2009 Movie Reviews

All films have a U.S. release date of 2009 and are listed alphabetically with a 1-10 rating. Numbers to star equivalents are listed at the bottom.


12: 5/10 - An updated and expanded version of Lumet's classic, "12 Angry Men" (1957). While some of the additions added depth to the characters and a further examination of the thematic points at the core of the narrative, the majority of additions simply muddled the remake, bloating the two hour and forty minute runtime. I will admit though, seeing the concept brought to life in modern-day Russia (as opposed to 1950s America) really amplifies the strength of the story -- there will never be a setting where the film won't work.

(500) Days of Summer: 8/10 - Director Marc Webb displays masterful control of the content and really pieces the film together with great insight to the material. Equally impressive are the two leading performances: Zooey Deschanel gives what is probably the best performance of her career and Joseph Gordon-Levitt takes yet another step toward inevitable greatness; I think he's the most promising young actor since Heath Ledger.

Adventureland: 8/10 - The first thing worth mentioning is how awful the marketing for this film was -- they attempted to ride the coattails of terrible films like "Superbad" (2007) and sold-out a great film in the process. Director Greg Mottola absolutely nails adolescent love and the awkwardness that accompanies it and Jesse Eisenberg turns in a spot-on performance as the protagonist.

Angels and Demons: 3/10 - I remember reading the book and thinking that it would make a terrible movie. The reasoning is mostly the disastrous contrivances and ridiculousness of the last act. Beyond that though, the film represents Tom Hanks and Ewan McGregor's worst performances of their careers.

Antichrist: 9/10 - "A crying woman is a scheming woman." Humanity was ejected from Eden because of woman's weakness -- what if at the end of days, humanity returns to Eden for the same reason? Only this time, Eden isn't represented with happiness, love and hope, but instead grief, pain and despair? Director Lars Van Trier, using stylized horror filmmaking, has created a film with such depth that I'm not sure I've even begun to scratch the surface of its meaning, though it certainly affected me in ways I never before imagined. I found myself often forcing myself to ignore specific character actions and remind myself of the overall scope, which is far more grand than the simplistic plot suggests.

Anvil! The Story of Anvil: 6/10 - I suppose it's always interesting to see how twists of fate can lead similar people in entirely different directions. Still, this documentary on the failed metal band, Anvil, plays more like an examination of pity than anything else.

Avatar: 8/10 - The story and characters have been done a hundred times before, but never this beautiful or engaging. In retrospect, I'm confident that it didn't have the emotional impact James Cameron intended; however, he did accomplish something equally important: he created the most visually impressive film I've ever seen. Granted, that's a title that won't last forever, and upon relinquishing it, the film will lose much of its current appeal.

Away We Go: 1/10 - The film is contrived and unwatchable. I'm having a very difficult time knowing that Sam Mendes was behind the camera, considering he is among the best directors working today. I will be patiently awaiting his penance.

The Bad Lieutenant: Port of Call - New Orleans: 6/10 - "Shoot him again...His soul is still dancing!" I think it's fair to state Cage and Herzog are the two most insane individuals making films today -- this movie being the result of them teaming up is not surprising. Cage is so far off the reservation with his performance and Herzog's vision is so far past madness that I'm not even sure how to evaluate the film; what I can state (admittedly with some hesitation) is that I strangely enjoyed watching it.

The Blind Side: 7/10 - A fun, light-hearted, inspirational film that will keep everyone entertained. None of the characters are given much room -- the film's major strength is the story -- but Sandra Bullock is able to go above and beyond the material and deliver a very solid performance.

The Box: 5/10 - The more time that passes since the film ended, the less fondly I'm remembering it. Writer/Director Richard Kelly ("Donnie Darko") has taken an old morality tale and attempted to elaborate on it. The original material was a short story, but Kelly needs it to last nearly two hours, stretching the premise out far longer than it's capable of withstanding -- the final product is muddled and convoluted.

Broken Embraces [Los Abrazos Rotos]: 8/10 - Almodovar's pen strokes brilliance very often with his latest screenplay, but it also hits a few bumps along the way -- the direction, on the other-hand, is impeccably masterful from start to finish. He crafts a film that binds life with film in a unique way, telling a story with his characters and his camera.

Brothers: 8/10 - Director Jim Sheridan was able to create enough of a contrast from Susanne Bier's original, "Brodre" (2005), that his remake was able to exist well separately. The tone of quiet desperation in the original was replaced with a tone of volatile simmering -- everything about the film's setup acts as a boiling underneath the surface, making the conclusion a necessary act of destruction. While I prefer the original, I do admit that the performance of Jake Gyllenhaal is noteworthy enough to stand apart as an improvement; oppositely, Tobey Maguire's flashy portrayal of the distraught brother seemed off-tone and over-the-top, which unfortunately disrupted the restraint in Natalie Portman's approach.

