As of New Year's Day I have seen 87 films released in the U.S. during 2007. The following represents my favorite films as well as individual accomplishments during the year.
The Top 10 Films Released in 2007
1. There Will Be Blood: There is no question as to what the best film of the year is -- it's not even close. Director Paul Thomas Anderson and actor Daniel Day-Lewis have collaborated to create one of the greatest triumphs in the history of cinema. Not since the release of "Apocalypse Now" in 1979 has a comparably important film been released. Much like what "Citizen Kane" (1941) and "The Godfather" (1972) did for film when they were made, I expect "There Will Be Blood" to do now. Daniel Day-Lewis' role as Daniel Plainview, a soulless oil man consumed with greed, ranks among the best performances I've ever seen; and is probably most directly comparable to DeNiro's career-best performance in "Raging Bull" (1980). We have entered a new era in cinema.
2. Away From Her: Writer/director Sarah Polley was able to craft one of the most powerful films I've ever seen. While it may make little sense on the surface, my mind keeps drawing the comparison to "Rosemary's Baby" (1968) by Roman Polanski. Both films are masterpieces because of their ability to create visceral connections with the audience. What Polanski did with fear, Polley has done with loss.
3. The Assassination of Jesse James by the Coward Robert Ford: It's a difficult task to wrap one's mind around this film; and further, to offer some semblance of comment. For starters, I will say that it is absolutely beautiful. Director of Photography Roger Deakins does wonders behind the camera -- the film plays like a harrowing poem. Accompanying the gorgeous imagery is a flawlessly complementing score by Nick Cave and Warren Ellis. For both those that admire the film, and those that dislike it, I am certain that no one was able to dismiss it quickly.
4. Into the Wild: The most important thing to emerge from this film is the aspiring promise of actor Emile Hirsch. While he is among several very good young performers, his roles in "Into the Wild" and "Alpha Dog" this year separate him slightly from the pack. The supporting performances in the film are equally as good; highlighted by Hal Holbrook and Catherine Keener. The movie represents a loneliness that both scares and impresses me -- it was able to tap into my innermost self and force me to confront feelings that most people would find both foreign and unfeeling.
5. American Gangster: This marked my most anticipated movie of 2007. Director Ridley Scott and actors Denzel Washington and Russell Crowe are in top form (as they also were in "The Great Debaters" and "3:10 to Yuma" respectively). However, I will say the film is slightly too neat. Nothing is out of the ordinary or in place to shock the viewer. It is what it is: one of the best color-by-numbers films Hollywood has ever produced.
6. Grindhouse: One of the first films I saw in 2007 and I knew it would find a way to land on my top 10 at the end of the year. The movie is great fun -- directors Robert Rodriguez and Quentin Tarantino (plus the several directors who created the mock-trailers) were able to tap into the spirit of the very lackluster Grindhouse genre. The best analogy I could make would be of a great artist sculpting a masterwork out of dog feces; and thus, it does not work in the terms of good or bad.
7. Inland Empire: Director David Lynch has added another very weird chapter to his filmography. Along the same vein as "Lost Highway" (1997) and Mulholland Dr. (2001), "Inland Empire" overlaps past, present and dream (and maybe even alternate realities). It is not a viewing experience that I would recommend to inpatient recipients; it requires deep thought and the devotion of revisiting the film in the future. I make no claims to understand what Lynch has created -- or to even assume the position of attaining an understanding later on -- I do, however, respect his fearless filmmaking and desire to question the constructs of basic narrative story telling. I also applaud actress Laura Dern, who helms the lead role, in what is one of the strongest performances of the year.
8. No Country for Old Men: The Coen brothers (Ethan and Joel) are unique in every project they choose. They have been able to brand a type of filmmaking on their work that can never be confused with anyone else -- even the short they created for the project "Paris, I love You" ["Paris, Je T'Aime"] early this year can be identified as theirs from the opening frame. "No Country for Old Men" is a testament to pitch-perfect direction and very strong acting. Its one pitfall, however, is its non-cinematic structure; highlighted by the disjointed third act. Make no mistake though; this film represents some of the Coen's best work and a performance by Javier Bardem that won't soon be forgotten.
9. Ratatouille: Pixar is brilliant. It's shocking just how consistently good they are. While I love every film they've done, I feel that "Ratatouille" might be their strongest work -- it contains a level of humanism that some of the other pieces may lack. Also of note, actor Peter O'Toole's speaking role as Anton Ego, the top critic in Paris, is probably the most notable animated performance since Robin Williams in "Aladdin" (1992).
10. Black Book [Zwartboek]: Carice Van Houten delivers an amazing performance as a war-torn Jewish woman in the Nazi-occupied Netherlands -- she is able to elevate the film from good to great. Director Paul Verhoeven finds just the right pace to play out this story and in doing so has successfully crafted his life's best work. The film is a crowning achievement and the best foreign film to be released this year.
Individual Accolades:
Best Director:
1. Paul Thomas Anderson for "There Will Be Blood"
2. Ethan and Joel Coen for "No Country for Old Men"
3. David Lynch for "Inland Empire"
Best Performance by an Actor:
1. Daniel Day-Lewis in "There Will Be Blood"
2. Javier Bardem in "No Country for Old Men"
3. Philip Seymour Hoffman in "Before the Devil Knows You’re Dead"
Best Performance by an Actress:
1. Carice van Houten in "Black Book"
2. Laura Dern in "Inland Empire"
3. Cate Blanchett in "I’m Not There"
Best Screenplay:
1. Paul Thomas Anderson for "There Will Be Blood"
2. Aaron Sorkin for "Charlie Wilson’s War"
3. Kelly Masterson for "Before the Devil Knows You’re Dead"
Wednesday, January 02, 2008
Tuesday, January 01, 2008
2007 Movie Reviews
All films have a U.S. release date of 2007 and are listed alphabetically with a 1-10 rating. Numbers to star equivalents are listed at the bottom.
3:10 to Yuma: 8/10 - Possibly the best remake I've ever seen: almost everything the original lacked, was richly filled-in with director James Mangold's re-imagining. Christian Bale plays the protagonist, Dan Evens, about as straight as he can, and it works -- once again, Bale displays his endless versatility. Ben Foster, portrays the sharpshooting outlaw Charlie Prince, and gives a supporting performances that steals every scene he's in. Lastly, and far and away the most intriguing, is Russell Crowe's performances as the wanted -- and very deadly -- Ben Wade. The character is not believable in the original film and Crowe changes that by playing him as the smartest guy on the screen in every scene, which allows the audience to think more about the character, than what the character chooses to do.
300: 5/10 – The major difference “300” has with other comic book adaptations is that director Zack Snyder makes no attempt to adapt it. It never felt like a movie, just an exercise involving excessive gore and a paper-thin plot for the MTV generation to be mesmerized by while they wait for the next cool thing to come along.
1408: 3/10 - John Cusack's character, Mike Enslin, after his stay in the infamous room says, "Sometimes you just can't forget bad memories; you have to live with them." Mr. Enslin is absolutely correct.
Across the Universe: 4/10 - An absolute mess: it is shocking to view strings of brilliance submerged in such an abundance of trash. Director Julie Taymor ("Titus," "Frida") is a failure as a filmmaker, and while I would certainly concede that The Beatles were indeed brilliant, she is anything but.
After the Wedding [Efter Brylluppet]: 5/10 - Director Susanne Bier ("Brothers") is able to tackle tough drama very well; and while she does a formidable job with this film, the contrivances, and soap-opera-like plot, created too strong of a divide. Overall, the film is vapid just as often as it is engaging.
Alpha Dog: 8/10 - Writer/director Nick Cassavetes helms this true story of one of the youngest men to ever appear on the FBI’s Most Wanted List. It’s humorous at first to see teenage, wanna-bee mobsters live their lives with a self-sustained value of importance. It quickly becomes frightening, however, as the situation spirals out of control. The acting is shockingly absorbing and Cassavetes is relentless in his filming.
