardt is essentially the definition of a struggling artist trying to bring his vision to life. All future film-makers should watch American Movie, as director Smith captures the frustrating process of creation and the continual journey toward the satisfaction of making something from nothing. If you think Borchardt is strange, his friends and family are another story. His ancient Uncle Bill, Borchardt's source of financing, somehow gets caught up in the action and a handful of memorable scenes involve the slow-moving old man doing something completely out of place for someone who can barely walk or see. Borchardt's best friend Mike Schank says some outrageously ridiculous things that could be quoted for days, and some of his stories and one-liners are funnier than anything a screenwriter could come up with. There is no shortage of memorable lines and situations, and American Movie is laugh out loud funny. What makes American Movie relevant is the eccentricity of the characters; they are real people doing real things. The film has just as much to say about filmmaking as it does about small-town America. Borchardt may be delusional, but he knows film, and to see him both in command and way over his head is incredibly entertaining but also informative. American Movie captures the creative spirit and shows a glimpse into America in the 1990s; a time when even the down-trodden believed the route to happiness was very tangible and just around the corner.

Good for: film-makers, documentary fans, anyone who lives or lived in a small-town

Bad for: someone with no sense of humor, snobs

The Gallery
The Writer * * * * *

The Curious Case of Benjamin Button (2008)

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The Jist
Adapted from an F. Scott Fitzgerald short story, The Curious Case of Benjamin Button is the story of a boy born old, who from the time of his birth ages backwards from an elderly man to a young infant. His life is full of unexpected events, as he encounters people and situations from a unique perspective.

What's Good
David Fincher's mid-late nineties stretch of great films is ten years behind him, but with Benjamin Button, the man who adapted the mind-trap that was Fight Club has showed that he can also adapt an emotional, heart-wrenching tale. Benjamin Button is an epic in terms of length and vision, and with the help of veteran screenwriter Eric Roth, Fincher has created an enduring and enjoyable fable. Having the likes of Brad Pitt and Cate Blanchett as leads surely helps, and both deliver the performances audiences have come to expect. Pitt steps up to plate for the demanding role and plays the title character from old age to prepubescence with nuance and affection. Blanchett once again reminds us she is the best actress of her time by bringing much more to the role than the what was written on the page. Taraji P. Henson, as Benjamin's adoptive mother, steps into the limelight with an intimate, motherly performance well beyond her actual age in years and wisdom. The strength of Benjamin Button lies in the story, however, which is well crafted by Roth and will appeal to a broad audience.

What's Not
The most obvious fault of Benjamin Button is its length. Roth and Fincher popped off the delete key to take Fitzgerald's short story and turn it into a nearly three hour long epic. Its hard to say which scenes shouldn't have made the final cut, but its clear that the story wouldn't have lost too much with about thirty minutes less material. Comparisons have been made to Roth's past screenplay, Forrest Gump, and the similarities are legitimate. Substitute a mentally challenged lead with a reverse-aging man, and most of the themes and even circumstances are very similar. Although the story is engaging, Fincher rounded off the sharp edges that can be found all over his past work. Chances were taken from a technical aspect, but thematically and artistically, Benjamin Button is pretty conservative and looks like a safely made film meant to make some money.

What You'll Remember
Movie-goers have become accustomed to outrageous special effects, but the costume and design team for Benjamin Button pulled off one the most unique and challenging tasks in a non-action film to date. Thanks to incredible prostheses and costume design, the star-power of Brad Pitt fades away into a geriatric man, and a mere two hours later, Pitt, who is in his 40s, looks not a day older than 16. The combination of Pitt's believable performance and the stunning make-up job make Benjamin Button a very memorable character. The best part of the film, though, is the source material. Fitzgerald's fable, even if extended hundreds of pages beyond the original, will resonate with nearly everyone, and the idea of celebrating life rather than destroying it is one not often found in popular cinema. Even if Fincher and Roth played it close to the belt, the story and moral behind Benjamin Button is one most viewers won't soon forget.

Good for: the average movie fan, Pitt fans, someone down on their luck

Bad for: people who don't like long films, people who cry at movies

The Gallery
The Surfer: * * *

Man on Wire (2008)

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Is it possible to make an entire documentary out of a tightrope walk that spanned less than one hour over thirty years ago? James Marsh says yes, and has made the best documentary of the year, the enthralling Man on Wire. In 1974 Philippe Petit and two friends secretly made his way to the top of the World Trade Center, suspended a rope between the two buildings. Petit walked, danced, and laid upon the rope for 45 minutes. Floating in the clouds a quarter of a mile above the streets of New York City, Petit completed his life dream, came down, was arrested, released, and returned to France. Man on Wire captures the remarkable images of a man balancing his life within millimeters on the most unlikely stage. Petit's act has been called a criminal stunt, the act of a madman, and an image of profound beauty. The documentary explores how this fascinating dream came to be, what motivated it all to happen, and how the act was planned and executed over a span of months. Starting in a dental office, Petit realized his dream of completing the biggest tightrope walking challenge in the world, and he began his steps toward realizing it. His story is told both through actual footage, past interviews, and new interviews of Petit and his friends made for the film. Most of the film is in English, but some of the interviewees speak only French which is subtitled. Petit's uncanny passion and perspective on life drive the film, and the true story becomes more of a thriller than a documentary. The film chronicles his development as a tightrope walker, starting on a rope in a field and moving to buildings, bridges, and eventually the world's tallest buildings at the time, the World Trade Center. The years of planning, the emotional roller coaster of his crew, and their willingness to help their friend realize his dream are inspiring, and the build-up to the climactic walk will have everyone holding on to the edge of their seats. To Petit and his crew, the daring act was a heavenly ballet, the zenith of the human mind and body, and although few may feel see things this way before the film, the raw images of the act will convert many. Petit explains that accomplishing ones purpose in life is worth anything; what more glorious way to die than in the effort of achieving one's dream. This spirit carries Man on Wire to great heights, and the humanity of the effort and act are jaw-dropping and invigorating. A great story is only great if it is told the right way, and Marsh puts the pieces of this fabulous puzzle together just right.