The Brothers Bloom: 4/10 - Much like Rian Johnson's first film, "Brick" (2005), this movie isn't half as clever as it wants to be. Johnson, while talented behind a camera, must spend the rest of his life in another world, because his writing is incoherent and misplaced. Fortunately, the film does have the saving grace of Rachel Weisz's wonderful performance as an eccentric rich women looking for adventure.

Bruno: 5/10 - The film falls somewhere between unprecedented idiocy and groundbreaking genius -- I just can't seem to lean one way or the other yet. At the very least, I can state that it is something you could save for the rental.

Cloudy with a Chance of Meatballs: 5/10 - The film is harmless fun with some humorous moments, but there's not much to take with you after the credits roll.

Coco Before Chanel [Coco Avant Chanel]: 5/10 - A very bland biopic depicting the life of Gabrielle "Coco" Chanel before her rise to fame as one of the most prominent fashion designers in history. Director Anne Fontaine, who also adapted the book into a screenplay, was too content in her filmmaking, sitting back and asking the story to carry the piece -- unfortunately, there's not enough there for such an approach.

Coraline: 3/10 - While sometimes visually interesting, the plot is boring and the writing is witless. The film is hollow, which has me questioning its critical appeal; I'm honestly not sure who this film was intended for.

Couples Retreat: 5/10 - While the laughs are all hit and miss through most of the movie, it does remain entertaining until the last act -- at which point the script completely collapses.

The Cove: 5/10 - This is a very thought-provoking documentary with three very distinct layers: the first, and the one monopolizing most of the film's running time, is a relentless pounding of manipulative methods to humanize dolphins in an effort to create sympathy; the second layer is a fascinating examination of the many victims fooled into eating purposely mislabeled dolphin meat, which is highly toxic for human consumption due to the mercury levels; and the final layer is the depths that the filmmakers went to reveal the slaughter of the dolphins (an act that while unbelievable to witness, seems largely pointless -- we know about the dolphin deaths regardless of the footage). The film's major flaw is the misguided direction and burying of the most important point, which is not the death of cute animals, but the trickery used to feed their toxic meat to unsuspecting humans -- a film solely focused on that, would have been a great documentary.

Crank: High Voltage: 3/10 - As over-the-top as the first one was, I found it tolerable; the sequel, however, is unbearable. I understand that it shouldn't be criticized simply for being unordinary, but if you strip that away, it's absolutely worthless. It is sloppy, rushed, and completely pointless.

Crazy Heart: 8/10 - A powerful, career-best acting performance from Jeff Bridges encapsulates the film experience. Director Scott Cooper acts as a passive observer, documenting Bridges portrayal of a man debilitated by alcohol. It's worth adding, the film's music doesn't fall into the typical category of Hollywood fluff -- the songs feel genuine, even though Bad Blake is fictional.

Dear Zachary: A Letter to a Son About His Father: 9/10 - I find this documentary impossible to review through the typical criteria of filmmaking -- because the truth is, it's not especially well made -- beyond the few well crafted narrative shifts, all director Kurt Kuenne needed to do was put his camera in front of a group of people involved with one of the most harrowing situations one could ever imagine. The film is essentially about the family and friends of a man who is murdered and the unborn child he left behind. That's all I'll write though, because the less you know about the film, the better your film experience will be -- and to be absolutely clear, there's really no excuse for anyone not to watch it.

District 9: 3/10 - I'm giving the film a three, but it's based solely on the cool premise and the unique narrative. As a whole, however, it ranks among the worst films ever made. I hated the film so much, that I'm legitimately angry at the people who enjoyed it. The movie was so bad, and so incomprehensibly stupid, that I find it impossible to respect anyone with a different viewpoint. Director Neill Blomkamp takes what would be the most significant moment in human history and defecates all over it; he removes all logic -- to both the storyline and the environment the story is being told -- and asks audiences to embrace his idiocy. I guess I was awarding humanity too much credit to expect them not to.

Duplicity: 4/10 - Clive Owen is great as usual and he has great chemistry with Julia Roberts (who he worked with on "Closer" as well). Unfortunately, the film doesn't make any sense. I really wanted to like it, but the convoluted plot completely unravels in the third act.

Drag Me to Hell: 2/10 - I'm not certain what this film wanted to be, but I have to believe that director Sam Raimi fell well short of whatever predetermined goal he had.

An Education: 5/10 - The film has a certain magic that keeps it always engaging (due mostly to a very good script); unfortunately, it's terribly miscast and director Lone Scherfig completely butchers the tone, transforming the film from a potentially brilliant coming of age tale into a very creepy, cringe-inducing examination on pedophilia.

Fantastic Mr. Fox: 3/10 - I'm at a loss for words on this one, though I'm willing to simply concede that I did not share Wes Anderson's vision.

Five Minutes of Heaven: 7/10 - Strong performances from James Nesbitt and Liam Neeson, combined with director Oliver Hirschbeigel's talent for tension, create an engrossing tale of redemption for two men. The filmmaking is tight and very well crafted until the end, when screenwriter Guy Hibbert seemingly runs out of room to maneuver the characters. The ending, while forced, does not spoil the time spent getting to it.

