filmfan92 Reviews

Redbelt (2008)

"Redbelt" Packs A Feeble Punch

[6/10 · 18 May 2008]

Redbelt is a movie that probably looked great on paper-an ingenious fusion of the rah-rah "Rocky"-esque against all odds story with the terse, vicious sewer poetry of David Mamet. On screen however, the movie is disappointingly average. Sure, Chiwetel EJiofor and Joe Mantegna do typically excellent work here, and the score, photography, and production design are all appropriately simple and clean. The problem here is in fact in Mamet's script. Mamet, though clearly passionate about the mixed martial arts philosophies at the center of the film, makes that very rare cinematic mistake of going too fast. He starts off pretty well-he introduces intriguing characters and gives us the verbal gymnastics we expect from Mr "Glengarry Glen Ross". But once the story gets rolling, Mamet is in such a hurry to pile on the greedy double- dealings and flashy revelations that he loses focus of his characters and starts simply throwing events at us-the last 20 minutes are so convoluted and absurd that I couldn't help but snort- laugh a little. It's a shame, because had Mamet perhaps brought in another writer to pad the script a bit, or perhaps re-drafted it a few times, this could have been a very good movie. Instead, Redbelt starts off promising, sags in the middle, and ends in a bloody mess. Only for mixed martial arts aficionados or Chiwetel Ejiofor fans.

Atonement (2007)

Nothing to "Atone" For

[10/10 · 1 March 2008]

"Atonement" is a rarity; the prestige-slathered Oscar treat that, far from being driven by look-at-me desperation, is both watchable and commendable. The story is epic, but Joe Wright moves along Ian McEwan's epic of childish lies (the child being the radiant Saoirse Ronan) and adult war (waged, both socially and on the frontlines, by soldier James McAvoy and nurses Keira Knightley and, playing an adult version of Ronan, Romola Garai) with the precision and clarity of a diamond cutter. The acting is all around top-notch; with the performances being that of McAvoy and Vanessa Redgrave (playing an even older version of Garai). Both have a moment or two where there character turns the film around, and they both manage to do it not only without looking ridiculous, but with a simple, clipped poignancy that lends the film an edge of raw emotion. This movie, however, is driven by behind the scenes workers. Cinematographer Seamus McGarvey (robbed come Oscar time!) has created an incomparable visual feast of the kind not seen since the hey-day of David Lean or Stanley Kubrick, and Dario Marinelli creates a brilliant, moving score. Sure, occasionally the movies reach exceeds its grasp-the war scenes never do cut deep enough- but who cares when the grasp is so bold and ingeniously constructed? Atonement is a flawed but impeccable gem in the crown of a great, great year for movies.

There Will Be Blood (2007)

Trouble, Toil and Oil

[9/10 · 16 January 2008]

Whether "There Will Be Blood" is any good to you at all depends on whether or not you enjoy watching greedy people mastermind the undoing of other greedy people. Think of 'Before the Devil Knows You're Dead', but with an extra glaze of acid laid on thick. The movie is hard to watch, and its emotional high points are moments of unbearable tension, slimy avarice, and nervous, squirming laughter. If this is the kind of thing you enjoy (I admit I do), than be all means, this is your movie. This one will also appeal to even the most casual fan of Daniel Day-Lewis, who gives a performance so earth-shaking that it renders all possible adjectives limp. As oilman Daniel Planview, Lewis creates not a man but a creature with human flaws-here is a thing that sees every facet of life in terms of what he stands to gain. It's alternately fascinating and horrifying to watch an ensemble of money-grubbers fight amongst themselves to earn the favor of Plainview, who is in turn ardently working to repel them along with the rest of humanity. In the finale, when Plainview decides to throw aside the inconveniences of law and religion to fight his battle for self-absorbed isolation, Lewis elevates a series of already good scenes to classic status. This is also your cup of tea of you like to pick apart and argue about your film fare. For example: if Plainview is working so hard to cast off the personal experience and stock up on materialism, then why do we have a scene in which Plainview shoots a stack of his recent purchases? Are even material things a burden to him? What is his definition of freedom? What is any man's definition of freedom? See! Great discussion movie. The Wrap Up: This one is for fans of: Feel-bad cinema, Daniel-Day Lewis, discussion movies This one is not for: Fans of uplift and sentimentality, impatient filmgoers, squeamish audiences. I thought: While the film sometimes sags into its own whacko zone, and the fat needed some trimming in places, this is the kind of bold, volcanic film that defines the word "originality". Definitely worth a look. B+

