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: * * *

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: * * *

Eastern Promises (2007)

* * * *

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)

* * * *

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: * * * *

Persepolis (2007)

* * * * *

Persepolis is one of the most original, fresh movies of the year; a film that makes you feel like you have seen something unlike anything you have previously watched or thought of. The animated film, presented in French and with subtitles, is based on an autobiographical graphic novel by Marjane Satrapi and was adapted for the screen and directed by Satrapi and Vincent Paronnaud. Satrapi's self-narrated story begins as a little girl being raised by progressive parents in Iran during the Islamic Revolution of the late 1970s and the fallout that occurred afterwards in the 1980s. Her account of the events involving both her family and country reveals that a girl raised in an overtly tyrannical country isn't that different from an American or anyone else growing up in the same time period. The film's best character, Marji's grandmother, provides the story's funniest humor and most lasting relevance as she lends advice to Marji and tells stories and parables. The independent spirit imparted on her by her grandmother lead to some of the films greatest scenes, such as teenage Marji negotiating a deal to buy a new Iron Maiden album on the streets of Iran and subsequently rocking out to it. Due to the increasing conflict and violence, Marji's parents send her to France for high school, and these years illuminate even more of the world's harsh realities such as prejudice and isolation. As Marji becomes a woman we see her cope with issues such as finding an identity in society and starting and ending relationships. The film is fast-moving while covering many years and many events and is proportionally amusing and moving. What makes Persepolis so brilliant, however, is the style of animation used to present the story. The black and white, nontraditional, sometimes abstract illustrations and over-the-top flashes and and cut-ins create an environment that is not only entertaining but universal in that no preconceived notions will influence the audience in any of the scenes. Whereas real actors and film may have isolated particular audiences, the drawings provide a means to portray very specific situations very few have experienced in a way that everyone can relate to. The voice-over work is nothing extraordinary and the soundtrack is fairly generic, but the story in this case is so incredibly strong that it carries the entire film on its shoulders into film history. The script and presentation of the script is legendary, so imaginative, refreshing, and thoroughly enjoyable that it is one of the best coming-of-age stories in some time. Equal parts a reflection on history and the lessons learned by fire in life, Persepolis unites the audience and drives home the point that in such a large world, the differences between us aren't that vast, and everyone has the same common pursuit of love, freedom, and happiness.

Good For: all movie fans, people interested in history, fans of foreign films

Bad For: people who cannot read subtitles, mean people

The Gallery
The Film Maker: * * * * *

The Hoax (2007)

* * * *

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 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

There Will Be Blood (2007)

* * * * *

The acting, direction, and score of There Will Be Blood may add up to the darkest film of 2007, but it is also one of those films in which everyone involved just may have been at the top of their game. Paul Thomas Anderson, who is well-known for his film gems Boogie Nights and Magnolia, has crafted his epic, masterpiece with There Will Be Blood. Anderson loosely adapted Upton Sinclair's novel Oil from 1927 for the film which chronicles three decades of the life of oil prospector Daniel Plainview. The story explores many themes including family, capitalism, and religion and each of these is presented in the countless memorable scenes and events. From the opening sequence, Plainview is branded as a symbol of the desire, passion, cunning, and greed that is as much a part of the American dream as of the nature of man. Together Anderson and Day-Lewis, who plays Plainview, have created one of the most memorable, haunting, and disturbing characters in film history. Day-Lewis' portrayal of the oilman is astonishing and obscene and is easily the best performance of the year. If there was an award for best performance duo, Day-Lewis and Paul Dano would win hands down. The fact that Dano, who plays Reverend Eli Sunday, is even noticed alongside Day-Lewis speaks multitudes to his performance. He is the perfect counterpart to the overt menace of Daniel Plainview; Dano portrays Sunday as a man of God with the conflict of service and power running deep in his soul. His performance will surely elevate him from the unknown actor in Little Miss Sunshine to one of the most talented young actors in the business. The film pulls no punches; there is no Hollywood fluff and no rewarding plot circles. Anderson employs everything one would expect of a director of his stature; long scenes, brutally emotional dialogue, beautiful cinematography, and more than enough symbolism and allegory to keep the audience talking for days after. The biblical and historical references add layers upon layers of depth to a film which already brings so much to the table. Anderson recruited Jonny Greenwood of Radiohead to record the score, which is spot-on and adds resonance to many of the scenes. The film runs a little long at over two and a half hours, and the weight of the film will start to feel heavy on some viewers shoulders about two hours in. Like most great directors, there are a select few scenes which likely could have been more tightly edited, but remain to appease the director's vision/ego. It isn't often, though, that a combo of such powerful performances and masterful directing are brought together, and this is where the audience finds their reward. As bleak as it is brilliant, There Will Be Blood is a modern classic that is as powerful as its title alludes.