American Gangster: 9/10 - "The Untouchables" (1987) meets "Scarface" (1983) -- director Ridley Scott ("Blade Runner," "Gladiator") has created a perfectly cast, top-notch thriller. Denzel Washington and Russell Crowe are on the top of their game and it is an absolute pleasure to watch them take command of such demanding characters. The film's slow-paced exposition, while probably unnecessary, is never dull; and the film is likely to keep you on the edge of your seat throughout the final act.
The Assassination of Jesse James by the Coward Robert Ford: 9/10 - This is a very difficult film to comment on because I feel it demands a second viewing; even as it was ending I felt a strong desire to start from the beginning again. The narrative doesn't move forth as much so as it drifts along -- it's a surreal movie-going experience with a haunting score that kept me mesmerized. It is as sensationalized as it is poetic and as harrowing as it is human.
Atonement: 4/10 - The film's final 20 minutes saved this from being one of the worst moviegoing experiences of the year. The contrivances of the exposition, coupled with the complete lack of a cohesive narrative in the second act, have me questioning where all the Oscar buzz is coming from.
Away From Her: 10/10 - The most devastating aspect of Alzheimer's disease is the affect it has on the lives of loved ones: all of the experiences one shares with another become meaningless if that other cannot remember them -- the perception of the ailing dilutes one's own life experience. Alzheimer's is a difficult topic for any filmmaker to approach and director Sarah Polley has created a heart-wrenching masterpiece with this film. The performances are controlled and flawlessly in-tune -- the film plays like a beautiful requiem, with each note more harrowing than the last. I have never been more affected by a film experience.
Before the Devil Knows You're Dead: 8/10 - Director Sidney Lumet ("12 Angry Men," "Dog Day Afternoon," "Network"), at the age of 83, and with the help of a brilliant script (written by newcomer Kelly Masterson), has created his best work in decades. The film is a visceral powerhouse with a great cast led by Philip Seymour Hoffman. I found myself smiling very often throughout the movie, and not because any scene offered humor -- or even anything other than horrific characters committing terrible acts -- but because I had the hunch it was all pieced together with a devilish smile.
Beowulf: 7/10 - A wonderful retelling of the famous story. The CGI is stunning -- easily the best I've ever seen -- and even though the enlisted actors never actually appear on screen, the performances are powerful and engaging.
Black Book [Zwartboek]: 8/10 - A brilliant script -- with enough smart twists to keep viewers sucked in for the ride -- and a wonderful performance by Carice van Houten let this WWII espionage thriller shine. Houten's brave turn as a beautiful Jewish woman fighting for her life in the Nazi-occupied Netherlands is probably the best I've seen from any actress this year.
Black Snake Moan: 6/10 - A strange film that works on account of a strong performance from Samuel L. Jackson and a wonderful -- and very brave -- performance from Christina Ricci.
Blades of Glory: 4/10 - Marginally funny with hit and miss jokes throughout. Will Ferrell's charisma is the only thing that keeps this film moving along.
The Bourne Ultimatum: 8/10 - Along the same lines as the last installment of the franchise -- “The Bourne Supremacy” (2004) -- ‘Ultimatum’ is a solid and often breathtaking action film. Matt Damon is great as Jason Bourne and I sincerely hope he decides to team back up with director Paul Greengrass and continue on with the franchise.
Breach: 8/10 - I wasn't expecting much, but don't let the February release fool you -- this is a great film. Cooper and Phillippe do well in their respective rolls and the plot to capture the most infamous spy in U.S. history plays out with genuine intrigue.
The Bucket List: 7/10 - While I feel the film stumbles slightly in the second act -- the plot becomes a series of set pieces rather than a progression of director Rob Reiner's theme -- the performances by Jack Nicholson and Morgan Freeman elevate the work to something I feel confident in recommending to everyone.
Charlie Wilson's War: 8/10 - A smart, witty script directed with just the right tone by Mike Nichols ("The Graduate," "Closer"). The performances work too -- Tom Hanks and Philip Seymour Hoffman play off each other with great chemistry. The film's best asset, however, is its ability to be both entertaining while you watch it and thought-provoking once it's over.
The Condemned: 4/10 - The script is a mess and most of the cast does an awful job of playing their poorly written, one-dimensional characters. Steve Austin does play it straight -- even through some laughably terrible scenes -- and keeps the film mostly entertaining.
Disturbia: 3/10 – A boring reinvention of Hitchcock’s “Rear Window” (1954). Shia LaBeouf’s performance is noteworthy, however, and I do expect him to move on to have a very strong career as a leading man.
Eastern Promises: 6/10 - I would classify the film as a moderate failure: it had all the right pieces in place, but the final product is not a reflection of the film's potential. The entire experience felt cold and uninviting and the characters are not nearly as compelling as they should have been. Viggo Mortensen's performance is the only thing worth recommending, and more than likely, the only thing I'll have remembered when I look back on the work.
Elizabeth: The Golden Age: 7/10 - Much like the film's predecessor, "Elizabeth" (1998), the film works as an engaging retelling of a segment in the life of one of history's greatest leaders. Cate Blanchett and Geoffrey Rush reprise their roles perfectly and Clive Owen works as a solid addition. If you enjoyed the first film, it is definitely worth continuing the saga with this entry.
Fantastic Four: Rise of the Silver Surfer: 4/10 - Campy and contrived, however, the Silver Surfer is easily the most intriguing and entertaining Marvel character to appear in a film thus far.
Fracture: 7/10 – Films that revolve around revolutionary twists face unbelievable scrutiny – deservingly so. It's unfortunate, however, that the bigger picture is so often lost. The film is well acted and written and largely very enjoyable. The issue comes with two very large twists at the end – one of which a legal quandary (which apparently checks out) and the other a case of sheer contrivance. So, I'm left to ask myself: If a film is molded around one very stupid plot-point, is the rest of the film to be discounted? I'm not sure, but I can say I thoroughly enjoyed the film until I left the theater and began to analyze its possible faults.
Ghost Rider: 2/10 - Unintentionally hilarious at moments, but mostly it’s filled with awful writing and unbearably putrid direction. Writer/director Mark Steven Johnson (who’s last film was the terrible “Daredevil”) is so talentless that I am at a loss for words. I pitied the actors and am almost able to forgive the horrific performances due to just how bad of a job Johnson does with the film.
Gone Baby Gone: 7/10 - Ben Affleck's feature film directorial debut is easily the most impressive work he's done in the film industry thus far -- everything he is not as an actor, he is as a director. His brother, Casey Affleck, turns in another strong performance this year (the other was in 'Assassination of Jesse James') in a film that is uncompromising in the questions it asks. In addition, Ed Harris shines in an award worthy supporting actor role.
The Great Debaters: 7/10 - The sensationalized retelling of a debating team from an all black college on a path to facing off against Harvard in the 1930s. Denzel Washington both stars and directs the film and is supported by a wonderful cast, including the great Forest Whitaker.
Grindhouse: 9/10 – Directors Quentin Tarantino and Robert Rodriguez have created two films that prove even movies with awful content from the worst genre in American history can be great. It’s just plain cool, and very possibly, the most fun you’ll have at a theater all year.
Halloween: 3/10 - I've never understood the appeal of the horror film genre: illogical plotlines littered with inept acting. I have also never understood the acclaim many throw at the original "Halloween" (1978); while it may be the father of modern-day horror films, I wonder if that is really an accomplishment worth praising. Regardless, director Rob Zombie's remake makes no effort towards breaking new ground in the genre and is equally as terrible as the original.