Starting Out in the Evening (2007)

Not for everyone

[6/10 · 30 December 2007]

'Starting Out In The Evening' is a decidedly little movie, but it's complex, you-interpret-it subject matter has a faint whiff of Oscar bait. Frank Langella is Leonard Schiller, an elderly writer whose life is redefined by a series of interviews with young literary critic Heather Wolfe (Lauren Ambrose). It's not much story, but my guesstimation would be this; two out of the three people going to see this one want to spend some quality time seeing Frank Langella do his thing. To those people, it's worth a look; Langella truly is a wonder, his deep, rolling diction imbuing every word with more meaning than most actors do an entire monologue. He tears into his literary debates with Ambrose, and delivers a slap in the film's final minutes that has to be the most devastating physical action in any film this year. But a great actor does not a great movie make; the thing is bogged down by the summer-winter romance that develops between Langella and Ambrose; instead of being a warm, sweet thing, it sent shockwaves of discomfort throughout the theater. And while Lili Taylor does a serviceable job as Schiller's daughter, her subplot just doesn't fit with the rest of the film. Perhaps the greatest problem is that Brian Morton's excellent novel of the same name was never meant for the screen, thus it's mediocre direction and bumpy screenplay. So, in summary, Frank Langella gives a splendid performance that makes this film better than it has any right to be.

Talk to Me (2007)

Talk radio

[10/10 · 29 December 2007]

While critics golf-clapped for 'black experience movies' such as 'Killer of Sheep', most of them missed 2007's best black-cinema experience, 'Talk to Me'. Don Cheadle plays shock-jock Petey Greene, who ushered black Washington DC through the turbulent 60's. Don Cheadle IS Greene- he strips off his trademark restraint and gives a balls-out performance that's as searingly funny as anything Richard Pryor ever cooked up. When the humorous first half of the film segways into the darker, booze-fueled hours of Greene's life, Cheadle does a complete 360 and underplays superbly. Chiwetel Ejiofor is excellent as his straight-laced coworker, and the scenes these two colossal talents share together will endure as classics. This isn't for a crowd looking for a nice, we-shall-overcome-biopic-the thing is profane, jagged, and graphically honest. But anyone looking to be reminded of just how incredible great chemistry between two actors can be need look no further. Once you see it, you won't forget it.

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

Attend the tale

[9/10 · 21 December 2007]

Every pitfall this film could have fallen in-and were there ever plenty of pitfalls readily awaiting Tim Burton and his devoted cast and crew-it skillfully avoids. It's tragedy about the titular barber (Johnny Depp), who teams up with a local baker (Helena Bonham Carter) to seek vengeance on a malicious judge (Alan Rickman). It's also a musical, and make no bones about it; everyone sings. I would venture to say that over 3/4 of the story is told in song. But if all you Broadway-haters can get past the singing, you'll find a brilliantly crafted movie with heart and wit to spare. The performers are all spot on; Depp and Bonham Carter both give their characters a complete makeover (vocals included), and it works superbly. Rickman tucks into a role only he could play. And the assorted newcomers in supporting roles will be the bigshots of tomorrow-especially the gifted Jamie Campbell Bower. Production design and editing are top-notch, too. Oh, and for the slasher fans; wait patiently; the stuff doesn't really start spraying until the corpse-tastic finale, and boy, does it spray. For those who want to see a nice, tidy movie to fall in love with; "PS I Love You" came out this Friday as well. For those looking for a genre-bending oddity brought to faithful, glorious life on screen, the Demon Barber is waiting.

Lions for Lambs (2007)

Brave but not brilliant

[4/10 · 7 December 2007]

Well, in today's world, you have to admit, this movie's got balls-the entire thing is one long debate about America, with no action, romance, or character drama to make it easier to swallow. This is one big political question poser that doesn't pretend to have any answers. If this sounds like your kind of movie, by all means go. But for me, seeing this film felt like doing my homework-it seemed to be one long lecture without a drop of visual or verbal ingenuity to it. Their are a few plots, including a horridly misguided foray into the frontlines of Iraq and a philosophical boxing match between a professor and his student, but let's face it, you're going to see this thing to watch Tom Cruise and Meryl Streep act. It's not worth it. Streep is lukewarm, and does her best to bring her limp material to life, but never quite gets their. Cruise, stuffed into a ridiculous suit, is horrendously miscast, and forced to hold back his passion to recite droll, Bush-esquire defenses of the GOP. Throughout the film, you constantly sense great actors prepared to great acting, but Matthew Michael Carnahan's self-absorbed script never quite lets them get there. What could have been a great book or interesting play instead becomes a movie that is both incredibly broad and unbelievably bland.