Good for: PTA fans, film fans in general, fans of epics, people who like symbolism/allegory

Bad for: people bothered by violence, people who dislike dark, long films

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

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 * * *

Sweeney Todd: The Demon Barber of Fleet Street (2007)

* * * *

Tim Burton and Johnny Depp are a match made in heaven; two legends of the cinema that have teamed up to make the films they want to make, not those that will appease the Academy or major studios. Once again Burton has used Depp as a muse for his dark, gothic, fantastically over-the-top storytelling and anyone who enjoys either the director or actor will enjoy the ride that is Sweeney Todd. Based on the Broadway musical, the film version tells the same story of a barber who lost his family to a corrupt judge and the revenge he seeks after a long exile, but is framed in Burton's demonic vision. Depp will surprise many, not with his spot-on eccentric performance as Todd, but with his more than adept singing ability. He is in top form and has created yet another epic character that will surely be a pop culture phenomenon alongside Captain Jack Sparrow and Edward Scissorhands. Helena Bonham Carter, Burton's wife and another of his longtime film collaborators, is frightening and strangely attractive as Mrs. Lovett, who owns the building in which Todd's dangerous barber shop is housed. The supporting cast was well chosen including a hilarious but short-lived performance by Sacha Baron Cohen as Adolpho Pirelli, Harry Potter film veterans Alan Rickman as the deliciously evil Judge Turpin and Timothy Spall as the disturbing Beadle Bamford, and a strong performance by Ed Sanders in his first feature film role as the young boy Toby. The visuals are typical of Burton films; amazingly imagined and even more amazingly constructed. The bleak environment sets the perfect atmosphere for the buckets of blood that are to spill later in the film. Although the film succeeds as a musical, the songs are a bit long at times. Not all of the tracks are entirely unique, and some viewers will grow anxious for songs to end and for the dialogue to return. What makes Sweeney Todd a successful adaptation, though, are the great acting, frightening visuals, and appropriate recipe of horror and humor.

Good for: Depp and Burton fans, fans of musicals and plays

Bad for: squeamish people, people who don't like musicals

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

Juno (2007)

* * * * *

With Juno, former stripper turned writer Diablo Cody has crafted one of the most original, appealing scripts in years. The near-flawless script is what shines brightest, but the spot-on acting, genius casting, stylish and quirky direction, and fitting score make Juno a classic film about teenage angst, family, love, and adversity. Ellen Page was born to play Juno MacGuff, a career-making role that portrays a sixteen year-old girl that becomes unexpectedly pregnant. Her controversial decision to go through with the pregnancy and find adoptive parents present a story full of odd decisions, bizarre circumstances, and strange and hilarious moments. Page is brilliant as a cynical, sarcastic teenager with a strong sense of individuality but no sense of purpose. Michael Cera co-stars as Paulie Bleeker, the cross-country star and father of Juno's child. Like his Superbad character, Bleeker is confused and awkward, but unlike the former character Paulie is far less perverted and far more mature. Like Page, Cera seems perfectly casted for the script and has countless memorable lines. The supporting cast is phenomenal and includes Jason Bateman and Jennifer Garner as the adoptive parents the Loring's, and Allison Janney and J.K. Simmons as Juno's parents the MacGuffs. All four roles were perfectly casted and performed precisely as the script intended. Jason Reitman, who also directed the satire Thank You For Smoking, presents the multi-faceted story beautifully capturing all the touching moments and laugh-out-loud scenes in a easy to watch, fast paced manner. The score is largely songs by Kimya Dawson but also includes a few classic rock gems that are key to certain scenes. There is no film this year or any recent years that can match the dialogue of Juno. The conversations are enthralling and each character has a blatantly distinct personality, each of which different people will identify with. Some may say that the script is so eccentric that it is over the top, particularly the character of Juno. But the constant sarcasm and wit, even to the point that it may be questioned, is what makes Juno so real. She says awkward things in inappropriate situations, taking it too far just like a teenager in her situation would in reality. The humor in Juno shouldn't offend most viewers, and the plot will charm those who may not get the jokes. Every character no matter how small or how large is memorable, each line is necessary, and all of the scenes lead to a great conclusion. Juno is both well-crafted and well-executed, the culmination of hitting a homerun with every element of the film.

Good for: families, a date, the young at heart

Bad for: those who feel uncomfortable often, mean people, conservative viewers

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

Ratatouille (2007)

* * * * *

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

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

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

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

I Am Legend (2007)

* * *

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

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

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

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

I'm Not There (2007)

* * * *

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

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

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

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

No Country For Old Men (2007)

* * * * *

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

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

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

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

Fred Claus (2007)

*

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

Good For: Vince Vaughn fans

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

American Gangster (2007)

* * * *

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

Good For: Denzel fans, fans of crime movies

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

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

Black Snake Moan (2007)

* * *

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

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

Bad for: the easily offended

The Gallery
The Surfer: * *

The Darjeeling Limited (2007)

* * * *

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

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

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

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

The Heartbreak Kid (2007)

* *

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

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

Bad For: critical movie watchers

The Gallery
The Surfer: * *