Good for: all movie-goers, documentary fans, fans of thrillers

Bad for: people who don't like subtitles, the easily bored

The Gallery
The Film Maker: * * * *

Slumdog Millionaire (2008)

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Sometimes a film's premise can be so original and clever that the list of faults is overshadowed by a propulsive wave of storytelling toward a powerful, even if already predicted, conclusion. Slumdog Millionaire is just that film, the screen adaptation of an Indian novel (Q&A) directed by Indie film vet Danny Boyle. Boyle's most noted works, Trainspotting and 28 Days Later, are intense, dark, and gritty films, but in Slumdog, Boyle translates his intensity behind the camera into a story of hope and determination. Slumdog is centered around Jamal Malik, played masterfully by Dev Patel, and is set on location in India. Jamal is a contestant on the Indian version of "Who Wants to be a Millionaire?" and the film chronicles his life as he answers the questions up to the million dollar question. The hook is that his life experiences inexplicably prepare him to answer increasingly difficult questions despite his treacherous childhood and lack of education. The story is captivating and is one of the most original coming-of-age stories in quite some time, and the way the camera captures the Indian landscape, both desolate and majestic, is breathtaking. The cast is entirely unknown, but includes several great performances, particularly Patel's breakthrough. The story follows Jamal through three time periods, so each main character is portrayed by three different actors, and the child actors are incredible, performing unflinchingly in bizarre situations. Aside from Patel, the stunningly beautiful Freida Pinto stands out as the young-adult version of Jamal's childhood love interest Latika. Slumdog has a fair share of political and social commentary, and at times feels like a thriller, but is essentially a love story. Patel's performance as Jamal, in desperate search of love (Latika) and life (freedom), drives the film through both the good and bad scenes. The story is a breath of fresh air and the locations are original, but at times the film seems to drag. The two hour movie could have easily been 15-20 minutes shorter. Most of the situations seem plausible separately, but the order in which they occur, all to one individual, is beyond unlikely. The last ten minutes are so heartwarming that they overcome the fact that everyone knew exactly how they would happen for the previous ninety minutes. Slumdog is 75% english without subtitles and 25% subtitled. The subtitles are colored according to character, which is a simple but effective touch, but in a few select scenes the accents can make the spoken English difficult to understand. Despite the difficult circumstances Jamal encounters time and time again, the film maintains a strong theme of hope which burns bright in Patel's performance. A completely offbeat music video as the credits roll feels like a slap in the face after a thoughtful conclusion to an emotional film. However, the original framework within which the plot resides, the smart story, and the intimate feel of the direction and cinematography make Slumdog one of the most unique film experiences of the year.

Good for: foreign film fans, fans of romantic dramas

Bad for: the easily bored, those looking for a fluffy film

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

Religulous (2008)

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With no Michael Moore documentary (at least released in theaters) this year, and no other big name releasing a major film in the genre, Bill Maher of HBO's Real Time has stepped to the plate to tackle the issue of religion in his typical cynical, offensive, no-holds-barred style. Maher collaborates with director Larry Charles, of Borat and Seinfeld fame, to travel the world in search of mystery behind the nature of religion and faith. Those familiar with Maher already will know that he is a devout atheist and he does nothing to hide this throughout the film. This isn't an investigation into the good and bad of religion; this is Maher examining how religion has corrupted societies across the globe and contradicted its own foundations. Those who unflinchingly disagree with Maher may have trouble seeing through his rock solid bias, as his interviews involve half serious discussion of religion and half "are you serious?" mockery. His goal, however, seems to be more oriented toward opening up the conversation about the potential negative aspects of religion rather than driving home a distinct point like a Moore documentary. As the title suggests and the interviews reveal, there is a lot to be said about the irrationality behind some of the world's major religions. Religulous features shots at many of the world's most important "Holy Grounds" and contains interviews touching upon most of the major religions from leaders of those religions to average devotees like truck drivers. Although Maher always backs up his argument with factual information, he and Charles are comedians at heart and Religulous is the funniest religious movie you'll find on Netflix. There is no trickery here such as that which Charles' masterfully executed with Borat; microphones and cameras are intentionally shown on screen to make clear that all of the interview subjects were aware of the circumstances surrounding the film. Charles edits in many brief, seconds-long clips from the news, old movies, and old television shows between and during interviews that are often sarcastic, biting, and hilarious. Maher's deconstruction of religion from his own childhood and maturation reveal how those raised in faith may be attracted to new ideas. And in the long run, Maher's goal is simply that, to bring light to new ideas often trounced by political correctness or adherence to tradition. It's hard to find a large audience with a documentary, particularly one that openly mocks religion. But with Religulous, Maher has raised the dialogue about atheism and religious criticism from zero to something slightly above that without boring his audience and providing plenty of laughs with intellectual conversation.