American Gangster (2007)

"Gangster" hands out the good stuff

[8/10 · 18 November 2007]

"Anerican Gangster", the new Ridley Scott film about 70's drug titan Frank Lucas (Denzel Washington) and the rogue cop Richie Roberts(Russell Crowe) who tried to put him behind bars, is a strange phenomena. It is, in different respects, one of the years greatest sucesses and most devastating disappointments. Let's start with the triumphs-the actors are dynamite. Viewers who want to see great thespians do their thing are in for a big treat here. Denzel is a fiery wonder as Lucas, and Crowe deserves a lot more appreciation than he's getting for his quieter, more tortured performance as a cop who has nothing left but the job. Even the supporting cast, be they infamous flop-makers like Cuba Gooding, Jr, or renowned character actors such as Armand Assante, turn in superb, note perfect performances. And Ruby Dee steals the movie as Lucas's elderly, principled mother. Behind the scenes, no expense is spared. The New York streets look delicilously ratty, the period music is catchy, and the cinematography brings a great clarity to the ups and downs of gangster life. The biggest disappointment is in the script. Steve Zaillian has written an epic, almost 3-hour script, but it comes down to a lot of "and then this happens..oh, and next...". Almost no character insight is given, no significant action driven by anything other than the desire to make money. And the build-up is agonizingly slow. "Gangster" has some classic scenes, but none of them can be attribute to the script, nor to Scott's clunky direction (I won't start on my personal opinions of this director). Still, definitely worth a look-when Crowe and Washington clash, you get the best-acted moment in movies since "Heat"'s coffeeshop scene.

Gone Baby Gone (2007)

Good Baby Good

[8/10 · 28 October 2007]

Ben Affleck has a lot riding on this movie, but he couldn't have backed a better horse for his directorial debut- combine his smart, sharp approach to film with the Boston flavored sewer poetry of author Dennis Lehane, and you have a match made in heaven. Affleck colors this missing persons thriller with a local flair, the kind of down and dirty authenticity that 'The Departed' reached for but missed. He also proves his skill with directing actors-uniformly excellent actors like Morgan Freeman and Ed Harris give some of their best performances here, and up and comers Casey Affleck and Amy Ryan give some of the strongest, bravest performances in modern movie history. Still, Ben-Ben's first try behind the camera is flawed-the second act sags into a series of script beats and serious speechifying, and he makes the mistake of having Casey provide a few condescending, awkwardly placed voice-overs that had me scratching my head. But for a first try, Mr. Affleck has done better than many-he has crafted what is, for the most part, a powerful thriller with a wrenching ending that will have you talking. Is it perfect? No. But it's absolutely worth your time.

In the Valley of Elah (2007)

Heavenly "valley"

[10/10 · 1 October 2007]

I could rave on and on about "In the Valley of Elah", Paul Haggis's story of a father (Tommy Lee Jones) searching for his son, who has gone AWOL after being relieved of duty in Iraq. I could pontificate about Haggis's steady, smart direction that never lets the film slip into a state of political posturing. I could brag on the actors for a while: Tommy Lee Jones who gives strongest performance ever, or on Charlize Theron, who finds the glimmers of humanity beneath a hard-boiled police detective, and most of all on Susan Sarandon, who has a small but heart-tearing part that deserves a gold statuette. And I certainly could go on and on about this film from a technical side, what with Roger Deakins crisp, masterful cinematography and Mark Isham's marvelously moody score. But really, all of this pails in comparison to the final shot of the film. It's a shot I won't ruin for you, because it very well may be the most powerful ending shot since "Rosebud" was set ablaze in "Citizen Kane" some 65 years ago. It's a still, static frame that makes your stomach churn as the haunting truth of the movie hits home. Throughout this 2-hour exercise in how to make a film, there are many shots to this effect-in fact, there is hardly one that isn't. "In The Valley of Elah" is a gritty, gut-wrenching film that brings home the effects of the Iraq war with more emotion and truth than most of the fiery documentaries featuring actual footage from the frontlines. If this isn' the best film of the year, I don't know what is.