The Hoax: 7/0 - A great story and strong acting from the entire cast make the film very entertaining. Director Lasse Hallstrom ("What's Eating Gilbert Grape," The Cider House Rules") trusts the film to Richard Gere and Alfred Molina and neither disappoint.
I Am Legend: 6/10 - Will Smith delivers a strong performance in a film that isn't quite sure what it wants to be. It is filled with some great moments -- some horror, some sentimental, some thought-provoking -- but on the whole, it didn't leave a lasting impression with me.
I'm Not There: 3/10 - Most of the performances, highlighted by Cate Blanchett, are well done and the concept is somewhat intriguing; however, director Todd Haynes fails to bring it all together into one, cohesive structure.
I Now Pronounce You Chuck and Larry: 5/10 - An entertaining film with hit and miss laughs from start to end. While it's mostly a fun watch, it's also fairly forgettable.
In the Shadow of the Moon: 5/10 – A color-by-numbers documentary on the United States’ Apollo program in the 1960’s. The pacing is awkward at times and the film never extends past something one would find on the History channel. It is also severely hindered by the absence of comments from the most important astronaut of the era (and of all-time), Neil Armstrong.
In the Valley of Elah: 6/10 - I'm not certain what message director Paul Haggis ("Crash") was attempting to convey with this film -- which may seem like an odd thing to write considering the heavy-handed nature of the filmmaking -- the obvious anti-Iraq war sentiment is trumped by a very generic examination of a soldier's psychological post-war wounds. At issue is not Haggis' theme, but rather the mediocrity with which he goes about expressing it. Oppositely, and far more pleasantly, Tommy Lee Jones delivers the best performance of his career as a grieve-stricken father; not since "JFK" (1991) has he created a more memorable character.
Inland Empire: 9/10 - David Lynch is probably the most fascinating filmmaker working today. "Inland Empire" is from the same mold as his masterpiece, "Mulholland Dr." (2001) -- it merges reality with dream effortlessly and vanquishes all hope of discerning any form of a coherent narrative. To add further complications, Lynch revolves the film around the making of another film: one with an equally outrages plot. I won't pretend to understand every moment of the movie, but then again, that's the joy in viewing one of Lynch's films...one doesn't have to.
Into the Wild: 9/10 - The film is shrouded in an overwhelming melancholy and I found myself on the verge of tears several times, each moment proceeded with a small smile. I often joke about the desire to move out to the middle of nowhere, build a small cabin and hunt the local game with a shotgun; but it's a thought without an ounce of conviction -- for Christopher McCandless, my joke became his reality. The cast is pitch-perfect and Emile Hirsch ("Alpha Dog") resembles a young Leonardo DiCaprio, delivering a performance worthy of Oscar recognition.
The Italian [Italianetz]: 1/10 - The film, the characters in the film, and the thought process behind the film are all equally boring.
Juno: 3/10 - This is not 2007's "Little Miss Sunshine" (2006). It is a boring film from a contrived, poorly written script. Actress Ellen Page ("Hard Candy," "X-Men: The Last Stand") does an adequate job with the lead role; however, she is nowhere near the realm of the Oscar buzz she has been receiving.
The Kingdom: 5/10 - The problem with taking a FBI Investigation/action film script and setting it in Saudi Arabia is that the many contrivances that often accompany such a script seem far less forgivable. While there is nothing wrong with a mediocre action movie, something doesn't sit well with me when so much more is left to say about the state of affairs in the Middle East.
The Kite Runner: 7/10 - A touching film that analyzes one man's chance at redemption. However, without having even read the book it was adapted from, I was able to see what was lost in translation. While it is often true that a picture is worth a thousand words, there is no picture that can ever take us within a man's heart and mind. The film has enough plot for a mini-series, but it seems to bypass the character depth required for any tale of soul-cleansing.
Knocked Up: 6/10 - While the film is filled with multiple hilarious moments, it’s overlong running time and loose editing lead me to look back on it somewhat unfavorably. Still worth the rental for the many solid laughs.
Lake of Fire: 3/10 - Director Tony Kaye ("American History X") wants this to be the definitive film on abortion -- and to his credit, it might be exactly that -- however, the structureless stretch of celluloid he has created brings nothing new to a very old discussion. We know the sides, and we know what they each represent, which makes the 2 1/2 we spend getting bombarded with an endless series of talking heads seem extremely excessive and unnecessary.
Lions for Lambs: 4/10 - Once the film was fully digested, it would be difficult for me to label it anything other than a train-wreck. The reasoning for rating it higher than it probably deserves -- much like "Across the Universe" -- is because it does have some strong moments; most of which occur in the first half of the film, when the themes seem to be tackled objectively. The failures of the second half, unfortunately, overtake the possible track towards success laid out in the first half. In the end, director Robert Redford created a muddled, liberally biased, contrived disaster, which is so illogical, it felt as though he personally slapped me in the face.
Live Free or Die Hard: 4/10 - An R-rated film forced into a PG-13 glove coupled with a lead villain too cartoonish to find a role in the Bond series lead to one of the bigger disappointments I've had to face in recent memory.
The Lives of Others [Das Leben der Anderen]: 5/10 - Hidden within this overlong, poorly paced film lies a work of brilliance. I was saddened to watch so many strong performances and such a solid screenplay base go wasted due to the lack of vision of director Donnersmarck.
Lonely Hearts: 4/10 - A fairly poor effort by director Todd Robinson -- he never seemed to grasp control of the project and the movie never comes together. While the performances aren’t terrible, they come off mediocre due to the film’s sloppy misdirection.
The Lookout: 6/10 - Joseph Gordon-Levitt delivers a very strong performance as the high school hotshot, turned handicapped bank janitor. The performance is made all the more impressive by the complexity of his role: a young man struggling to feel alive and in control once again. Writer/director Scott Frank does well with his directorial debut and what could have been just another cliché bank heist film is anything but.
Lust, Caution [Se, Jie]: 7/10 - Director Ang Lee creates a wonderful World War II atmosphere and crafts a perfect first half of film. Lee molds very cold characters, which works in the application of the film's major theme: lust; however, the film's second half blurs emotions and leaves the viewer somewhat lost. In reaching too far, Lee allowed me to lose sight of his point...along with what could have been another masterpiece to accompany "Brokeback Mountain," his last work of brilliance.
Maxed Out: Hard Times, Easy Credit and the Era of Predatory Lenders: 4/10 - James Scurlock has created a documentary that examines the lives of those stricken with uncontrolled debt, while crosscutting to a very shallow examination of the national debt crisis. The problem is that I had no reason to feel compassion for a grouping of people that chose to spend more money than they had -- if you don't have a job, don't buy things you can't afford; if you're borderline bankrupt, don't have a child; if you're living on a very fixed income, don't gamble away thousands of dollars.
Michael Clayton: 6/10 - The performances are all strong and the film is more often than not engaging; however, I felt as if the characters had more to accomplish on screen. There is an abundance of good dialog throughout the script, there’s just not enough substance.
A Mighty Heart: 5/10 - Angelina Jolie gives a strong performance in a very hollow film. The sad truth is, if the film was not based on true events, it would have been awful. There is a fine line between sensationalism and irrelevance -– a line filmmakers must live on in movies such as this one -- and director Michael Winterbottom is unable to ever elevate from the latter. It is a perfect example of a good story without storytelling.
Mr. Brooks: 7/10 – Wonderfully twisted. Costner and Hurt have great chemistry and the film is worth a viewing just to see them. The major flaws come with the many tangent plotlines -- especially ones involving Mr. Brook's daughter.
National Treasure: Book of Secrets: 4/10 - The sequel actually finds ways to make "National Treasure" (2004) play like a documentary. If the insanely ludicrous plot wasn't bad enough, the horribly miscast Ed Harris and the excessively long running-time would have put it over the edge.