Good for: Maher fans, open-minded thinkers

Bad for: the easily offended

Burn After Reading (2008)

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Leave it to the Coen brothers to follow up last year's best film, No Country for Old Men, with a film as quirky and off-the-wall as Burn After Reading. Ten years after the Big Lebowski followed their finest film, Fargo, the Coen's churn out another comedy with bizarre characters and situations, grim humor, and an outlandish premise. The Coens enlisted a star-studded cast including Brad Pitt, John Malkovich, Tilda Swinton, J.K. Simmons, Richard Jenkins and Coen-veterans Francis McDormand and George Clooney for their highly anticipated follow up. The story revolves around Chad (Pitt) and and Linda (McDormand) who stumble across a CD with government files that belongs to Malkovich's character Osbourne Cox, and attempt to use their discovery to get some cash out of Cox for Linda's plastic surgery. And that's only the half of it. The situations that arise are both outrageously funny and at times disturbingly sad. The dialogue is sharp and creates memorable characters, even in Coen brothers terms, especially Pitt's Chad which is easily the funniest performance of his career. All of the actors step into characters far from their typical roles and sell them completely. The film has definitive Coen style; quick and to the point with little waste. Like all of their films, Burn After Reading is full of cynical humor that points out flaws in society, and this film does so perhaps more than any of their others. The Coens are some of the only filmmakers who have the cojones to make a film like this to follow a Best Picture winner and to follow the ending of No Country for Old Men with the conclusion to this film. Some may be surprised or even disappointed with the obvious indulgence the brothers took in making such an eccentric film, but Burn After Reading is a lot of fun. It has its flaws, but just like its characters, in the end there is more to laugh about than to be turned off by, and the film is very successful as a satire of American culture and politics.

Good for: Coen Brothers fans, Brad Pitt fans, fans of dark comedies

Bad for: people who like straight-forward comedy, the easily disturbed

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

Tell No One (2008)

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Tell No One is the story of a doctor who, while browsing the internet at work, receives a strange e-mail from his wife. The catch; she has been dead for eight years. This simple premise at first glance seems like something that should be destined for a month on the big screen and a quick DVD release. The catch; Tell No One is adapted from an American novel, but is shot entirely in French, in France, and by a young director at the helm of only his second film. Director Guillaume Canet brings a fresh, exciting feel to this suspense thriller without resorting to typical Hollywood cliche. The film stars François Cluzet as Dr. Alex Beck, who was at first accused but eventually cleared of his wife's brutal murder. Eight years later, he is still grieving when he is mysteriously contacted by her. The police decide to reopen the investigation, and in his attempt to decipher if the message was a cruel hoax or a paranormal phenomenon, he becomes a fugitive of the police. There are many strange characters, all of which are portrayed believably by a strong supporting cast. However, the star is Cluzet who is brilliant as Beck, capturing the humanity of a husband who has lost the love of his life and the acumen of a doctor trying to solve a difficult puzzle under intensely odd conditions. Canet challenges the audience just as Beck is challenged in the film, leading the plot down many sudden twists and sharp turns and dropping little clues along the way. At times the film becomes quite confusing and just when things start to come together, another element is thrown in which completely adjusts the viewpoint. Tell No One is a mystery film on the surface, and a great one at that, but a love story at heart. The suspense of the plot is complemented by flashbacks and imagery which give an emotional depth to the events taking place. Canet is clearly influenced by Hitchcock and American suspense films of the past and creates a blanket of tension that hangs over the audience, building heavier and heavier as the film nears its conclusion. When everything starts to come together for real, the depth in the performances and story make the conclusion, which may be the best final scene of the year, that much more rewarding for the viewer. The film is adapted from a book, and there are some illogical circumstances that were likely a result of condensing a novel into just over two hours of film. The reality of the film is at times sacrificed for continuity, and although this definitely detracts from an otherwise effective portrayal of reality, the performances and script are so strong that the inconceivable situations are largely overshadowed. The basic premise seems stale at first glance, but the inner-workings of this story are very well written and original. Tell No One is the rare thriller that holds you to your seat without insulting you with mindless violence, major plot holes left unexplained, or rehashing the same old scenarios. Its a good thing the script made it past Hollywood to France. Like Guillermo del Toro with Pan's Labyrinth and Juan Antonio Bayona with the Orphanage, Canet stays true to the genre while packing so much depth into the characters ad the story. Foreign directors, of late, seem to be much more capable of providing layers of entertainment, so that the film is not merely a thrill ride but a work of art with the potential to be interpreted and enjoyed on many levels. The French perspective keeps the film fresh, and the combination of a sharp, young director and an extremely talented leading man yield a gripping thriller with more to it than what meets the eye.

Good for: fans of foreign films, people who like mysteries and suspense, a date

Bad for: people who cannot read subtitles

Vicky Cristina Barcelona (2008)

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Leave it to Woody Allen to prove once again what great writing can do to a simple premise. The master of dark humor has returned to familiar territory, framing the curious nature of human relationships within his cynical perspective. At age 71, he is as sharp as ever. Allen employs his most recent muse, Scarlett Johansson, as twenty-something Cristina, who is on a trip to Spain with her girlfriend, Vicky, played by Rebecca Hall. Vicky and Cristina are best friends yet total opposites. Vicky prefers men on the path to fortune and serious relationships, whereas Cristina yearns for whimsical flings with artists and thinkers. They just so happen to encounter an artist at dinner, Juan Antonio, played by Javier Bardem. The bizarre love triangle which ensues involves sight-seeing through Barcelona, a lot of wine, and the emergence of Maria Elena, played by Penelope Cruz. Bardem is every bit as smooth as his character Anton Chigurh in No Country for Old Men was haunting, and is great to watch in an excellent role to follow up his Oscar winning performance. Johansson is mediocre for the most part, and aside from Lost in Translation, has yet to show great skill or just what Allen sees in her. She and Hall both have bright spots within their performances, but fade in the presence of Bardem and Cruz. Although neither of their characters names appear in the title, Bardem and Cruz are the stars of the show and are thunder and lightning when on screen together. They are sexy, combustible, and truly enact the passion that has come to be associated with the Hispanic lifestyle. Cruz is on fire in one her best roles. Maria Elena is a beautiful inferno seemingly unable to control her emotions or tact. Cruz has quietly built an impressive resume in good films, and may be the most underrated actress in the business. Allen compliments the beauty of his cast by capturing the beauty of Barcelona with landscape shots and locations ranging from fine restaurants and museums to small villages and trees under the moon. The film is one of the sexiest of the past few years, but shows very little and leaves much to the imagination. A particularly evocative scene involving Cruz and Johansson in a dark room, however, is likely to be one of the film's most memorable. Like all of Allen's films, he touches on the intricacies and oddities of love, placing his characters in situations everyone can relate to and having them ask themselves questions that we have all considered, although not for sixty years like Allen has. The humor is sharp but not obvious, hitting the nail on the head for some and flying over the head for others. But for those that get it, they will be laughing hard, on the inside. Woody Allen is the dean of the romantic comedy and brings legitimacy to an otherwise atrocious genre. Once again, he shows exactly how it is supposed to be done with a spicy, intelligent film.