Eastern Promises (2007)

"Promises" delivers

[9/10 · 21 September 2007]

Summer is over, and Hollywood throws us, the moviegoer, back into the realm of serious filmmakking not with a costume drama or biopic, but with a gritty crime drama about a British midwife (Naomi Watts)who gets in too deep with the Russian Mafia. The plot has been done before, but rarely this well. The characters in this film could easily become caricatures, but each actor brings his or her character to brilliant life. Armin-Muehler Stall does Oscar-worthy work here as the mob boss, and Viggo Mortensen is electrifying as a loose-cannon chauffeur. Director David Cronenberg does his part as well, directing a smart, slow-burner of a film that packs thrill upon thrill, twist upon twist, until at last we build up to the explosive climax, a visceral fistfight at a London bathouse. This scene is every bit as good as the critics are raving about. Cronenberg strips away the glamor and glee of the Big Movie Fight and gives us a raw, serious scene that feels refreshingly, gruesomely unchoreographed. Now, with a movie of such "Godfather"-esque scope, of course things do go wrong occasionally-particularly the bloated- Hollywood-ized coda pegged onto the film's final moments. But overall, "Eastern Promises" is a rare, raw beast of a film, a brilliant, bloody roller-coaster ride, and another jewel in the David Cronenberg crown.

Rent (2005)

"Rent" Sells The Story

[10/10 · 21 September 2007]

"Rent" is sloppy, disorganized, and requires total suspension of reality in every single second of it's 2 hour running time. And all of this works, brilliantly, in its favor. I would never had guessed the schlockmeister Chris Columbus (who turned the first two Harry Potter films into artless bores) would have the ability to turn the famous stage musical (about a group of poor New Yorkers dealing with adulthood, identity and AIDS) into such a superb film. Numbers from the late Jonathan Larson's poppy score serve as the backdrop for the crazy, colorful song and dance explosions, all beautifully photographed by Stephen Goldblatt. Many musical have songs that inspire you to stand up and cheer..."Rent" does more than that. These numbers sweep you off the ground in a torrent of emotion. By the time the entire cast bursts out in the ten-minute rocker "La Vie Boheme", you are totally in tune with each character, completely enthralled in each lyric. These songs don't stop the show; they ARE the show. And you must see "Rent" because the songs do more than make a good movie; they put you in a better place.

Hairspray (2007)

You Can't Stop The Beat

[10/10 · 10 August 2007]

Synopsis: Adapted from the hit 2002 Broadway musical about Tracy Turnblad, a pleasantly plump teen trying to get a group of talented black musicians onto a racist local dance show in 1960's Baltimore. Pros: This movie really is a breath of fresh air. Sure it doesn't have the drama of Dreamgirls, or the sophistication of Chicago, but who cares? It's just a lot of fun, which is what we need in a summer of movies without heart (Spider-Man 3, cough, cough). The cast is a blend of classy old and popular new, and they all do well by their characters, and their songs (James Marsden's got jazz pipes? Who knew?). John Travolta and Christopher Walken play a "married couple", and imbue their romance with both kindness and kitsch. Director Adam Shankman gives the whole movie a bright, colorful look, and every song is a toe-tapping piece of bubblegum fun. Fans of the Broadway stage show and the original John Waters film won't be disappointed, and neither will newcomers to the story of the family Turnblad and the Corny Collins Show. CONS: None, really. Only that Hollywood doesn't make many like this any more.

Hairspray is a rousing triumph, and the best time you'll have at the movies all year.

Harry Potter and the Order of the Phoenix (2007)

'Phoenix' Casts Its Spell

[10/10 · 11 July 2007]

SYNOPSIS: Harry Potter and co. discover The Order of the Phoenix, a secret society bent on stopping the Dark Lord's reign of terror. Meanwhile, the students of Hogwarts grapple with an oppressive new female teacher, Dolores Umbridge. PROS: This is quite simply the film of the summer. Director David Yates fits this series like a glove. He pulls no punches when delivering the darker aspects of the story, but makes sure to add plenty of humor and heart as well. The cast is uniformly excellent as usual. Old hands like Alan Rickman and Emma Thompson are note-perfect in their roles, while newcomers like Evanna Lynch and Helena Bonham Carter deliver memorable performances as well. Deserving special mention is Imelda Staunton, who plays Dolores Umbridge, a perky professor with dark political motivations. In a film with a cast for the ages, she steals the show. The behind the scenes crew isn't slacking off either-cinematography, music, and special effects are all leaps and bounds ahead of the previous Potter films. And screenwriter Michael Goldenberg trims the fat of the 870-page book, leaving us with a lean, mean, emotional roller-coaster of a film. CONS: No huge qualms. Sure, some fan favorites (Dobby) are dropped, but when you have a book this big, who cares. My only really (very small) problem with the film is that the Mr. Weasley subplot could have used a bit more time. Overall, the best of all five Potter flicks, and a fantasy film on par with The Lord of the Rings Trilogy. David Yates is the best thing ever to happen to the HP series. Bravo.