Food, Inc: 8/10 - There's a lot to take away from this film, but I find that its best quality is transcendent beyond the food industry: the way in which decisions and practices are all interconnected. Using an example from the film, the US government's decision to subsidize corn indirectly led to illegal immigration and healthcare issues. On the surface, that seems nonsensical, yet, it's only when you dig past an appearance that the entire portrait becomes visible, which is exactly what Robert Kenner has done in his attempt at unmasking the food industry.

Funny People: 7/10 - There was a great movie somewhere inside the final product, but Apatow seemed to lose sight of the film's direction a little more than halfway through. The first 70-90 minutes were on-target and covered a spectrum of thematic points, but then the film takes an unfortunate turn, ignores most of what was established, and rides a singular note to the conclusion. The approach may have worked if the last act was trimmed down in the editing room, but the final product feels so uneven that the goodwill established early on becomes an afterthought.

G.I. Joe: The Rise of Cobra: 6/10 - When I was eight, G.I. Joe was probably my favorite TV show. If I was still eight, this probably would be my favorite movie. It would be unfair of me to claim that the film is founded in any semblance of logic, but I'm all right with that. As long as you keep the source material in mind when you view it you'll be entertained.

The Girlfriend Experience: 8/10 - A cold and unflinching examination of sex, love, and the endless landscape that lies between. Director Steven Soderbergh takes a documentary-style approach to a fictional story -- he points his camera at a high-end escort, and even though meticulously in control of the narrative, creates a voyeur-like atmosphere, allowing viewers to dissect her life from a seemingly safe distance.

Goodbye Solo: 6/10 - Souleymane Sy Savane delivers a harrowing performance as a Senegalese cab driver who befriends an old man plotting to commit suicide. The friendship seems forced though, making the film somewhat implausible; still, Savane brings a level of humanity to the film that makes it engrossing from start to finish.

The Hangover: 4/10 - The cringe-inducing moments double the humorous ones. It's an alarming state of affairs when the public rallies behind garbage like this as one of the funniest films of the year.

The Headless Woman [La Mujer Sin Cabeza]: 3/10 - Lucrecia Martel pieces the film together much like David Lynch would -- as an examination of reality -- the problem though is that she leaves out all the other vital things that Lynch is so good at...things like character development and conflict. The result is a movie experience that is painfully boring and uninspiring.

He's Just Not That Into You: 4/10 - Every character is an exaggerated stereotype of the mass misconceptions involved with the dating world. I was willing to suspend my disbelief for the filmmakers to make their point, but they went too far. Not one character in the film was even remotely believable.

The Hurt Locker: 7/10 - The direction and acting (specifically, Jeremy Renner) was very good and the set design was as close to perfect as I've ever seen in a war film. The major negative to the film was its lack of depth -- I don't think the script dug deep enough and the result was like eating a masterfully made hamburger.

I Love You, Beth Cooper: 1/10 - Intolerably bad. As hot as Hayden Panettiere is, she's not nearly hot enough to make the film watchable; hell, if she was doing a striptease in the same room the movie was playing, it wouldn't even be watchable.

I Love You, Man: 4/10 - I'm a fan of Paul Rudd, but the movie is neither funny or entertaining -- the worst kind of comedy. It's a significant commentary on the state of Hollywood big budget comedies when a 20 minute episode of Entourage provides ten-times the amount of laughs in one-fifth the amount of time.

The Informant!: 5/10 - To be completely truthful, I don't really have much of an opinion on this film. Nothing about it is particularly bad and I thought Matt Damon did a good job with the character, but I walked away feeling entirely apathetic toward the film. I'm writing this less than 24 hours after having seen it and I've all ready forgotten most of it.

Inglourious Basterds: 9/10 - Quentin Tarantino is a master of the little things -- the tiny intricacies that all film-lovers crave. He's the best writer in Hollywood and continues to prove he's worthy of the title. It's tough to imagine that a better action film -- or funnier comedy -- will be released this year.

The International: 6/10 - The rapid globalization of the world over the last few decades is a fascinating topic -- the power of international corporations in place of nations. I imagine that is precisely what screenwriter Tom Tykwer was thinking when he sat down to write the script. Unfortunately, at some point between his first sentence and the theater release, the message was jumbled. The film that resulted was mostly entertaining and intriguing, but too often ridiculous and unbelievable. To steal a line from Mr. Tykwer, "There is a difference between truth and fiction: fiction has to make sense."

In the Loop: 9/10 - "Unofficially, we can call anything whatever we want. I mean, unofficially, *this* is a shoe; but it's not, Karen, it is a glass of water!" A brilliant script with great performances from the entire cast, highlighted by Peter Capaldi's absolutely hilarious portrayal of a British political insider. This is not only the funniest film I've seen all year, but one of the best political satires I've seen in my lifetime.