Good for: Allen fans, people who like romantic comedies, fans of dark humor, art film fans

Bad for: people who liked 50 First Dates

Pineapple Express (2008)

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Stoners rejoice: the stoner film genre has made a triumphant return with Pineapple Express, the brainchild of Superbad writers Seth Rogen and Evan Goldberg. The central theme of Pineapple Express is, of course, marijuana, but unlike many recent so-called weed movies, the underlying premise and surprisingly detailed plot make the film enjoyable for all audiences. Starring Rogen and James Franco as a customer (Dale Denton) and drug dealer (Saul Silver), respectively, the film follows the two as they try to escape from a drug dealer who Denton witnessed committing murder. When Denton scrambles to escape from the murder scene, he drops a joint containing the potent marijuana strain Pineapple Express, which Ted Jones, the murderer, finds and tracks to Saul Silver. Chaos ensues as the two full-fledged stoners both light up joints and car tires in an attempt to not get whacked. Rogen proves yet again that he belongs in center stage, and despite his chubby, goofy appearance, he can carry a comedy on his broad shoulders. Franco, known by many more for his looks than talent, truly avoids type-casting by playing a lazy pot dealer, a character even more stoned than Rogen. Together, they make a legendary tag-team that will go down in stoner lore. Pineapple Express follows in the footsteps of other Judd Apatow classics by complementing a great premise and hilarious leads with an extremely talented supporting cast. Rosie Perez, who seemingly disappeared after White Men Can't Jump, returns as a crooked cop with a knack for violence in what may be the best role of her career. Gary Cole, like his role as Lumbergh in Office Space, brings a twisted element to Ted Jones which works wonders when he is on the screen with Perez. And Danny McBride, as Red, turns in the most notable supporting performance as he has some of the film's most memorable lines and is nearly killed time and time again. Apatow recruited little known David Gordon Green to direct, and Green delivers a sharp, stylish film that stays true to a brilliantly written script. Rogen and Goldberg crafted plenty of jokes and dialogue that will resonate with the stoner culture, and there are plenty of bizarre situations characteristic of Apatow films (Denton's high school girlfriend), but what separates Pineapple Express from Dude, Where's My Car and Half Baked is the legitimate crime/thriller storyline. Many will be surprised by how well the action scenes are executed, with shrewd detail such as characters firing guns as if they never have touched one before. And even the most toasted in the audience will snap out of their daze when they see the surprising level of violence and gore. The soundtrack frames each scene perfectly, and a black-and-white prologue featuring Bill Hader sets the tone for the film. There are definitely jokes that will go over some of the audience's head, and some dialogue is so dumbed down for those who have lost some brain cells to the wacky weed that those who abstain may not be impressed, but there is enough intelligence and creativity here to prevent any comparisons to How High. Pineapple Express is clearly a descendant of the Cheech and Chong lineage of buddy capers and marijuana glorification, but the film clearly shows inheritance from Tarantino as well, and its authenticity and originality has re-lit the cherry of the stoner film.

Good for: potheads, Apatow fans

Bad for: straight-edgers

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

Step Brothers (2008)

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Another summer, and the Judd Apatow train keeps on chugging. The Apatow posse has grown larger and larger with each subsequent hit film, but with Step Brothers, he brings out his top guns Will Ferrell and John C. Reilly, and pairs them with one of his best directors, Adam McKay (Talladega Nights, The Landlord). This deadly comedic combination could make laughs out of seemingly any premise, and Step Brothers is more of a testament to that statement than one could imagine. Ferrell and Reilly play 40+ year old men still living with and mooching from their mom and dad, respectively. When the mother and father, played by Mary Steenburgen and Richard Jenkins (The Visitor), fall in love and get married, Brennan (Ferrell) and Dale (Reilly) become Step Brothers and move into the same house. And really, thats all there is to the film. The premise itself is just an excuse to get Reilly and Ferrell on the screen at the same time. For nearly anyone else this would be a cop-out and a flop, but for this, its a riot. Both actors are at the top of their game, delivering their immature, profane, and offensive humor in large, near-constant doses. Despite starring in Walk Hard, the under-appreciated Reilly still seems to be flying under the radar. But make no mistake, he is every bit as funny as Ferrell in this film, holding his own and sometimes even outshining him. Most often, though, the two complement each other near perfectly, making a powerful comedy tag-team. There is plenty of gross-out physical humor, and brilliantly vulgar lines that will defy the imagination of even the most raunchy minds. After wading in PG-13 territory for a few films, its nice to see Ferrell return to the land of the F-Bomb, and Reilly picks up right where he left off with Dewey Cox. Although Jenkins and Steenburgen provide a few laughs as the parents, and a turn by Adam Scott as Brennan's younger, more successful, completely over the top brother sets up Ferrell for some great scenes, the film almost comes across as a two-man comedy hour that just happens to have some other actors around to take up space. The story, for the most part, is completely typical, and because of the abundance of laugh-out-loud humor, it doesn't really matter. For the same reason though, those who don't have a taste for Ferrell's adult humor will have almost nothing left to enjoy. This isn't a great film in the sense of modern cinema, and its not meant to be. The bulk of the intelligence on-hand is the bizarre creativity required to write and recite uniquely vulgar lines, vulgarity no 14 year old or frat boy has yet dreamed of. This also isn't Apatow or Ferrell's finest moment, but Step Brothers may just go down as the cult-classic of the Apatow collection. The storyline isn't nearly as original or clever as the 40 Year Old Virgin, Anchorman, or Talladega Nights, but there are just as many memorable quotes as a 2-hour stand-up comedy special, which is what Step Brothers essentially is.