Next: 3/10 - The script is astonishingly bad -- that's not even an adequate enough description -- I'm talking epic awfulness; worse than anything I thought anyone was ever capable of producing. The writing is so terrible, you may actually spend time during the movie -- much like I did -- in deep thought, noting the monumental failure of screenwriters Gary Goldman and Jonathan Hensleigh. Also shocking, is the performance by Nicholas Cage; how he managed to keep much of the film entertaining is almost as revolutionary.
No Country for Old Men: 8/10 - The Coen brothers deliberately broke some basic storytelling rules when structuring this film in an effort to divert attention away from the plot and onto the theme. While the approach does not fail, it doesn't exactly succeed either, and the result lends an uneven feel to the final product. The film works because of the three principle characters; and further, the film is great because of the performances by Tommy Lee Jones, Javier Bardem and Josh Brolin.
No End in Sight: 7/10 - The stated goal of the United States Government was to establish an effective and efficient post-war environment in Iraq. Everything they did, however, was in contradiction to that objective. Charles Ferguson's documentary explores those missteps and analyzes the seeming incompetence of the Bush administration during the vital months that followed the collapse of Bagdad. The questions I have -- and the questions Mr. Ferguson should have been asking -- is not why the U.S. Government is so incompetent, but rather, were the Government’s stated goals actually their intention? Did the Bush administration really want to establish an effective and efficient post-war democratic Iraq? If not, who benefits from chaotic anarchy in Iraq?
The Number 23: 2/10 - I watched this movie with three friends -- two of the three were from college with me (23) -- two of them were from the same hometown as me (23) -- hell, one of them was 23 days (23) from his 23rd birthday (23) and he was wearing a Don Mattingly t-shirt (23). Get the idea? If you found that opening sentence to be wildly fascinating, this movie is just for you.
Oceans Thirteen: 4/10 - The second one was awful because it made absolutely no sense and was completely riddled with plot holes; this one is terrible because the plot is so ludicrous one must question the sanity of the people involved. What bothers me the most is the pretentious aura that surrounds these films -- as if I should be grateful I paid $8 to watch A-list stars incoherently prance around on screen for two hours...they get me every time.
The Painted Veil: 6/10 - The film suffers from what feels like an abbreviated first act. Director John Curran doesn’t allow his characters a chance to develop and the decision prevents the viewer from establishing a connection with the protagonists. Edward Norton and Naomi Watts give wonderful performances in a film that very easily could have been great under different direction.
Paris, I Love You [Paris, Je T'aime]: 5/10 - Many great actors and directors came together to create 20 short-films about love in Paris. Unfortunately, many of the stories misfire and drag down a well-intentioned concept.
Pirates of the Caribbean: At World’s End: 3/10 - What ‘Dead Man’s Chest’ took away from the first film’s freshness, this installment takes away from the fun. Compound that by the saddening fact that the film makes absolutely zero sense and one ends up with a disastrous waste of time.
Ratatouille: 8/10 - A near perfect and undeniably adorable film; the slightly overlong exposition does little to deter this from being one of the great films released this year. Just as I said with Pixar's last release, "Cars," Pixar can do no wrong.
Red Road: 1/10 - Much like "The Italian," earlier this year, this film offers characters that I was unable to relate to or care about. It isn't all together bad, just not engaging enough for me to sit through.
Rendition: 5/10 - Director Gavin Hood ("Tsotsi") attempts a very surprising plot device, however, its setup had me questioning the purpose of certain scenes throughout the entire film, all for a payoff that is an irrelevant realization about the film's structure. While I did enjoy Jake Gyllenhaal’s performance, the movie is largely forgettable.
Rescue Dawn: 6/10 - Director Werner Herzog ("Aguirre: The Wrath of God," "Little Dieter Needs to Fly") never escalates the film past the color-by-numbers plot-outline laid out in the screenplay. I could tell, that deep down, he was trying to make a movie about the overcoming of the human spirit in a hellish environment; however, the result falls just short of his target.
The Savages: 7/10 - It would be difficult to craft a bad film once Laura Linney and Philip Seymour Hoffman have been cast in the leads. Their strong performances allow this introspective family drama to surpass what could have been tedious mediocrity.
Serephim Falls: 6/10 - A beautifully photographed and well acted old-fashion revenge Western...kinda. The heavy-handed surrealism that takes the film over in the latter half doesn't mix with the gritty realism that brings the viewer through the first half. The film could best be described as a John Ford Western that David Lynch takes over at some-point in the middle. While both are great filmmakers in their own right, director David Von Ancken would be better served blending their concepts, rather than switching drastically between them.
Shoot 'Em Up: 7/10 - An action film spoof that is so far over-the-top it's laugh-out-loud funny how ridiculous the endless scenes of gratuitous violence are. The film is entertaining throughout and never takes itself too serious -- and best of all, Clive Owen and Paul Giamatti give two of the most enjoyable performances of the year.
Shooter: 8/10 - A throw back to the 80's Schwarzenegger and Stallone action films that delivers with shocking success. Wahlberg does very well in the role and director Antoine Fuqua's stylized work lends the perfect touch to what an action film should be.
Shrek the Third: 3/10 - While I was a fan of the first two Shrek films, this one lacked the magical, fun-filled feel normally instilled into the franchise. I have a feeling that the characters have run their course and the series needs to be put to sleep -- unfortunately, there is a fourth film on its way.
The Simpsons Movie: 6/10 - The movie is as entertaining as the TV show, so long-time fans will have very little to complain about; however, it just doesn't have enough big laughs to justify it as a full length feature comedy.
Smokin’ Aces: 4/10 - The brilliant filmmaking in the first act quickly shifts to a testosterone-fueled bloodbath of irrelevance in the second act...and well, the third act -- accompanied by its laughably obvious and ridiculous twist -- is just plain silly.
Spider-man 3: 7/10 – I hated the first film and I thought the second was mediocre at best…the third installment, however, ironically manages to find entertainment through its many faults. I found the first two, for the most part, to be poorly written, pathetically acted messes; and while it would be hard to argue much has changed, in adding enough plot to fill three movies, I never had a bored moment. The acting additions of Topher Grace and Thomas Haden Church only helped, but the film’s greatest success comes through its terrible screenplay.
Starter for 10: 8/10 - The film meanders, and doesn't really have a unifying point, yet I was able to relate to every single moment. The script is unique: sometimes charming, sometimes awkward; but always engaging. And as for the performances, they all work, and James McAvoy ("The Last King of Scotland") is perfect in the role. The bottom-line is that I really can’t envision a person I wouldn’t recommend the film to.
Superbad: 4/10 - Laughs are not what make a good comedy: smart humor, solid characters, and memorable scenes are what separate the great comedies from the summer trash consumers are thrown each year. While I did laugh often during "Superbad," each chuckle was separated by moments filled with me waiting for the movie to end.
Sweeney Todd: The Demon Barber of Fleet Street: 3/10 - While Johnny Depp continuously impresses me, his seemingly unending allegiance to director Tim Burton does not. Burton's projects are usually hit or miss, but the truth is, this musical was gimped before he ever touched it. The music was largely awful and the plot was just about as silly as one could imagine.
There Will Be Blood: 10/10 - One of the most unique and amazing films I've seen produced in my lifetime. Writer/director Paul Thomas Anderson ("Boogie Nights," "Magnolia") has created a revolutionary masterpiece -- a film that has changed my outlook on modern-day cinema. Daniel Day-Lewis ("My Left Foot," "Gangs of New York") fills the shoes of one of the most memorable characters ever penned and delivers one of the greatest performances ever put on film; rivaling Brando in his prime. The film is visceral; the film is volatile; the film is masterful poetry -- and it will be revered and discussed forever.