Invictus: 6/10 - Clint Eastwood, while displaying moments of brilliance, was left with a film that didn't know what it wanted to be. It was two films in one and there wasn't enough time to give the necessary attention to everything that needed it. The screenplay was written from the perspective of someone looking back at the events, rather than someone who understood what it would have been like to experience them, so the unfortunate result were two incomplete characters. Morgan Freeman and Matt Damon were trapped into portraying iconic members of a historic global moment, rather than fully realized, three-dimensional characters.

It Might Get Loud: 7/10 - Director Davis Guggenheim creates a mesmerizing documentary focused on three guitarists from different generations brought together. While most of the film revolves around each man's background, the unification of their creative minds binds them in a very unique way. I'm not sure if Guggenheim found the answers he was searching for when he set out to make the film -- maybe he had no intentions -- but in letting the three guitarists keep center stage, he created an engaging experience.

It's Complicated: 8/10 - I'm not going to lie, this isn't typically the type of film I would enjoy; however, Meryl Streep is able to elevate the film above it's built in ceiling, delivering one of the best female performances of the year. In addition to her standout work, the film is consistently funny, often very smart, and has some very enjoyable performances from Baldwin and Martin, who compliment Streep very well.

Julia: 6/10 - A career-best performance from Tilda Swinton keeps this film engaging, which is no easy task considering the bloated runtime and sloppy pacing. Director Erick Zonca never seemed to have control of his project's structure or characters and the result was a very unpolished film.

Julie & Julia: 6/10 - It's amazing how good of an actress Meryl Streep is -- everything she does is brilliant, so it gets to the point that her work starts to feel commonplace. She was among the best performances by an actress last year with "Doubt" and I suspect she'll be among the best this year as well. Unfortunately, the film isn't nearly as perfect as she is: it often struggles with pacing and concludes in a manner that doesn't seem to fit the long setup.

The Killing Room: 4/10 - The film's plot revolves around a secret government organization that recruits unsuspecting Americans to unknowingly participate in a deadly experiment in an effort to identify citizens willing to die for their country. While it is a mildly intriguing premise, the film drifted aimlessly, and in retrospect, it was altogether pointless.

Knowing: 5/10 - I don't really know what to make of this one -- Nicholas Cage has made some of the most ridiculous film choices of any famous actor in history. While the film was mostly entertaining, I walked away with more negatives than positives.

The Last House on the Left: 6/10 - If Director Dennis Iliadas had treated the last act with as much care as the first two, he would have had a fully realized thriller. Instead, the film felt a little uneven, which was unfortunate, considering how well done it was in every other area of the filmmaking.

Law Abiding Citizen: 6/10 - The film is very heavy-handed and is certainly not without flaws (especially in some dialogue)...even worse, if one knew the ending beforehand, there would be nothing redeemable about the viewing experience. Of course, we don't go in knowing the ending, which makes the journey a worthy time investment. Gerard Butler is great as the likable antagonist and the film does keep you involved for the majority of the runtime by forcing you to question the morality of American justice, rather than focus on the method by which you're being manipulated.

Let the Right One In [Lat den Ratte Komma In]: 3/10 - I'm not sure why I keep watching foreign vampire movies since I think the subject matter is so idiotic (the only exception being "An Interview with a Vampire"). The screenplay for this film has all sorts of issues and there's no performance that rises even remotely above mediocre. The one bright spot comes from the great direction of Thomas Alfredson -- he creates a perfect atmosphere, keeping what could have been an unwatchable film engrossing.

The Limits of Control: 9/10 - “He who thinks he’s bigger than the rest should go to the cemetery. There he’ll find what life really is: it’s a handful of dirt.” Director Jim Jarmusch has created something I've never seen before -- a perfect metaphor for the complex society of today's world. He has taken everything -- everything that surrounds us; traps us in the world we've come to understand and comprehend -- and places it before us on a brilliantly filmed platter of simplicity. The film has no plot to discuss, it's simply a statement to all those willing to listen: everything can be controlled, except the collective imagination of mankind.

Lorna's Silence [Le silence de Lorna]: 4/10 - The Dardenne brothers tackle guilt in a very subtle and profound way. The issue, however, is that the screenplay they wrote demands a very powerful performance from the lead actress, which is something they did not receive from Arta Dobroschi. She turns the character of Lorna into an empty vessel, with which to be moved from point to point in accordance with the script.

The Lovely Bones: 4/10 - The first act is brilliant -- I was prepared to credit Peter Jackson, who I typically feel is one of the most overrated directors working in Hollywood, for his tight control, suspense, and brilliant imagery. Unfortunately, the film's concept begins to slowly wear thin, eventually dissolving into a ridiculous thriller, in which the audience knows who the killer is in the prologue. Combine the flimsy plot to the endless parade of crosscut scenes displaying the victim purposelessly dancing in pretty afterlife fields and one's left wondering how much worse Peter Jackson could have screwed up this film.

The Men Who Stare at Goats: 6/10 - A completely ridiculous satire that disconnects itself from any realm of logic very early on. Fortunately, the entire cast delivers top-notch performances and the film is often very funny, making it a worthwhile time investment.