Good for: Apatow fans, Ferrell fans, immature people

Bad for: serious people, deep thinkers

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

Batman Begins (2005)

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Batman Begins came out in 2005 and made a stir among its guaranteed audience, the legion of comic book and video game fans, but wasn't a huge hit because of its dark, nature, favoring dialogue and realistic action to the bombast action and explosions of all the previous Batman and other superhero movies. For the same reason it wasn't a blockbuster, Batman Begins developed a somewhat cult following as a truly good film, not just a box-office hit. One thing is for sure, upon its release Batman Begins was the best Batman film of all time and is solely responsible for the mega-hit Dark Knight which was to follow. Director Christopher Nolan, who gained acclaim for his 2000 thriller Memento, took the groundwork laid by Tim Burton and Joel Schumacher for the first four Batman movies and threw it in the garbage, starting anew at the most appropriate place, the beginning. Whereas previous directors framed the saga of Batman within a theme park, thrill ride atmosphere, Nolan gives Batman, the only superhero without superpowers, the realistic treatment he deserves. Gone is the superfluous action and slapstick humor and silliness, as Nolan welcomes accomplished actors such as Christian Bale, Morgan Freeman, Michael Cane, Liam Neeson, Gary Oldman, and more into the story. Batman Begins chronicles Bruce Wayne's metamorphosis into the Dark Knight, starting with scenes that we have seen in other movies and culminating in his pursuit of justice in Gotham City. Christian Bale, one of truly great actors in Hollywood, is a perfect for Batman and dons the Batsuit with more authenticity than anyone to date. He is surrounded by a plethora of solid actors, all of whom (disregarding Katie Holmes as childhood friend and love interest Rachel Dawes) deliver rock-solid performances. The script is sharp and the only action is what is absolutely necessary, but the strongest point of the film is the astounding depth, particularly for a superhero film. Batman Begins pays homage to the true essence of the original comic, exploring the nature of vigilante justice, crime, punishment, terror, and order and uses the Dark Knight as a metaphor for these deep and complex issues. The use of the Scarecrow, although played devilishly by Cilian Murphy, may disappoint some as Scarecrow is one of the less exciting on the remarkable list of Batman villains. Batman Begins isn't perfect and has some of the comic book film cliches that are nearly impossible to avoid, but Christopher Nolan took a big chance, reinventing Batman in the dark world of Gotham City with great actors, a realistic perspective, and an honest look into pertinent issues.

Good for: Batman fans, fans of the original comic, Bale fans

Bad for: action movie fans

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

The Visitor (2008)

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The Visitor is proof that not every movie requires an attractive, A-list leading man or woman to carry the film, and that a career-defining role can come at any age. Richard Jenkins is sixty years old, and although some may recognize him from HBO's Six Feet Under, he has been a character actor playing mostly small roles for over thirty years. In the Visitor he stars as Professor Walter Vale, a quiet widower sent from his teaching-post in Connecticut to a global economics conference in New York City against his will. When he gets to an apartment he has owned but not visited for years he finds two unexpected visitors. Jenkins performance as Vale is so subtle and nuanced that it barely seems like a performance, more like a high school or college teacher most of us have known in the past. At times short tempered, Vale almost only speaks when spoken to and even then responds with only what must be said. The brief introduction to Vale would lead one to believe he would be upset and deeply bothered by the intruders living in the apartment he owns, however, he chooses to let them stay, and the relationship he develops with them reveals who he really is. The visiting couple is played by Haaz Sleiman (Tarek) and Danai Jekesai Gurira (Zainab), both of whom were well casted and are strikingly younger and more vibrant than Jenkins, creating both tension and surprise. Jenkins is in the early running for performance of the year, and Hiam Abbass, as Tarek's mother, is a strangely well-fitting complement to Jenkins in a supporting role. The drama that ensues explores how we approach someone different, dealing with loss and growing old, and the complexity of immigration in post 9/11 America. The script written by Thomas McCarthy is sharp and his direction is to the point for the most part. At times the Visitor becomes a bit too sentimental and predictable, but although you may see what is coming, the deeply human performances illuminate the issues of diversity in American life. Every scene is tightly edited, New York City is captured for its spirit and its gloom, and the film's climax will tug at your heart strings while leaving a sense of hope and life. In under two hours the Visitor packs an emotional punch with a few jabs of humor, all while raising important questions about the state of American politics and culture, a facet of film too often ignored in this year's releases.