Transformers (2007)

"Transformers" a robotic thrill ride

[8/10 · 6 July 2007]

SYNOPSIS: Sam Witwicky (Shia Labeouf) and his crush, Mikaela (Megan Fox) find themselves caught in the midst of a security crisis involving shape shifting androids. Based on the popular toy line. PROS: The biggest pro of this movie are the Transformers themselves. Designed by ILM, these robots go beyond the typical sci-fi cinema eye-candy and become convincing creations that are up there with 'Pirates' Davy Jones as some of the best CGI creations ever to grace the silver screen. Shia Labeouf also does an excellent job. The whole movie rests on his shoulders, and he makes it work. Also great is the fact that this film never takes itself too seriously. Director Michael Bay and Co. understand the humor in the story, and thus produce some great laughs. CONS: My biggest problem with this movie is the fact that it was shot in a gritty, hand-held-camera style that doesn;t fit the story. Instead of adding extra intensity, it just make the viewer dizzy. Also, there are a few moments of Michael Bay excess, some unintentionally hilarious lines, and some annoyingly blatant product placements. Overall, Transformers is a big, brassy blast that is best viewed on the big screen.

Live Free or Die Hard (2007)

"Die Hard" Lives Again

[9/10 · 3 July 2007]

SYNOPSIS: John McClane (Bruce Willis) is back as he teams up with a clean-cut computer expert (Justin Long) to take down a hacker (Timothy Olyphant) bent on causing havoc in Washington D. C. on Independence Day. ----PROS: Of all the sequels, prequels, and remakes Hollywood has dumped into cinemas this summer, this one is definitely the most fun. Willis and Long develop an amusing relationship full of sly, snappy dialogue. And of course, this wouldn't be a DH movie without the action. The fight sequences surpass anything in the first three films (or almost any action movie, for that matter). The convincing blend of stunts and CG gives the explosive action a burst of adrenaline missing from, say, Spidey 3.---- CONS: The plot, of course, is absurd. That's to be expected with Die Hard movies, but even for a guy's flick, the story is ridiculous. But once the bang-bang and boom-boom begin, the movie (luckily) loses sigh of the story. Also, Timothy Olyphant was not much of a bad guy. He wasn't in any way menacing or evil.

But overall, if you just dial your brain down to the lowest level, and sit back with a big bag of popcorn, you can't help but have a helluva time at this flick.

Knocked Up (2007)

'Knocked Up" Gives Birth to A Great Movie

[10/10 · 23 June 2007]

Knocked Up just may be the best film of the year. Why? Because it blends laughs (some of the funniest scenes in modern movie history) with drama (unsappy and heartfelt) better than any other movie in '07. You already know the plot. Ben (Seth Rogen, a breakout), a jobless slob, gets Allison (Katharine Heigl), a corporate ladder-climber, preggy. Hilarity ensues, as does thought, heart, and beauty. If you look through the maze of sex scenes and F-bombs, there are actually lessons to be learned from this film. Admittedly, this is more of a guy's movie, but with great leading performances, hysterical celebrity cameos, and a superb soundtrack by Loudon Wainwright, the ladies will want to stick around as well.

Venus (I) (2006)

'Venus' an erratic planet

[7/10 · 2 June 2007]

This is the kind of film in which the actors make the movie. The script shifts without ease from comedy to drama to teen angst, and the movie has a few moments of quirkiness that just scream "cute, topical indie dramedy, guys!". But the incredible cast spins gold out of this nonetheless. O' Toole is fabulous in the role of Maurice, an aging actor who strikes up a relationship with a troubled teen (Jodie Whitaker, a revelation), while trying to hold together his bonds with friends (Leslie Phillips and Richard Griffiths give a pair of brassy, funny performances that deserved awards season attention) and his ex-wife (Vanessa Redgrave, in a brilliant, understated performance). If you like to watch great actors do a great job acting, this is your movie. But no matter how great the talent is in front of the camera, it can't reach its full potential without equal talent behind it.

Pirates of the Caribbean: At World's End (2007)

Not At Wit's End Quite Yet

[7/10 · 27 May 2007]

Let's start off with this. It's not that bad. There's the basic summary. Now for the long version....