Transformers: 6/10 - The inherent problem with the film is the concept of alien robots attacking America; however, if you're able to look past the laughable plot -- something I was unable to do -- you will find that at its core, the film supplies solid entertainment. Young actor, Shia LaBeouff, is shockingly believable considering the screenplay and Megan Fox is absolutely stunning, which will keep even the most uninterested viewers glued to the screen.
Triad Election [Hak se wui yi wo wai kwai]: 7/10 - Much like the predecessor, "Election" (2005), the film isn't always easy to follow; however, director Johnny To has a firm grasp on the crime genre and is always able to keep the characters interesting and the story engaging.
An Unreasonable Man: 8/10 - "The reasonable man adapts himself to the world; the unreasonable one persists in trying to adapt the world to himself. Therefore, all progress depends on the unreasonable man." That quote, by George Bernard Shaw, precedes the film: a profound and captivating documentary on the life of Ralph Nader. The first half of the film is very good; it deals with Nader's life as an activist for the people -- namely in the automobile safety industry -- however, the second half of the film is brilliant. Nader's persistence, as an unreasonable man, is poetically laced in among the inherent flaws of the current political system in the United States by directors Mantel and Skrovan. The film is worth the viewing for anyone and is one of the better documentaries I've ever seen.
Waitress: 7/10 - The movie works on a light, comedy level -- the characters are all fun and the movie never takes itself too seriously. In addition, Keri Russell does well carrying the lead.
We Own the Night: 3/10 - Disappointing acting performances combined with a terrible script made this movie extremely difficult to watch. Don't go see this film.
Wild Hogs: 5/10 - The all-star cast is able to keep the film moving along fairly well up until the last act; at which point the screenplay completely collapses and director Walt Becker's inexperience becomes overwhelmingly apparent. It still receives my extremely mild recommendation for those who are looking for some easy laughs from a very fun ensemble.
Zodiac: 6/10 – Jake Gyllenhaal long ago proved himself as one of Hollywood’s top actors and he does a valiant job in moving this film along. Unfortunately, the film suffers from poor perspective – the screenplay was written from an awkward vantage point, causing all kinds of disconnect throughout the film. It’s a great subject with some wonderful acting, but it is handicapped right out of the box and never reaches its potential.
Zoo: 1/10 - "I wouldn't always have sex with the animal, sometimes I would just hold the horse's balls to see how they felt -- they were always warm." That was said by a 'zoo' (a person who enjoys sex with animals) about 14 minutes into the movie. That was as far as I got. The film was done with cheesy re-enactments (think back to the TV show "Unsolved Mysteries") and was created to chronicle the story of a man who died during sexual intercourse with a horse. I am no where near as desensitized as I thought I was.
Rating Breakdown:
10 = 4 Stars (Masterpiece)
9 = 4 stars
8 = 3 1/2 stars
7 = 3 stars
6 = 2 1/2 stars
5 = 2 stars
4 = 1 1/2 stars
3 = 1 star
2 = 1/2 star
1 = No stars (I was unable to finish viewing it)
I'll continue to update this page as I see more movies released this year.
3:10 to Yuma: 8/10 - Possibly the best remake I've ever seen: almost everything the original lacked, was richly filled-in with director James Mangold's re-imagining. Christian Bale plays the protagonist, Dan Evens, about as straight as he can, and it works -- once again, Bale displays his endless versatility. Ben Foster, portrays the sharpshooting outlaw Charlie Prince, and gives a supporting performances that steals every scene he's in. Lastly, and far and away the most intriguing, is Russell Crowe's performances as the wanted -- and very deadly -- Ben Wade. The character is not believable in the original film and Crowe changes that by playing him as the smartest guy on the screen in every scene, which allows the audience to think more about the character, than what the character chooses to do.
300: 5/10 – The major difference “300” has with other comic book adaptations is that director Zack Snyder makes no attempt to adapt it. It never felt like a movie, just an exercise involving excessive gore and a paper-thin plot for the MTV generation to be mesmerized by while they wait for the next cool thing to come along.
1408: 3/10 - John Cusack's character, Mike Enslin, after his stay in the infamous room says, "Sometimes you just can't forget bad memories; you have to live with them." Mr. Enslin is absolutely correct.
Across the Universe: 4/10 - An absolute mess: it is shocking to view strings of brilliance submerged in such an abundance of trash. Director Julie Taymor ("Titus," "Frida") is a failure as a filmmaker, and while I would certainly concede that The Beatles were indeed brilliant, she is anything but.
After the Wedding [Efter Brylluppet]: 5/10 - Director Susanne Bier ("Brothers") is able to tackle tough drama very well; and while she does a formidable job with this film, the contrivances, and soap-opera-like plot, created too strong of a divide. Overall, the film is vapid just as often as it is engaging.
Alpha Dog: 8/10 - Writer/director Nick Cassavetes helms this true story of one of the youngest men to ever appear on the FBI’s Most Wanted List. It’s humorous at first to see teenage, wanna-bee mobsters live their lives with a self-sustained value of importance. It quickly becomes frightening, however, as the situation spirals out of control. The acting is shockingly absorbing and Cassavetes is relentless in his filming.
American Gangster: 9/10 - "The Untouchables" (1987) meets "Scarface" (1983) -- director Ridley Scott ("Blade Runner," "Gladiator") has created a perfectly cast, top-notch thriller. Denzel Washington and Russell Crowe are on the top of their game and it is an absolute pleasure to watch them take command of such demanding characters. The film's slow-paced exposition, while probably unnecessary, is never dull; and the film is likely to keep you on the edge of your seat throughout the final act.
The Assassination of Jesse James by the Coward Robert Ford: 9/10 - This is a very difficult film to comment on because I feel it demands a second viewing; even as it was ending I felt a strong desire to start from the beginning again. The narrative doesn't move forth as much so as it drifts along -- it's a surreal movie-going experience with a haunting score that kept me mesmerized. It is as sensationalized as it is poetic and as harrowing as it is human.
Atonement: 4/10 - The film's final 20 minutes saved this from being one of the worst moviegoing experiences of the year. The contrivances of the exposition, coupled with the complete lack of a cohesive narrative in the second act, have me questioning where all the Oscar buzz is coming from.
Away From Her: 10/10 - The most devastating aspect of Alzheimer's disease is the affect it has on the lives of loved ones: all of the experiences one shares with another become meaningless if that other cannot remember them -- the perception of the ailing dilutes one's own life experience. Alzheimer's is a difficult topic for any filmmaker to approach and director Sarah Polley has created a heart-wrenching masterpiece with this film. The performances are controlled and flawlessly in-tune -- the film plays like a beautiful requiem, with each note more harrowing than the last. I have never been more affected by a film experience.
Before the Devil Knows You're Dead: 8/10 - Director Sidney Lumet ("12 Angry Men," "Dog Day Afternoon," "Network"), at the age of 83, and with the help of a brilliant script (written by newcomer Kelly Masterson), has created his best work in decades. The film is a visceral powerhouse with a great cast led by Philip Seymour Hoffman. I found myself smiling very often throughout the movie, and not because any scene offered humor -- or even anything other than horrific characters committing terrible acts -- but because I had the hunch it was all pieced together with a devilish smile.
Beowulf: 7/10 - A wonderful retelling of the famous story. The CGI is stunning -- easily the best I've ever seen -- and even though the enlisted actors never actually appear on screen, the performances are powerful and engaging.
Black Book [Zwartboek]: 8/10 - A brilliant script -- with enough smart twists to keep viewers sucked in for the ride -- and a wonderful performance by Carice van Houten let this WWII espionage thriller shine. Houten's brave turn as a beautiful Jewish woman fighting for her life in the Nazi-occupied Netherlands is probably the best I've seen from any actress this year.
Black Snake Moan: 6/10 - A strange film that works on account of a strong performance from Samuel L. Jackson and a wonderful -- and very brave -- performance from Christina Ricci.