Good for: independent film fans, the politically and socially aware

Bad for: fans of box-office blockbusters, intolerant people

The Gallery
The Film Maker: * * * *

Iron Man (2008)

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The past decade has provided far too many superhero movies, most of which come and go through the box office without being noticed and some of which are the top box office earners year after year. Rarely do the box office numbers correlate to a worthwhile movie experience, but Iron Man is the rare exception. Despite having the flaws that are almost required of comic-superhero adaptations, Iron Man is extremely entertaining, combining humor, action, special effects, and actual morals. One needs to look no further than the people involved to understand how Iron Man went from an assumed Hollywood trash flick to the biggest and best reviewed film of 2008 so far. Robert Downey Jr. is Tony Starks and is Iron Man and may be the best thing that has happened to the genre, at least since Christian Bale dawned the Batman cape. He commands every scene and is in his prime, using the multitude of talents he has to prove his versatility and position as one of the business's best. Like many of his other characters, there is a lot of Tony Stark in the real Robert Downey Jr., but the real RDJ is pretty sweet, even if at times he is a train wreck waiting to happen. Terrence Howard is solid, as usual, as Jim Rhodes, the armed forces commander whom Tony Stark has done business with in the past, and Gwyneth Paltrow brings depth to the role of Pepper, Stark's personal assistant. Both actors expand typical comic book characters beyond what was on the page, delivering human performances in a superhuman movie. But no supporting character is more spot-on than Jeff Bridges as Obadiah Stane, Stark's business partner and mentor. Bridges is smooth, charming, deceptive, and deranged as Stane and is the perfect counterpart to Downey Jr.'s high-strung, GQ Starks. This batch of fine acting is coupled with a fast-paced, clever script written by Mark Fergus and Hawk Ostby, who no surprise co-wrote Children of Men in 2006. And last but not least, all of this talent is captured on-screen brilliantly by director Jon Favreau, who has once again taken a film that looks destined to fail and turned it into a sure genre classic (Elf). Despite everything that is right about Iron Man, it is still a superhero movie which means action scenes run a bit long at times, a few (much less than usual) lines are corny, and some plot twists can be expected. But unlike nearly all movies of its ilk, Iron Man is genuinely funny, feels different, isn't over anyone's head, and has a great ending. Superhero fans will be titillated by the comic book references, action sequences and state-of-the-art special effects, but even those who do not flock to the theater for each new Marvel or DC big-screen adaptation will be intrigued by the raw fun that is Iron Man. The film shows that not all movies that are destined to make millions and inspire theme-park rides are devoid of value, and some even raise legitimate questions about national security, foreign policy, science, and cast-iron suits.

Good for: superhero film fans, people who like CGI, Robert Downey Jr. fans

Bad for: people who dislike big budget movies, fans of realistic films

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

Forgetting Sarah Marshall (2008)

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How is it possible that Judd Apatow slaps his name on multiple comedies per year and the well of hysterical, not-repetitive humor never runs dry? Yet again an Apatow produced film exceeds expectations; Forgetting Sarah Marshall is the funniest film of 2008 so far, that is until another Apatow film tops it. Although the producer extraordinare deserves his share of acclaim, the true stars of this film are the actors, including the star and writer of the film Jason Segel. Segel stars as Peter Bretter, the boyfriend of TV star Sarah Marshall. When Sarah dumps him and brings his life to a crashing halt, Peter goes to a personal hell and back (through Hawaii) to resurrect his life. The casting of the supporting characters by first time director Nicholas Stoller is brilliant. Apatow veterans Paul Rudd, Jonah Hill, and Bill Hader are spot-on, as would be expected, and newcomers Mila Kunis (That Seventies Show), Jack McBrayer, and particularly Russell Brand effortlessly join the team, acting as if they have been delivering obscenely raunchy lines for years. Brand plays the rock star Sarah leaves Peter for, and his brain-dead, sex-crazed British lead singer is the most memorable and quotable character in the movie. The script, written by Segel and pitched to Apatow courtside at a Laker's game, is loaded with line after line of in your face vulgarity and subtle quips that may not hit you at first. Scenes with unabashed full-frontal nudity are paired with unthinkably original ideas such as a Dracula-based rock opera, and ingenious quick, cut-in scenes depicting a characters thoughts or words. Whereas Knocked Up combined raunch and unexpected pregnancy, and Superbad mixed the profane with adolescence, the newest film in the Apatow collection fuses a large dose of adult humor with the heartbreak and coping involved with an ending relationship. Each joke about genitals is backed up with a meaningful scene that most of the audience will be able to relate to. Like all romantic comedies there is some cliche, and the film runs a bit long at nearly two hours, but there are so many well-written characters, large and small, that the laughs keep coming, so much so that some jokes will be missed due to excessive cackling. The Apatow brand has added yet another classic to its dynasty, which now includes nearly ten films and countless big-time comedic actors. Forgetting Sarah Marshall isn't easy to forget, and provides enough laughs to make the next Apatow feature the most anticipated movie of the year.

Good for: any adults that laugh, a date

Bad for: uptight people, people offended by nudity and/or profanity

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

Dr. Seuss' Horton Hears a Who (2008)

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In yet another big screen adaptation, Dr. Seuss' classic tale of Horton the elephant who discovers Whoville and his subsequent efforts to prove it exists is treated with an extended script, a star-studded voice-over cast, and vibrant computer animation. To transform a sixty-page children's book beyond a thirty minute animated special into a full-length feature movie requires a significant amount of original material, but this version of Horton stays true to the vision and spirit of the original work for the most part. The cast, which features Jim Carrey as Horton, Steve Carell as the Mayor of Whoville, Carol Burnett as Kangaroo, and Will Arnett as Vlad the vulture, is at times genius and off base. Carell is perfectly cast as the goofy, insecure mayor and brings depth and humor to the character. Likewise, Burnett and Arnett are superb as Horton's detractor and nemesis, respectively, both staying true to the original character and adding great original material. Carrey, and Seth Rogen, as Horton's best friend Morton, have their moments but are also distracting as Carrey goes way beyond what is necessary to portray Horton and is almost annoying at times, and the character of Morton is so clearly voiced by Rogen that it takes away from the unique environment of the film. The film is surprisingly very funny for children and adults, particularly for a G-rated movie, which is a credit to both the voice-acting and the writing. Original scenes, such as a short Japanese anime sequence, and original characters, such as the bizarre and hilarious Katie, are good for plenty of laugh-out-loud moments. The animation is stunning, up to par and beyond what is now expected from computer animation, and creates a unique atmosphere for the strange characters and events. There are many characters, small and large, and to watch them interact in the Seussian world many have come to love is great entertainment. Some dedicated Seuss fans may think too many liberties were taken with the script, which may be true, but this is simply another, more modern version of Horton for a new generation. Is it better than the original hand-drawn animated version? Probably not. But it maintains the fun and essence of Dr. Seuss to a great degree with many laughs and lessons for kids and their parents. Long-time Seuss fans will enjoy Horton for its faithfulness to the original, and those new to the wonderful world of Dr. Seuss will likely find much of what his dedicated fans have loved and more.