The Messenger: 8/10 - The film chronicles a few months in the lives of two officers, portrayed brilliantly by Ben Foster and Woody Harrelson, who are responsible for informing the next of kin to soldiers killed in combat. Director Oren Moveman really nails the tone for the movie and doesn't allow the film to take any unnecessary turns. There is no time wasted on politics and hidden opinions, which usually act as major pitfalls in the genre.

Moon: 5/10 - As much as I loved director Duncan Jones' vision and as much as I wanted to love this film, I can't give it my full recommendation. Sam Rockwell gives a very brave performance and the film certainly won't be lost among the countless color-by-number films released each month, but unfortunately, the final script simply wasn't realized enough to string together a great film.

Nine: 6/10 - "8 1/2" (1963) is a great film; in all of its qualities though, nothing suggests it would be a great musical. I understand that director Rob Marshall is adapting the stage version (which is a musical), entitled "Nine," and not Fellini's film, but it's difficult to not compare the two. Marshall's finished product is simply a diluted version of Fellini's film stuffed with mediocre music. Interestingly enough though, it seems nearly impossible to make a bad version of "8 1/2," especially when you've cast Daniel Day-Lewis in the lead.

Observe and Report: 3/10 - I'm all right with a film being agonizingly idiotic, but it needs to make me laugh more than twice in an hour and a half.

Of Time and the City: 1/10 - While the footage is interesting, everything else about the documentary is empty. It's painfully boring and listless.

Precious: Based on the Novel Push by Sapphire: 2/10 - It's somewhat remarkable to create a film about child abuse that doesn't contain one character that you like or dislike. Films don't get much worse than this.

The Princess and the Frog: 7/10 - While the film isn't quite the return to the magic of the 1990s (mostly due to sub-par musical pieces), it is certainly a bold statement that Disney cartoon animation is far from dead. The film is a lot of fun and it really nails down the tone of the New Orleans culture.

The Proposal: 6/10 - The film is all together ridiculous and I'm not sure Sandra Bullock fit very well into the character, but Ryan Reynolds is excellent and has perfect comic timing in the role, making the film largely enjoyable.

Public Enemies: 4/10 - An embarrassingly weak screenplay considering all the talent involved. Add in the miscasting of Johnny Depp and the irrelevant two-dimensional character Christian Bale was left to play and I'm prepared to forgive Michael Mann -- I'm truthfully just not certain what he saw in the script.

Red Cliff [Chi Bi]: 4/10 - John Woo's over-the-top historic epic of China's Three Kingdoms period spends an astonishing amount of time on character development without accomplishing anything. At 2 1/2 hours, the film still manages to conclude with a "To Be Continued" note. Needless to state, but it's doubtful that I'll be investing any further time to see the story play out in Red Cliff: Part II [Chi Bi Xia: Jue Zhan Tian Xia].

The Road: 7/10 - I believe that without law, there is no morality; and I suspect that author Cormac McCarthy agrees with me. The issue then becomes how to film the depravity of mankind without searching for hope, which is exactly the task director John Hillcoat struggled with. It's odd that in a film so hopeless, I felt as though Hillcoat was trying to fabricate hope in every frame. Reading between the lines, I think Hillcoat missed the point: it's not a love story between a father and son, it's the painful veracity of what a post-apocalyptic world would be...even if that's a reality most of us would prefer not acknowledge.

A Serious Man: 6/10 - The Coen brothers' latest film is a black comedy with deceiving depth. It hits some slow parts, but you can feel Ethan and Joel's intimacy with the material.

Sherlock Holmes: 3/10 - Robert Downey Jr. does an admirable job as the Sherlock Holmes that Guy Ritchie has envisioned, but the film's plot is beyond idiotic.

Silent Light [Stellet licht]: 1/10 - Guilt concerning an affair is not a new concept, so when a filmmaker decides to approach the topic, adding nothing new and enlisting first time actors, it makes me question his intent. Even worse, every scene is at least three times longer than it needs to be to convey the story, creating one of the most frustrating viewing experiences I've had all year.

A Single Man: 7/10 - A great performance from Colin Firth in the lead and an arguably even better performance from Julianne Moore in a supporting role help to elevate the film above the various pitfalls laid out in the manipulative script. First-time director Tom Ford deserves a lot of credit as well for creating some moments of brilliance and allowing his actors room to maneuver.

Star Trek: 5/10 - The inherent problem with a film that reboots a famous serious is the amount of time that must be dedicated to reintroducing the audience to the characters. Few films are able to triumph over that obstacle -- Star Trek is no exception. Combine that disadvantage with an absolutely ridiculous plot and it's tough to chalk the film up as a success. However, I do recommend the film on account of my feeling that its sequels have great promise. Think of viewing it as an investment in the future.

State of Play: 6/10 - I never realized how bad of an actor Ben Affleck was until I saw him make Russell Crowe look bad in the scenes they share -- that's a frightening caliber of terribleness. As for the film, while it wasn't bad by any means, it wasn't particularly memorable either. Regardless, it's a well-constructed political thriller that will entertain you enough to keep watching.