Blades of Glory: 4/10 - Marginally funny with hit and miss jokes throughout. Will Ferrell's charisma is the only thing that keeps this film moving along.
The Bourne Ultimatum: 8/10 - Along the same lines as the last installment of the franchise -- “The Bourne Supremacy” (2004) -- ‘Ultimatum’ is a solid and often breathtaking action film. Matt Damon is great as Jason Bourne and I sincerely hope he decides to team back up with director Paul Greengrass and continue on with the franchise.
Breach: 8/10 - I wasn't expecting much, but don't let the February release fool you -- this is a great film. Cooper and Phillippe do well in their respective rolls and the plot to capture the most infamous spy in U.S. history plays out with genuine intrigue.
The Bucket List: 7/10 - While I feel the film stumbles slightly in the second act -- the plot becomes a series of set pieces rather than a progression of director Rob Reiner's theme -- the performances by Jack Nicholson and Morgan Freeman elevate the work to something I feel confident in recommending to everyone.
Charlie Wilson's War: 8/10 - A smart, witty script directed with just the right tone by Mike Nichols ("The Graduate," "Closer"). The performances work too -- Tom Hanks and Philip Seymour Hoffman play off each other with great chemistry. The film's best asset, however, is its ability to be both entertaining while you watch it and thought-provoking once it's over.
The Condemned: 4/10 - The script is a mess and most of the cast does an awful job of playing their poorly written, one-dimensional characters. Steve Austin does play it straight -- even through some laughably terrible scenes -- and keeps the film mostly entertaining.
Disturbia: 3/10 – A boring reinvention of Hitchcock’s “Rear Window” (1954). Shia LaBeouf’s performance is noteworthy, however, and I do expect him to move on to have a very strong career as a leading man.
Eastern Promises: 6/10 - I would classify the film as a moderate failure: it had all the right pieces in place, but the final product is not a reflection of the film's potential. The entire experience felt cold and uninviting and the characters are not nearly as compelling as they should have been. Viggo Mortensen's performance is the only thing worth recommending, and more than likely, the only thing I'll have remembered when I look back on the work.
Elizabeth: The Golden Age: 7/10 - Much like the film's predecessor, "Elizabeth" (1998), the film works as an engaging retelling of a segment in the life of one of history's greatest leaders. Cate Blanchett and Geoffrey Rush reprise their roles perfectly and Clive Owen works as a solid addition. If you enjoyed the first film, it is definitely worth continuing the saga with this entry.
Fantastic Four: Rise of the Silver Surfer: 4/10 - Campy and contrived, however, the Silver Surfer is easily the most intriguing and entertaining Marvel character to appear in a film thus far.
Fracture: 7/10 – Films that revolve around revolutionary twists face unbelievable scrutiny – deservingly so. It's unfortunate, however, that the bigger picture is so often lost. The film is well acted and written and largely very enjoyable. The issue comes with two very large twists at the end – one of which a legal quandary (which apparently checks out) and the other a case of sheer contrivance. So, I'm left to ask myself: If a film is molded around one very stupid plot-point, is the rest of the film to be discounted? I'm not sure, but I can say I thoroughly enjoyed the film until I left the theater and began to analyze its possible faults.
Ghost Rider: 2/10 - Unintentionally hilarious at moments, but mostly it’s filled with awful writing and unbearably putrid direction. Writer/director Mark Steven Johnson (who’s last film was the terrible “Daredevil”) is so talentless that I am at a loss for words. I pitied the actors and am almost able to forgive the horrific performances due to just how bad of a job Johnson does with the film.
Gone Baby Gone: 7/10 - Ben Affleck's feature film directorial debut is easily the most impressive work he's done in the film industry thus far -- everything he is not as an actor, he is as a director. His brother, Casey Affleck, turns in another strong performance this year (the other was in 'Assassination of Jesse James') in a film that is uncompromising in the questions it asks. In addition, Ed Harris shines in an award worthy supporting actor role.
The Great Debaters: 7/10 - The sensationalized retelling of a debating team from an all black college on a path to facing off against Harvard in the 1930s. Denzel Washington both stars and directs the film and is supported by a wonderful cast, including the great Forest Whitaker.
Grindhouse: 9/10 – Directors Quentin Tarantino and Robert Rodriguez have created two films that prove even movies with awful content from the worst genre in American history can be great. It’s just plain cool, and very possibly, the most fun you’ll have at a theater all year.
Halloween: 3/10 - I've never understood the appeal of the horror film genre: illogical plotlines littered with inept acting. I have also never understood the acclaim many throw at the original "Halloween" (1978); while it may be the father of modern-day horror films, I wonder if that is really an accomplishment worth praising. Regardless, director Rob Zombie's remake makes no effort towards breaking new ground in the genre and is equally as terrible as the original.
The Hoax: 7/0 - A great story and strong acting from the entire cast make the film very entertaining. Director Lasse Hallstrom ("What's Eating Gilbert Grape," The Cider House Rules") trusts the film to Richard Gere and Alfred Molina and neither disappoint.
I Am Legend: 6/10 - Will Smith delivers a strong performance in a film that isn't quite sure what it wants to be. It is filled with some great moments -- some horror, some sentimental, some thought-provoking -- but on the whole, it didn't leave a lasting impression with me.
I'm Not There: 3/10 - Most of the performances, highlighted by Cate Blanchett, are well done and the concept is somewhat intriguing; however, director Todd Haynes fails to bring it all together into one, cohesive structure.
I Now Pronounce You Chuck and Larry: 5/10 - An entertaining film with hit and miss laughs from start to end. While it's mostly a fun watch, it's also fairly forgettable.
In the Shadow of the Moon: 5/10 – A color-by-numbers documentary on the United States’ Apollo program in the 1960’s. The pacing is awkward at times and the film never extends past something one would find on the History channel. It is also severely hindered by the absence of comments from the most important astronaut of the era (and of all-time), Neil Armstrong.
In the Valley of Elah: 6/10 - I'm not certain what message director Paul Haggis ("Crash") was attempting to convey with this film -- which may seem like an odd thing to write considering the heavy-handed nature of the filmmaking -- the obvious anti-Iraq war sentiment is trumped by a very generic examination of a soldier's psychological post-war wounds. At issue is not Haggis' theme, but rather the mediocrity with which he goes about expressing it. Oppositely, and far more pleasantly, Tommy Lee Jones delivers the best performance of his career as a grieve-stricken father; not since "JFK" (1991) has he created a more memorable character.
Inland Empire: 9/10 - David Lynch is probably the most fascinating filmmaker working today. "Inland Empire" is from the same mold as his masterpiece, "Mulholland Dr." (2001) -- it merges reality with dream effortlessly and vanquishes all hope of discerning any form of a coherent narrative. To add further complications, Lynch revolves the film around the making of another film: one with an equally outrages plot. I won't pretend to understand every moment of the movie, but then again, that's the joy in viewing one of Lynch's films...one doesn't have to.
Into the Wild: 9/10 - The film is shrouded in an overwhelming melancholy and I found myself on the verge of tears several times, each moment proceeded with a small smile. I often joke about the desire to move out to the middle of nowhere, build a small cabin and hunt the local game with a shotgun; but it's a thought without an ounce of conviction -- for Christopher McCandless, my joke became his reality. The cast is pitch-perfect and Emile Hirsch ("Alpha Dog") resembles a young Leonardo DiCaprio, delivering a performance worthy of Oscar recognition.
The Italian [Italianetz]: 1/10 - The film, the characters in the film, and the thought process behind the film are all equally boring.
Juno: 3/10 - This is not 2007's "Little Miss Sunshine" (2006). It is a boring film from a contrived, poorly written script. Actress Ellen Page ("Hard Candy," "X-Men: The Last Stand") does an adequate job with the lead role; however, she is nowhere near the realm of the Oscar buzz she has been receiving.