Good for: Seuss fans, children of all ages, the young at heart, a date

Bad for: mean people

Eastern Promises (2007)

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The formula of director David Cronenberg (The Fly), leading man Viggo Mortensen, and serviceable leading lady led to the highly disappointing, utterly awful A History of Violence; but somehow, the same formula results in the highly surprisingly, utterly brutal Eastern Promises. Italian and Irish mob films have become overplayed and run-of-the-mill, but Cronenberg's take on the Russian mob operating in London is an engaging thriller with moral undertones and strong performances. Mortensen stars as Nikolai, a callous, focused grunt on the rise, ready to take on any task handed down to him by his ruthless boss Semyon, played excellently by Armin Mueller-Stahl. Nikolai encounters Anna, played by Naomi Watts, a midwife who discovered a diary with a young girl who died giving birth to a baby. After asking her Russian uncle to translate the diary, Anna finds that the young girl and the father of her child had strange, dark ties to the mob. In her efforts to seek justice for the young mother's death and safety for the young baby, Anna must deal with the pressure from her own family to stay out of trouble and the interesting characters in Senyon's crime family. Cronenberg weaves the multiple stories involving Anna and Senyon's family masterfully with both revolving around Nikolai. This is likely Mortensen's best performance, menacingly strong, but subtle and human. The supporting cast is also well above average with noteworthy performances by Watts, Mueller-Stahl, and Vincent Cassell as Kirill, Semyon's flamboyant, erratic son. The original screenplay makes this more than just another gangster-flick, and the depth of the story will engage a broad audience. Eastern Promises is also one of the darkest movies of 2007 with a handful of scenes involving excessive violence that are difficult to watch. Although the scenes may be he necessary to convey the nature of the characters and events, some drag on and come across as unrealistic. The strong accents make the English difficult to understand, and even the most attentive viewer won't feel comfortable with the plot until nearly halfway in. At only 96 minutes, however, the movie never drags and comes and goes before you know it, so that difficult to watch and difficult to understand parts are never excessive. The fine editing, direction, and acting produce a compelling thriller that is surprisingly entertaining, but may be just dark enough to only merit one viewing.

Good for: crime-film fans, fans of dark movies, Viggo fans

Bad for: people bothered by violent films

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

Gone Baby Gone (2007)

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Ben Affleck was brilliant in choosing the source material for his first turn as a director. Gone Baby Gone is an adaptation (screenplay also by Affleck) of a novel written by Dennis Lehane, whose last novel to be adapted for the screen was Mystic River. Affleck stayed close to home in more than one sense; the film is shot in Boston and Affleck cast his brother Casey as Patrick Kenzie in the lead role. Kenzie and partner Angie Gennaro, played by Michelle Monaghan, are two private detectives asked to investigate the case of a missing girl. As the investigation ensues it becomes clear that there is more to the story than a simple missing girl or kidnapping. The child's mother, played by Amy Ryan, is found to be a drug-user, accessory to drug-deals, and neglectful mother with strange family members, and the private investigation begins to conflict with the police investigation headed by Captain Jack Doyle, played by Morgan Freeman. Casey Affleck delivers a surprisingly powerful performance, showing he is capable of starring the show, at least with his brother in the director's chair. Supporting roles by Freeman and crime-movie veteran Ed Harris playing a cop for what has to be double-digit times are what can be expected; competent and adequate. Amy Ryan, nominated for an Oscar for her performance, effectively plays the troubled mother in what is probably the most believable and most bizarre character in the film. Gone Baby Gone comes extremely close to falling into average-movie traps with some painfully cheesy lines, scenes, and performances. The character played by Michelle Monaghan is a combination of bland acting and completely forgettable writing. But what makes the film a success is the unexpected transformation from a simple spider-web plot suspense-thriller to a contemplation on personal values, morality, and humanity. All of the twists of a mystery, surprises of a thriller, and relevance of a drama are there, and the impact of the conclusion will just be icing on the cake for most. Gone Baby Gone rewards the viewer for having attention to detail and will leave many with something to talk about for a few days after. As Affleck's first film as director, it will be interesting to see what comes next.