Sugar: 6/10 - An intriguing story about a Dominican Republican pitcher on track to come to America to try and make it big in the MLB. There's nothing especially good or bad about the film -- it's color-by-numbers entertainment.

Summer Hours [L'heure D'été]: 9/10 - Writer/Director Olivier Assayas casts a perfect tone on a film about the cycle of life. The melancholy he is able to capture in his scenes is extraordinary, and it stands above the efforts of many filmmakers who have tackled the same subject matter. There is nothing meant to be easy about children dealing with their inheritance and Assayas keeps the film very real, never allowing it to decay into sappy melodrama.

Sunshine Cleaning: 5/10 - Great performances from the cast, especially Amy Adams, but the film is only superficially entertaining and filled with contrivances. Even though crime scene cleanup is an interesting and unique topic, there's really not enough meat in the script for a full length feature.

Surrogates: 6/10 - The film's premise is ridiculous and the plot-holes are immense, but director Jonathan Mostow does a great job of keeping the film entertaining and balancing the need to reiterate the moral message without ever becoming too preachy.

Taken: 7/10 - Liam Neeson is great as the vigilante dad trying to save his daughter from the European sex slave trade. The greatest movie premise in existence is the *former government trained killer unleashed on bad guys plot structure* and "Taken" does perfectly fine with the material. It's worth the viewing for all action film fans.

The Taking of Pelham 1 2 3: 4/10 - The remake of the 1974 classic just doesn't work. Screenwriter Brain Helgeland isn't nearly as witty as he thinks he is; director Tony Scott seems as though he's grasping at straws -- using every second to slip in a superfluous stylized camera movement -- and Denzel Washington, despite his uncanny ability to always elevate material, is attempting to play a character that is ridiculously incomplete and inconsistent. Though, I will add, Washington was still one step ahead of the two-dimensional character John Travolta was attempting to deal with.

Terminator Salvation: 7/10 - Yes, it was often completely illogical and yes, the ending was laughably stupid, but who cares? It was still a fun action film, with built in nostalgia, and a great performance by Sam Worthington. I'll take this over another entry into the Transformers franchise any day.

Tetro: 6/10 - The film feels more like a journey into the mind of a great director than it feels like one is watching a great film. Coppola is masterful behind the camera (as expected), but the performances are uneven and the script's setup, while leading to a strong payoff, is somewhat weak.

Thirst [Bakjwi]: 1/10 - A Korean vampire movie with heavy-handed religious symbolism and a painfully boring pace. I hate to turn a film off midway, but I was on the verge of falling asleep several times.

Transformers: Revenge of the Fallen: 4/10 - I don't think a story being unbelievable is enough to make a film bad (and believe me, I can't think of many more ridiculous plotlines); however, when the actions characters take within the context of a narrative don't make sense, it's very difficult to suspend one's disbelief. The one saving grace is the relentless action sequences and the brilliant CGI -- though I must add, with a runtime over two and a half hours, even they become tedious.

Two Lovers: 7/10 - This is a very complicated film with terrific performances from Joaquin Phoenix (in what could be his last role...) and Gwyneth Paltrow. The screenplay probably tries to address too many concepts, and it progresses at what is sometimes a painfully slow pace, but the last act makes it worth the wait. Director James Gray is able to conclude the film in a way that really forces the themes of love, infatuation, and the reality that separates them, to the forefront.

Tyson: 6/10 - While I would consider Mike Tyson to be on of the most fascinating individuals on the planet, 90 minutes of listening to his life's confession does feel burdensome at times. Filmmaker James Toback didn't do enough with the material to elevate it beyond a curiosity.

The Ugly Truth: 4/10 - Color-by-numbers crap with two-dimensional characters and terrible situational writing. Still, I find Gerard Butler always watchable and even the endlessly-annoying Katherine Heigl found a few moments, allowing for some sparse entertainment in the tight 90 minute runtime.

Up: 9/10 - The saddest and funniest movie Pixar has ever made. It was odd to spend the first 20 minutes in a theater full of crying adults at a Pixar film, but it only went to show how powerful they are as filmmakers -- they've hit a new high watermark. Even though I seem to be saying this every year, I can't wait to see what they do next.

Up in the Air: 8/10 - George Clooney is finally starting to build an acting portfolio -- for all practical purposes, this and "Michael Clayton" (2007) are the only films where he's been able to show great depth in a fully realized, three-dimensional character. While he's the best part of the film, he's not alone; Vera Farminga turns in a great supporting role as Clooney's romantic interest, matching him toe to toe in every witty exchange. The film also represents Jason Reitman's second writer/director effort and it is no less impressive than his first, "Thank You for Smoking" (2005). I sense that this is a movie I'll need to watch again to fully absorb, and while I'm confident that it has its flaws, it is still one of the best experiences I've had in a theater this year.