The Kingdom: 5/10 - The problem with taking a FBI Investigation/action film script and setting it in Saudi Arabia is that the many contrivances that often accompany such a script seem far less forgivable. While there is nothing wrong with a mediocre action movie, something doesn't sit well with me when so much more is left to say about the state of affairs in the Middle East.
The Kite Runner: 7/10 - A touching film that analyzes one man's chance at redemption. However, without having even read the book it was adapted from, I was able to see what was lost in translation. While it is often true that a picture is worth a thousand words, there is no picture that can ever take us within a man's heart and mind. The film has enough plot for a mini-series, but it seems to bypass the character depth required for any tale of soul-cleansing.
Knocked Up: 6/10 - While the film is filled with multiple hilarious moments, it’s overlong running time and loose editing lead me to look back on it somewhat unfavorably. Still worth the rental for the many solid laughs.
Lake of Fire: 3/10 - Director Tony Kaye ("American History X") wants this to be the definitive film on abortion -- and to his credit, it might be exactly that -- however, the structureless stretch of celluloid he has created brings nothing new to a very old discussion. We know the sides, and we know what they each represent, which makes the 2 1/2 we spend getting bombarded with an endless series of talking heads seem extremely excessive and unnecessary.
Lions for Lambs: 4/10 - Once the film was fully digested, it would be difficult for me to label it anything other than a train-wreck. The reasoning for rating it higher than it probably deserves -- much like "Across the Universe" -- is because it does have some strong moments; most of which occur in the first half of the film, when the themes seem to be tackled objectively. The failures of the second half, unfortunately, overtake the possible track towards success laid out in the first half. In the end, director Robert Redford created a muddled, liberally biased, contrived disaster, which is so illogical, it felt as though he personally slapped me in the face.
Live Free or Die Hard: 4/10 - An R-rated film forced into a PG-13 glove coupled with a lead villain too cartoonish to find a role in the Bond series lead to one of the bigger disappointments I've had to face in recent memory.
The Lives of Others [Das Leben der Anderen]: 5/10 - Hidden within this overlong, poorly paced film lies a work of brilliance. I was saddened to watch so many strong performances and such a solid screenplay base go wasted due to the lack of vision of director Donnersmarck.
Lonely Hearts: 4/10 - A fairly poor effort by director Todd Robinson -- he never seemed to grasp control of the project and the movie never comes together. While the performances aren’t terrible, they come off mediocre due to the film’s sloppy misdirection.
The Lookout: 6/10 - Joseph Gordon-Levitt delivers a very strong performance as the high school hotshot, turned handicapped bank janitor. The performance is made all the more impressive by the complexity of his role: a young man struggling to feel alive and in control once again. Writer/director Scott Frank does well with his directorial debut and what could have been just another cliché bank heist film is anything but.
Lust, Caution [Se, Jie]: 7/10 - Director Ang Lee creates a wonderful World War II atmosphere and crafts a perfect first half of film. Lee molds very cold characters, which works in the application of the film's major theme: lust; however, the film's second half blurs emotions and leaves the viewer somewhat lost. In reaching too far, Lee allowed me to lose sight of his point...along with what could have been another masterpiece to accompany "Brokeback Mountain," his last work of brilliance.
Maxed Out: Hard Times, Easy Credit and the Era of Predatory Lenders: 4/10 - James Scurlock has created a documentary that examines the lives of those stricken with uncontrolled debt, while crosscutting to a very shallow examination of the national debt crisis. The problem is that I had no reason to feel compassion for a grouping of people that chose to spend more money than they had -- if you don't have a job, don't buy things you can't afford; if you're borderline bankrupt, don't have a child; if you're living on a very fixed income, don't gamble away thousands of dollars.
Michael Clayton: 6/10 - The performances are all strong and the film is more often than not engaging; however, I felt as if the characters had more to accomplish on screen. There is an abundance of good dialog throughout the script, there’s just not enough substance.
A Mighty Heart: 5/10 - Angelina Jolie gives a strong performance in a very hollow film. The sad truth is, if the film was not based on true events, it would have been awful. There is a fine line between sensationalism and irrelevance -– a line filmmakers must live on in movies such as this one -- and director Michael Winterbottom is unable to ever elevate from the latter. It is a perfect example of a good story without storytelling.
Mr. Brooks: 7/10 – Wonderfully twisted. Costner and Hurt have great chemistry and the film is worth a viewing just to see them. The major flaws come with the many tangent plotlines -- especially ones involving Mr. Brook's daughter.
National Treasure: Book of Secrets: 4/10 - The sequel actually finds ways to make "National Treasure" (2004) play like a documentary. If the insanely ludicrous plot wasn't bad enough, the horribly miscast Ed Harris and the excessively long running-time would have put it over the edge.
Next: 3/10 - The script is astonishingly bad -- that's not even an adequate enough description -- I'm talking epic awfulness; worse than anything I thought anyone was ever capable of producing. The writing is so terrible, you may actually spend time during the movie -- much like I did -- in deep thought, noting the monumental failure of screenwriters Gary Goldman and Jonathan Hensleigh. Also shocking, is the performance by Nicholas Cage; how he managed to keep much of the film entertaining is almost as revolutionary.
No Country for Old Men: 8/10 - The Coen brothers deliberately broke some basic storytelling rules when structuring this film in an effort to divert attention away from the plot and onto the theme. While the approach does not fail, it doesn't exactly succeed either, and the result lends an uneven feel to the final product. The film works because of the three principle characters; and further, the film is great because of the performances by Tommy Lee Jones, Javier Bardem and Josh Brolin.
No End in Sight: 7/10 - The stated goal of the United States Government was to establish an effective and efficient post-war environment in Iraq. Everything they did, however, was in contradiction to that objective. Charles Ferguson's documentary explores those missteps and analyzes the seeming incompetence of the Bush administration during the vital months that followed the collapse of Bagdad. The questions I have -- and the questions Mr. Ferguson should have been asking -- is not why the U.S. Government is so incompetent, but rather, were the Government’s stated goals actually their intention? Did the Bush administration really want to establish an effective and efficient post-war democratic Iraq? If not, who benefits from chaotic anarchy in Iraq?
The Number 23: 2/10 - I watched this movie with three friends -- two of the three were from college with me (23) -- two of them were from the same hometown as me (23) -- hell, one of them was 23 days (23) from his 23rd birthday (23) and he was wearing a Don Mattingly t-shirt (23). Get the idea? If you found that opening sentence to be wildly fascinating, this movie is just for you.
Oceans Thirteen: 4/10 - The second one was awful because it made absolutely no sense and was completely riddled with plot holes; this one is terrible because the plot is so ludicrous one must question the sanity of the people involved. What bothers me the most is the pretentious aura that surrounds these films -- as if I should be grateful I paid $8 to watch A-list stars incoherently prance around on screen for two hours...they get me every time.
The Painted Veil: 6/10 - The film suffers from what feels like an abbreviated first act. Director John Curran doesn’t allow his characters a chance to develop and the decision prevents the viewer from establishing a connection with the protagonists. Edward Norton and Naomi Watts give wonderful performances in a film that very easily could have been great under different direction.
Paris, I Love You [Paris, Je T'aime]: 5/10 - Many great actors and directors came together to create 20 short-films about love in Paris. Unfortunately, many of the stories misfire and drag down a well-intentioned concept.
Pirates of the Caribbean: At World’s End: 3/10 - What ‘Dead Man’s Chest’ took away from the first film’s freshness, this installment takes away from the fun. Compound that by the saddening fact that the film makes absolutely zero sense and one ends up with a disastrous waste of time.
Ratatouille: 8/10 - A near perfect and undeniably adorable film; the slightly overlong exposition does little to deter this from being one of the great films released this year. Just as I said with Pixar's last release, "Cars," Pixar can do no wrong.