Good for: mystery fans, a date, philosophers

Bad for: the easily confused, those bothered by violence

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

Michael Clayton (2007)

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Despite having a remarkably unoriginal title, Michael Clayton succeeds due to a sharply written script, perfect casting, and strong performances from lead roles. Clayton is the directorial debut for Tony Gilroy, the writer behind all three films of the Bourne series, and stars George Clooney as an attorney who doesn't do typical "attorney" work, but works more as a fixer or legal handyman. Clooney has become synonymous with conspiracy films and this is no different, as the twisted inner-workings of the legal system are deeply explored. Clayton is responsible for pulling together the life of a manic depressant lawyer, Arthur Edens, played excellently by Tom Wilkinson, who has come off his medication and "seen the light" in terms of the case he had been working on for over five years. Tilda Swinton co-stars as Karen Crowder, one of the head-honchos for agricultural company U-North, who is trying to reach a settlement through the attorney Edens with those claiming they obtained cancer through U-North products. When Edens goes bananas, however, Swinton goes to all lengths legal and otherwise to maintain the integrity of her company and the settlement that is days from being completed. The dialogue that ensues is masterfully written and pieced together by Gilroy, as the pace of the film is quick, yet deliberate enough to envelop the viewer in the schemes being put in place by both sides of the story. Clooney fills the role of the down on his luck character who is smarter than everyone thinks he is just as well as he did in Syriana, and Swinton and Wilkinson are a double-dose of hysteria and conniving to balance the coolness of Clooney. Michael Clayton isn't anything that has never been seen before, in fact it plays like an homage to 1970s thriller/dramas that were well constructed and performed. In a genre full of average or worse entries, Clayton has a well-defined plot, doesn't over stay its welcome, and builds to an intense climax. The final scene, like most of Clayton, also isn't anything revolutionary. Unlike Clooney's last thriller, Syriana, which was too confusing for a vast majority of the audience, the plot of Michael Clayton is deep and clear. Because Gilroy built a plot in which every character's decisions, no matter how extreme, are made for a reason the viewer is shown and understands, the conclusion has much greater impact, and the case involved seems like something that could actually happen, and likely has happened. Hopefully Gilroy and Clooney will unite again in the future to continue to elevate the state of the conspiracy thriller genre and shed light on other shady dealings.

Good For: conspiracy-movie fans, Clooney fans, people who like legal movies

Bad For: those who are bored easily

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

The Hoax (2007)

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The Hoax is one of a very small group of movies that have very little depth or resonance but is a must-see simply for being a non-stop roller-coaster of entertainment. Based on a book and true story, The Hoax is the story of Clifford Irving, a down-on-his-luck writer who fabricated a mountain of lies to reach the top of the journalism industry in 1971. Irving is portrayed by Richard Gere, who turns in a surprisingly well-rounded performance. Irving is funny, charming, clever, creative, selfish, weak, greedy, devious, sly, obviously a bit crazy, and tremendously fun to watch. His writing partner, Dick Suskind, is played by Alfred Molina, one of the better character-actors in the business. Their friendship and partnership are constantly at edge as the high-stakes of their scheme weigh heavy on their personal lives. The Hoax, like other true stories, attains most of its drawing power from the amazement that something as unlikely and unfathomable as the events that take place actually did occur. To watch Irving and Suskind time and again hang on the fringe of failure and revelation but weasel their way forward in their quest for fame and fortune is enthralling. The supporting cast has no stand-out performances but is strong and creates an appropriate landscape of reality and reason against which the absurd events take place. Lasse Hallstrom, best known for directing the cult-classic What's Eating Gilbert Grape, stylistically presents the events in a fast-paced manner that keeps the audience guessing and at the edge of their seats, and creates the 70s environment of living to excess with a good soundtrack and real film clips. Although it could be said that The Hoax brings light to the inherent greed of both individuals (Irving) to go to such great ends to reach prosperity and of the corporate world (publishers) to be fooled so easily time and again in an effort to make a dollar, the film is much more of a thrill-ride than an expose'. It seems that only in America could something like the Hoax take place, where lies upon lies upon lies somehow begin to blur the scope of reality until something brings the truth into focus. The truth about this film, though, is that it is far from classic cinema, but will appeal to almost all audiences.

Good For: fans of conspiracy films, fans of "based on true stories" movies

Bad For: people who get frustrated with twisting storylines

The Orphanage (2007)

* * * *

The Orphanage may be the most truly horrifying film released this decade. Produced by Guillermo del Toro, who directed last year's masterpiece Pan's Labyrinth, The Orphanage is another touching story that maintains a constant sense of mystery. The story is focused on Laura, played by Belen Rueda, who purchases the orphanage she was raised in and intends to return it to a house to raise orphaned children. After moving in, her son Simon begins to act strangely and then disappears. Laura's search for her son leads to countless scares involving supernatural and psychological events. Reuda portrays a frantic mother in a desperate struggle to find Simon with a strong performance. Although it is at times over the top, Laura is a sympathetic and very likable character, which is important to the advancing plot. Other notable performances include a creepy turn by the young Roger Princep as Simon and a chilling, memorable performance by Montserrat Carulla as Benigna, a mysterious figure that shows up at Laura's house one afternoon before Simon disappears. The star of the film, however, is the director Juan Antonio Bayona, who has created a template for how to make a film loaded with scares without using blood, gore, or typical Hollywood horror cliche. There are many real, jump-out-of-your-seat scares, and even more scenes when a scare is expected but doesn't come. The pacing is perfect, as simple scenes are shot so that every viewer will be sitting on edge waiting for something terrible to happen. With the exception of one short, nightmarish scene that includes gore, the cinematography, pacing, and sound create the spooky atmosphere. The plot unfolds beautifully, and the conclusion may be somewhat ambiguous but is near perfect. The audience will be greatly satisfied as each viewer is rewarded for having survived the horror with a plot that completes the circle of many aspects of the plot. There are some scenes which are debatable for what exactly happened, but make no mistake, the topic of conversation about The Orphanage will be the nightmares it induces. Many will be sleeping with the lights on, waiting to see what Juan Antonio Bayona comes up with next.

Good for: horror fans, mystery fans, people who like foreign films, a date

Bad for: easily frightened people, those afraid of the Boogeyman, people disturbed by scary movies, people who do not like to read subtitles

The Writer * * *