Watchmen: 9/10 - It is not a stereotypical superhero film -- it is a parody of one; it is a dissection of the human race; it is a perfect capture of a moment in world history, yet the image revealed is of a reality that does not exist. The film is a beautiful paradox. Despite the amount of people who I know will not enjoy the film -- or even understand it -- there is no one I would not recommend it to.

The Window [La Ventana]: 7/10 - An often beautiful film that's wonderfully acted by the entire cast. The story is a day in the life of an 80 year-old man waiting for his 40 year-old son to visit him -- it has virtually no action or conflict, simply a slow buildup without any form of tangible payoff. I suppose the film acts as a subtle representation of a human lifetime.

Without Name [Sin Nombre]: 7/10 - With the exception of one somewhat contrived plot point, the script is very well written by writer/director Cary Fukunaga. The film is as much a story of hope -- in hopeless times -- as it is a study on Mexican and Central American gangs. It's difficult to imagine undertaking a journey like the one represented, but nonetheless, a fascinating experience to behold.

Where the Wild Things Are: 1/10 - What a disaster. Spike Jonze's vision of this classic children's story is an abomination.

The White Ribbon [Das weisse Band - Eine deutsche Kindergeschichte]: 8/10 - The film's slow pace can get tiresome; not for lack of interest, but for lack of revelation. Director Michael Hanke paints us a portrait of the atmosphere in Germany just before the start of World War I -- he offers no opinion though, he simply lays the picture before us to decipher. The town depicted in the film acts as a microcosm for all of Germany, and the heartless fascism and fundamentalist religious roots are the history guide to the Nazi regime that would soon seize the country. I'm certain that I didn't enjoy the film, but I did find it to be endlessly fascinating.

World's Greatest Dad: 6/10 - A very black comedy with a satirical commentary on perspective and mankind's collective shallow nature. The movie certainly won't be for everyone, but it goes without question that director Bobcat Goldthwait pulls no punches, helping him overcome the myriad of issues with the film's tone.

X-Men Origins: Wolverine: 3/10 - What a pile of crap. Marvel took one of it's best premises and one of its best actors (Hugh Jackman) and produced arguably it's worst film (all right, that's a lie -- Ang Lee's "Hulk" was actually much worse). It felt as though the writer was playing a game of connect the dots, without knowing what the final image should resemble...or even the order with which he should move from dot to dot.

Young Victoria: 7/10 - A very well done period piece, chronicling the early years of Queen Victoria and her relationship with Price Albert. The film is tightly made with strong performances from the ensemble cast. I found myself hoping it would dig a little deeper than a straight-forward biography though.

Zombieland: 6/10 - Funny and entertaining with enjoyable performances from the entire cast. Director Ruben Fleishcher keeps his distance from any character building or thematic depth -- the film is exactly what it appears to be on the surface: escapist fun for 90 minutes.

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)

The Greatest Scenes

This is arguably the most difficult list I've ever tried to compile; even settling on the number of scenes to mention proved difficult. I decided to select 15, each with a heavy impact on both me and the history of film.

15. Carnal Knowledge (1971) - "Try Vacuuming!"

Jack Nicholson finds his way onto my list very early with the most memorable scene from his career. This moment, for all intensive purposes, created a legend.



14. The Odd Couple (1968) - "The cooking, the cleaning, the crying."

One of the most prevalent screen duos ever share their greatest scene in the only comedy represented on my list. No two actors have ever shared such wonderful chemistry as Walter Matthau and Jack Lemon.



13. The Deer Hunter (1978) - Russian Roulette

Robert DeNiro in his prime and an upcoming Christopher Walken share one of the more universally memorable moments in cinema history. The film is unshakable for those who have seen it and this scene captures the movie's climactic moment.



12. ...And Justice for All (1979) - "You're out of order!"

The greatest courtroom moment ever (even trumping Nicholson's, "You can't handle the truth!"). Al Pacino is electric, as usual, in one of the defining moments of his illustrious career. Even more importantly, this single scene was able to elevate what would have otherwise been a mediocre film. It would be fair to state that no other scene, on this list or anywhere, had a greater impact on the movie it was in than this one.



11. Goodfellas (1990) - "You're a funny guy."

The highlighting moment to Scorsese's '90s masterpiece shouldn't need much of an introduction. It earned Joe Pesci a permanent status in the annuls of cinema history as well as an Oscar for Best Supporting Actor.



10. Silence of the Lambs (1991) - "A census-taker once tried to test me..."

The greatest character introduction ever (slightly edging out the famous Harry Lime from "A Third Man"). Anthony Hopkins delivers an epic performance, one that rivals anything Marlon Brando has done. Hopkins does an unprecedented job with the little screen time he is given (less than 20 minutes, yet he was still able to walk away with the Academy Award for Best Actor). Just note the way he is standing at attention as he creeps onto the screen in the opening moments; he is able to convey impossible amounts without even speaking his first word.



9. Amadeus (1984) - Mozart's Requiem

An intricate battle between brilliance and mediocrity. This beautiful scene captures the curse of envy in every frame. Salieri's love and contempt for Mozart is played out here in perfection.