I walked into this film worried about it. Would it sink to the unbelievable low of 'Spider-Man 3', or would it be a fine, flavorful piece of entertainemnt, ala 'Shrek the Third'? It turns out this threequel winds up somewhere in between those two films on my list. 'At World's End' is not nearly as cringeworthy as Spidey, but it lacks the special sauce that make the Shrek threequel such a great summer surprise. The main problem is the plot. This film picks up where the last one left off, with the crew of the Black Pearl hunting for Jack Sparrow (Johnny Depp, carrying the film as usual), who is trapped in a strange purgatory full of crabs (hey, I don't make this stuff up). It's an interesting idea that gives FX greats ILM plenty opportunity to dream up plenty of eye candy, but the fact that Depp doesn't appear for the entire first quarter of the film hurts the story's momentum greatly. Instead, we are treated to more of the semi-romance between Keira Knightley and Orblando-scuse me, Orlando Bloom, and the introduction of a disappointing new baddie, Sao Feng (Chow-Yun Fat, whose spiritual demeanor does not lend itself to roles of mustache twirling villainy). When we finally do pick up with Captain Jack, it's a breath of cinematic fresh air, and, for a while, the film returns to the anything-goes, tossed-in-the-air style that made parts 1 and 2 of the series great marvels of escapism. But than, as the film reaches its final stages, it becomes a cluttered, dull heap of subplots. So much time is spent on the needless backstories of characters like Tia Dalma (an obnoxious role played with Rasta-esquire fervor by Naomi Harris) and James Norrington (Jack Davenport does what he can), that the script begins to kill of characters at random in a sloppy attempt to divert back to the main plot without leaving the many smaller stories open-ended. But for all it's storyline complexities, the film's ending practically screams "Pirates 4!". If one can ignore the story long enough to appreciate the other aspects of the film, they will find imaginative visuals, some strong performances, and a final action setpiece among the best ever committed to celluloid. But in a film that is part of a trilogy promising escapism, a convoluted plot shouldn't be a problem. A solid film, though the worst in the 'Pirates' trilogy.

Shrek the Third (2007)

"Third" is first in line this summer

[9/10 · 20 May 2007]

When I walked into my local movie theater to see 'Shrek the Third', I was in a state of depression about the summer movie season. That meandering mess called 'Spider-Man 3' instilled within me the belief that this would be a summer of prequels with disappointing content and big box office numbers. So needless to say, I was prepared for another letdown in a summer that seemed as if it would be full of 'em. Guess not. From the second the film's opening title rolled, 'Shrek The Third' broke my state of pessimism about the summer movie season and reminded me what a great popcorn film should be...side-splitting comedy, high drama, larger-than-life action, and a little romance thrown in for good measure. Mike Myers is back as Shrek, who, due to a tragic turn of events, is slated to become king of Far Far Away. Desperate to stick the crown on someone else's head, Shrek embarks on a journey to find Arthur Pendragon (Justin Timberlake, who, no, is not really that bad of an actor), the only other heir to the throne. Joining Shrek, of course, are Donkey (Eddie Murphy, hilarious as usual) and Puss in Boots (Antonio Banderas, having the time of his life), although he does leave Fiona (Cameron Diaz, also enjoying herself) behind. Like 'Shrek 2', this film is a mishmash of little-kid humor (haha, he farted!) and pop-culture nonsequiturs (a "Just Say Nay" program, a chorus of frogs singing "Live and Let Die"). And, like 'Shrek 2', the folks at Dreamworks Animation have created a marvel that is a refreshing antidote to the typical Hollywood film. 'Shrek the Third' brings back lovable characters (Julie Andrews as the Queen of Far Far Away, Rupert Everett as the evil Prince Charming) and introduces great new ones (Eric Idle as a nutty Merlin, Cheri Oteri as Sleeping Beauty). It manages to hew to the formula that has made the other films so popular while still seeming fresh, relevant, and witty. Not the best of the three, but it certain holds it's own among parts 1 and 2. If this is an indication of the rest of the summer, maybe it ain't so bad after all.