Red Road: 1/10 - Much like "The Italian," earlier this year, this film offers characters that I was unable to relate to or care about. It isn't all together bad, just not engaging enough for me to sit through.
Rendition: 5/10 - Director Gavin Hood ("Tsotsi") attempts a very surprising plot device, however, its setup had me questioning the purpose of certain scenes throughout the entire film, all for a payoff that is an irrelevant realization about the film's structure. While I did enjoy Jake Gyllenhaal’s performance, the movie is largely forgettable.
Rescue Dawn: 6/10 - Director Werner Herzog ("Aguirre: The Wrath of God," "Little Dieter Needs to Fly") never escalates the film past the color-by-numbers plot-outline laid out in the screenplay. I could tell, that deep down, he was trying to make a movie about the overcoming of the human spirit in a hellish environment; however, the result falls just short of his target.
The Savages: 7/10 - It would be difficult to craft a bad film once Laura Linney and Philip Seymour Hoffman have been cast in the leads. Their strong performances allow this introspective family drama to surpass what could have been tedious mediocrity.
Serephim Falls: 6/10 - A beautifully photographed and well acted old-fashion revenge Western...kinda. The heavy-handed surrealism that takes the film over in the latter half doesn't mix with the gritty realism that brings the viewer through the first half. The film could best be described as a John Ford Western that David Lynch takes over at some-point in the middle. While both are great filmmakers in their own right, director David Von Ancken would be better served blending their concepts, rather than switching drastically between them.
Shoot 'Em Up: 7/10 - An action film spoof that is so far over-the-top it's laugh-out-loud funny how ridiculous the endless scenes of gratuitous violence are. The film is entertaining throughout and never takes itself too serious -- and best of all, Clive Owen and Paul Giamatti give two of the most enjoyable performances of the year.
Shooter: 8/10 - A throw back to the 80's Schwarzenegger and Stallone action films that delivers with shocking success. Wahlberg does very well in the role and director Antoine Fuqua's stylized work lends the perfect touch to what an action film should be.
Shrek the Third: 3/10 - While I was a fan of the first two Shrek films, this one lacked the magical, fun-filled feel normally instilled into the franchise. I have a feeling that the characters have run their course and the series needs to be put to sleep -- unfortunately, there is a fourth film on its way.
The Simpsons Movie: 6/10 - The movie is as entertaining as the TV show, so long-time fans will have very little to complain about; however, it just doesn't have enough big laughs to justify it as a full length feature comedy.
Smokin’ Aces: 4/10 - The brilliant filmmaking in the first act quickly shifts to a testosterone-fueled bloodbath of irrelevance in the second act...and well, the third act -- accompanied by its laughably obvious and ridiculous twist -- is just plain silly.
Spider-man 3: 7/10 – I hated the first film and I thought the second was mediocre at best…the third installment, however, ironically manages to find entertainment through its many faults. I found the first two, for the most part, to be poorly written, pathetically acted messes; and while it would be hard to argue much has changed, in adding enough plot to fill three movies, I never had a bored moment. The acting additions of Topher Grace and Thomas Haden Church only helped, but the film’s greatest success comes through its terrible screenplay.
Starter for 10: 8/10 - The film meanders, and doesn't really have a unifying point, yet I was able to relate to every single moment. The script is unique: sometimes charming, sometimes awkward; but always engaging. And as for the performances, they all work, and James McAvoy ("The Last King of Scotland") is perfect in the role. The bottom-line is that I really can’t envision a person I wouldn’t recommend the film to.
Superbad: 4/10 - Laughs are not what make a good comedy: smart humor, solid characters, and memorable scenes are what separate the great comedies from the summer trash consumers are thrown each year. While I did laugh often during "Superbad," each chuckle was separated by moments filled with me waiting for the movie to end.
Sweeney Todd: The Demon Barber of Fleet Street: 3/10 - While Johnny Depp continuously impresses me, his seemingly unending allegiance to director Tim Burton does not. Burton's projects are usually hit or miss, but the truth is, this musical was gimped before he ever touched it. The music was largely awful and the plot was just about as silly as one could imagine.
There Will Be Blood: 10/10 - One of the most unique and amazing films I've seen produced in my lifetime. Writer/director Paul Thomas Anderson ("Boogie Nights," "Magnolia") has created a revolutionary masterpiece -- a film that has changed my outlook on modern-day cinema. Daniel Day-Lewis ("My Left Foot," "Gangs of New York") fills the shoes of one of the most memorable characters ever penned and delivers one of the greatest performances ever put on film; rivaling Brando in his prime. The film is visceral; the film is volatile; the film is masterful poetry -- and it will be revered and discussed forever.
Transformers: 6/10 - The inherent problem with the film is the concept of alien robots attacking America; however, if you're able to look past the laughable plot -- something I was unable to do -- you will find that at its core, the film supplies solid entertainment. Young actor, Shia LaBeouff, is shockingly believable considering the screenplay and Megan Fox is absolutely stunning, which will keep even the most uninterested viewers glued to the screen.
Triad Election [Hak se wui yi wo wai kwai]: 7/10 - Much like the predecessor, "Election" (2005), the film isn't always easy to follow; however, director Johnny To has a firm grasp on the crime genre and is always able to keep the characters interesting and the story engaging.
An Unreasonable Man: 8/10 - "The reasonable man adapts himself to the world; the unreasonable one persists in trying to adapt the world to himself. Therefore, all progress depends on the unreasonable man." That quote, by George Bernard Shaw, precedes the film: a profound and captivating documentary on the life of Ralph Nader. The first half of the film is very good; it deals with Nader's life as an activist for the people -- namely in the automobile safety industry -- however, the second half of the film is brilliant. Nader's persistence, as an unreasonable man, is poetically laced in among the inherent flaws of the current political system in the United States by directors Mantel and Skrovan. The film is worth the viewing for anyone and is one of the better documentaries I've ever seen.
Waitress: 7/10 - The movie works on a light, comedy level -- the characters are all fun and the movie never takes itself too seriously. In addition, Keri Russell does well carrying the lead.
We Own the Night: 3/10 - Disappointing acting performances combined with a terrible script made this movie extremely difficult to watch. Don't go see this film.
Wild Hogs: 5/10 - The all-star cast is able to keep the film moving along fairly well up until the last act; at which point the screenplay completely collapses and director Walt Becker's inexperience becomes overwhelmingly apparent. It still receives my extremely mild recommendation for those who are looking for some easy laughs from a very fun ensemble.
Zodiac: 6/10 – Jake Gyllenhaal long ago proved himself as one of Hollywood’s top actors and he does a valiant job in moving this film along. Unfortunately, the film suffers from poor perspective – the screenplay was written from an awkward vantage point, causing all kinds of disconnect throughout the film. It’s a great subject with some wonderful acting, but it is handicapped right out of the box and never reaches its potential.
Zoo: 1/10 - "I wouldn't always have sex with the animal, sometimes I would just hold the horse's balls to see how they felt -- they were always warm." That was said by a 'zoo' (a person who enjoys sex with animals) about 14 minutes into the movie. That was as far as I got. The film was done with cheesy re-enactments (think back to the TV show "Unsolved Mysteries") and was created to chronicle the story of a man who died during sexual intercourse with a horse. I am no where near as desensitized as I thought I was.
Rating Breakdown:
10 = 4 Stars (Masterpiece)
9 = 4 stars
8 = 3 1/2 stars
7 = 3 stars
6 = 2 1/2 stars
5 = 2 stars
4 = 1 1/2 stars
3 = 1 star
2 = 1/2 star
1 = No stars (I was unable to finish viewing it)
I'll continue to update this page as I see more movies released this year.
Subscribe to:
Posts (Atom)