8. Closer (2004) - "Lying is the most fun a girl can have without taking her cloths off..."

I could easily make a top-ten list of the greatest scenes from "Closer" -- it's a brilliantly written script with a collection of some of the greatest scenes any actor could hope to be involved with. This scene stands out above all the rest though as it both transcends and represents the anti-romance motif woven within the film. The line between love and lust has never been better blurred.



7. Network (1976) - "I'm mad as hell and I'm not going to take it anymore!"

Few films can claim to be more ahead of their time than "Network," but it's the scene that is really able to speak volumes for the era. The 1970s represented a massive shift in how humans all over the globe lived their lives. It was met simultaneously with an equally large shift in how the global economy was run. This scene represents the disillusionment of modern-man, and I can safely state that no film or scene since has better grasped the concept.



6. Before Sunset (2004) - "Baby, you are going to miss that plane."

My favorite final scene ever filmed. This one is tough to look at without the context of the two films it concludes though (it is the last scene of a sequel). The final moments before the credits roll were the most hollowing of any I've ever experienced while viewing a movie. The two films, and this scene, represent everything love can ever be. (I apologize for the subtitles.)



5. The Godfather, part II (1974) - "An Abortion."

I'm often asked what my favorite performance is and I usually respond with, "Marlon Brando in 'A Streetcar Named Desire,'" but if I were able to limit a performance to one scene, Pacino would take the prize for these masterful moments. He owns the scene in ways that amaze me differently every time I view it.



4. Apocalypse Now (1979) - "Gardenias."

It was only a matter of time before Brando found his way into one of the scenes on this list. A greatest scenes list without the greatest actor just wouldn't seem right. In truth, I feel that his performance in this movie is what sealed his fate as the greatest actor of all-time. He showed up to the set having not read a word of the script and a hundred pounds overweight (which was an issue since he was portraying a rogue soldier living in a jungle at 100 degree temperatures). Regardless, with the help of the great Francis Ford Coppola, he made it work. Instead of a malnourished man, he played a hulking beast draped in shadows, as he recited the philosophy of a man amid a decent into madness.



3. True Romance (1993) - "You're part eggplant."

This scene created a new era in film and a career for Quentin Tarantino...and it's probably the most entertaining scene ever filmed to top it off. Two of the greatest actors of the last generation, Dennis Hopper and Christopher Walken, go head to head with the words of the greatest screenwriter of the current generation.



2. Once Upon a Time in the West (1968) - "Keep your loving brother happy."

If I could be granted the wish of being credited with the creation of any singular moment in art history, it would be this scene. Not DaVinci's Mona Lisa, Michelangelo's Sistine Chapel or even Led Zeppelin's "Stairway to Heaven;" this one scene. Director Sergio Leone and Composer Ennio Morricone created a perfect, stand-alone moment in film history. It can be viewed separately from the entire film and surprisingly little is lost.



1. The Good, the Bad, and the Ugly (1966) - Ecstasy of Gold

It's difficult to top the previous scene, but Sergio Leone and Ennio Morricone find themselves owning the top two slots. This scene almost doesn't belong on the list because it stands above any list. It is, in all senses of the word, perfect. The beautiful cinematography combined with what is, in my opinion, the greatest piece of music ever crafted, elevates the moment to heights never reached before and doubtfully reached again. The scene doesn't have to mean anything -- the plot, the actors, everything about the film is irrelevant -- it sits atop the list because of its absolute and unquestionable greatness.



Honorable Mention

Closer (2004) - "Tastes like you, but sweeter!"

While there are many scenes I could select for an honorable mention, this is probably the only one that would find itself on the actual list if I chose to not allow a film to only be represented by one scene. The razor sharp dialogue and pitch-perfect performances echo the concepts of love, lust and life.

Looking Back at 2008 - Top 10 and More

At the time of this posting, I've seen 40 films with a US release date from 2008. The following represents my favorite films and individual accomplishments from the year.

The Top 10 Films Released in 2008

1. The Reader
2. The Wrestler
3. Revolutionary Road
4. The Dark Knight
5. The Curious Case of Benjamin Button
6. Slumdog Millionaire
7. Doubt
8. Frost/Nixon
9. Body of Lies
10. Changeling

Individual Accolades

Best Director:
1. Stephen Daldry for "The Reader"
2. Sam Mendes for "Revolutionary Road"
3. Darren Aronofsky for "The Wrestler"

Best Performance by an Actor:
1. Mickey Rourke in "The Wrestler"
2. Heath Ledger in "The Dark Knight"
3. Leonardo DiCaprio in "Revolutionary Road"

Best Performance by an Actress:
1. Kate Winslet in "The Reader"
2. Meryl Streep in "Doubt"
3. Cate Blanchett in "The Curious Case of Benjamin Button"

Best Screenplay:
1. David Hare for "The Reader"
2. Simon Beaufoy for "Slumdog Millionaire"
3. Justin Haythe for "Revolutionary Road"