Magnolia (1999)

Flawed 'Magnolia' blossoms nonetheless

[9/10 · 19 May 2007]

Let me start out by saying that 'Magnolia' is one of the riskiest films ever made. Paul Thomas Anderson's gargantuan epic about two families dealing with love and loss in modern-day California is full of thousands of weird, wild concepts. Some of these fall horribly flat, , but when Anderson gets it right, boy does he get it right. This film's strongest attribute is its impeccable cast. Underrated actors such as John C. Reilly (as a cop in love), Melora Waters (as his junkie muse), and Phillip Seymour Hoffman (as a kind nurse) turn in superb performances, while heavyweights such as Julianne Moore (as a money-minded, Anna Nicole Smith-esquire wife) and William H. Macy (as a sexually confused former television star) do excellent work as well. Two oldie-but-goodies, the late Jason Robards and Phillip Baker Hall, join the cast as two dying men taking stock of their sins. But the film's most incredible performance is that of Tom Cruise, who plays Frank TJ Mackey, a rude, lewd horndog of a man who runs "Seduce and Destroy" seminars for other rude, lewd men. Cruise electrifies every second he is on screen, whether he is verbally tearing into a female interviewer or breaking down at his father's bedside. How did he ever lose that Oscar? The cast deserves a standing ovation, but this 3-hour behemoth would be nothing if not set to Aimee Mann's ballads, photographed boldly by Robert Elswit, and edited skillfully by Dylan Tichenor. But, as I said earlier, 'Magnolia' is not without its flaws. Subplots about a current child star (Jeremy Blackman) and a homeless rapper (Emannuel Johnson) add unnecessary fat to a lean, brisk film (it speeds by even as it pushes the 180-minute mark), and the now-notorious "frogs" finale ruins the mood of an otherwise brilliant film. Overall, worth your time, if not just to marvel at how Anderson pulled the darn thing off.

Spider-Man 3 (2007)

Spidey's webs don't stick.

[4/10 · 6 May 2007]

3 is a tricky number. So many franchises (The Godfather series, the X-Men Series) have fizzled in their third act. It takes a talented cast and crew and a boatload of great material to create a "part III" that rises above the first tow, or at least matches it. It's not impossible (see the Star Wars series and the Mission Impossible series), but it's incredibly difficult. However, I had faith in my friendly neighborhood Spider-Man cast and crew. After all, how often does a sequel surpass the original film by leaps and bounds? Since the Spider-Man series practically invented the new concept of the popcorn-film-with-heart, I had no reason to believe that director Sam Raimi and his talented ensemble would fail me. After all, with Stan Lee's brilliant comic books, there was no way that this film could run out of material. Ironically enough, that's exactly what brings down 'Spider-Man 3". This film suffers from the horrible "more is better" philosophy that I hoped and prayed was above Raimi and Co. Three villains! A new love interest! More action! More pointless web-swinging set to that ubiquitous Danny Elfman theme. More, more, more! But more is not better, as the audience quickly discovers. Sure, the cast is reliable, as usual (Bruce Campbell deserves special mention in a hysterical cameo). But what 'Spider-Man 3' lacks is the witty, wondrous script that carried the first two films. Raimi, a brilliant director, decides to try his hand at screen writing this time around, and boy, does he blow it. Villains are given huge, lengthy set-up scenes, and then pushed aside until they are needed for the balls-to-the wall finale. The love scenes feel bland and bloated. And the heart of the story-Peter's battle with his own dark desires-plays out more like Jim Carrey's 'The Mask' than a serious drama. Even the action scenes suffer under Raimi's pen-the finale, with Spidey trying to save MJ, who dangles precariously off the edge of a building in a taxicab, is blatantly ripped of from part 1's climactic battle. But the worst atrocity of this film is the dialogue. Sample line? "I like being bad. It makes me happy." 'Nuff said. If this summer of threequels continues in the vein of 'Spider Man 3', then it will be a very disappointing summer, indeed.

Fracture (2007)

Fractured "Fracture"

[3/10 · 22 April 2007]

When I first heard than Anthony Hopkins and Ryan Gosling were starring in a film together, I immediately hoped that it would join the pantheon of films with great star pairings-DeNiro and Pacino in 'Heat', Cruise and Foxx in 'Collateral', Giamatti and Norton in 'The Illusionist'. I'm sorry to say that while the two stars shine bright as ever, the movie itself is as dim as can be. Hopkins steals every scene he's in as Teddy Crawford, an aeronautics engineer who spends his free time playing with strange Goldberg-esquire contraptions (they serve no purpose other than being strange, shiny objects upon which Kramer Morgenthay's camera can lovingly linger) and spying on his philandering wife (Embeth Davidtz). When he catches his wife having an affair with a cop (Billy Burke), he shoots her, then immediately confesses to the police. A hotshot lawyer named Will Beachum(Gosling, speaking in a Southern drawl that gives his character some personality) is assigned to prosecute Crawford in court. It appears to be an easy case, but soon, pieces of evidence start disappearing from the scene of the crime, and Beachum begins to realize just what he's getting into. It's an episode of 'Law and Order' stretched to movie length and with a stronger cast (Dennis Straithairn and Fiona Shaw are strong in their supporting roles). Hopkins makes his character a full, three-dimensional human being, making him despicable and sympathetic at the same time. Gosling manages to give his character, your average Upwardly Mobile Lawyer, some heart to go with his cockiness. Gosling and Hopkins chew the scenery in the few scenes they have together, but instead of giving them meaty words to feast on, the screenwriters simply throw some cliché phrases ("Everybody has a breaking point) in with heaps of legal mumbo-jumbo. The two actors do their best with these morsels of appalling dialogue, but in the end, even two of the finest actors alive cannot save this bloated, dull movie from itself. Rarely has a such a great opportunity been so wasted.

O Brother, Where Art Thou? (2000)

"O Brother" is righteous

[9/10 · 8 April 2007]

The Coen Brothers may just be cinema's greatest crackpot auteurs-they deliver sly, ironic stories that generally consist of several weird and wild subplots that all collide in an ending that always leaves a few loose ends for the audience to ponder. Bless them. In the midst of the blockbusters franchises and hipster road movies, seeing a Coen Brothers movie is like inhaling a breath of fresh air. This one is no exception. 'O Brother Where Art Thou' is an adaptation of Homer's sprawling Greek tragedy 'The Odyssey', retold in a new setting-Dustbowl-era Mississippi. George Clooney stars as Ulysses Everett McGill, a slick, suave greaseball of a man who was arrested for practicing law without a license. When he hears that his wife(Holly Hunter)is getting re-married to another man (the hysterical Ray McKinnon), Ulysses busts loose from a chain gang to set things right. However, he must drag along the two men who are chained to him; violent, confused Peter (John Turturro) and ditsy, dim Delmar (Tim Blake Nelson is witty without being one-dimensional). Along the way, the Coen Brothers find time to pack in a run-in with real-life criminal Babyface Nelson, a group of bewitching she-devils, a huge flood, and a KKK rally attended by a hopeful politician and a malicious one-eyed Bible salesman (John Goodman plays him with what could only be described as beastly allure). Through it all, the film (photographed ravishingly by Roger Deakins) is set to a glorious soundtrack of roots music. John Hart, Chris Thomas King and Allison Krauss all deliver excellent tracks, but the real highlight is when Clooney and his co-horts burst into a toe-tapping version of "Man of Constant Sorrow", not for the sake of the plot, but for pure enchantment. And that's what 'Brother' is all about-not story (although it has a great one), but serving up a great slice of unadulterated folksy bliss.

300 (2006)

'300' is a lucky number

[8/10 · 19 March 2007]

"This is MADNESS!" shouts a crony who looks suspiciously like Djimon Honsou."Madness?" says King Leonidas (a hearty Gerard Butler) "This is SPARTA!!" At this point, encouraged by his wife Queen Gorgo (Lena Headey,who steals the film from her male co-stars, Leonidas shoves the crony, along with a handful of other low-level baddies, into a huge, deep well to the thundering tune of heavy-metal music. OK, so in the course of history, that probably didn't happen. But wouldn't it be cooler if it did? That's the approach '300' takes, and, in this case, it works. Taken from a comic book by Frank Miller, who puts the "graphic" in "graphic novel", 300 is the tale of 300 Spartans who attempt to defend their land from 250,000 Persians. Sure, you've heard the against all odds story, but not like this, From the opening scene, which shows a young Leonidas battling a wolf in a narrow cave, I knew this movie would be unlike any other. The look of the film is indescribable, a delicious mix of CGI and real location in a way that they have never been mixed before. Every scene holds hundreds of visual wonders. This is without a doubt the best looking film in modern history. However, '300' is not without it's flaws. A subplot about a weak hunchback (Andrew Tiernan) who is spurned by Leonidas falls flat. The leader of the Persian Army, an effeminate and self-aggrandizing warlord named Xerxes, is played by a miscast Rodrigo Santoro, whose voice is artificially (and obviously) deepened. And the speechifying is just plain awful ("Eat your breakfast, Spartans. For tonight, we dine in hell!"). But Director Zack Snyder, his small troupe of actors, and his army of post-production whiz-kids have accomplished a visual miracle like no other before it. '300' heralds the arrival of a strange and wonderful new kind of film-making.