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"

2008 Movie Reviews

All films have a U.S. release date of 2008 and are listed alphabetically with a 1-10 rating. Numbers to star equivalents are listed at the bottom.


21: 7/10 - Entertaining throughout, though it ends a little too neatly, making me question just how close to the true story the screenplay is. Regardless, most of the performances are solid and I have no reservations recommending it to anyone.

88 Minutes: 2/10 - This movie is unspeakably bad. Al Pacino's participation in it is a disgrace to the history of cinema and a blatant display of complete lack of respect for the industry he helped to form. I am thoroughly disgusted with how little Pacino seems to care about his fans and his legacy. This marks the first time that I have viewed a movie so terrible that it actually offended me as a film-lover.

Appaloosa: 7/10 - Halfway through the film, I didn't like it. I thought it was a color-by-numbers Western, placing predicable pieces of a very simple puzzle down in front of me. However, I left the film having enjoyed it. I'm not sure at exactly what moment my opinion shifted, but I can say that the film's conclusion was perfect. Ed Harris and Viggo Mortensen share wonderful chemistry and I'd be willing to state that most fans of the genre will walk away pleased.

The Bank Job: 6/10 - A very convoluted plot with many characters that are never fully realized on screen. The film works though, it's fun and filled with several solid twists -- all in a story based on true events. Sometimes fact is more surprising than fiction.

Bigger Stronger Faster*: 6/10 - Director, and host of the documentary, Chris Bell takes a subjective look at steroids from their affect on competitive sports to the affect on the lives of his two brothers. The film runs a little too long at near two hours, but it works as an education for many Americans that know far too little on a subject they all want to talk about.

Body of Lies: 8/10 - A smart, roller-coaster film lead by one of Hollywood's best actors. Leonardo DiCaprio owns this movie and director Ridley Scott lets his star carry the film along. I actually found Crowe to be somewhat out of place -- the film's gritty realism was somewhat derailed by his performance: that of an actor playing a caricature of a CIA operative. Another issue is that I'm not sure if DiCaprio's character arc met his full potential; however, if the film is only taken as a subjective -- and very simplistic -- slice of the current war in the Middle East, it works wonderfully.

Burn After Reading: 6/10 - The Coen brother's newest film is a black comedy -- along the same vein as their Oscar winning film "Fargo" -- with characters so unbelievably dumb, that the integrity of the entire plot is often in jeopardy. The film does have several funny moments and all of the performances are very entertaining; yet, for such a short film, I found the narrative to be drifting far too often.

Changeling: 8/10 - Angelina Jolie is great in her portrayal of a heartbroken mother in search of her son, but it's Clint Eastwood's direction that stars. Everything about his film felt authentic and he has an uncanny ability to weave together a story. At two hours and twenty minutes, not once did I feel restless. Also worth noting was the shockingly great performance by Jason Butler Harner -- I'd be thrilled to see him recognized with a best supporting actor nomination at this year's Academy Awards (...even if it has all ready been engraved with Hath Ledger's name).

The Counterfeiters [Die Falscher]: 4/10 - With a topic so different and engaging I was saddened to feel so much apathy for it after it ended. With the exception of maybe "Life is Beautiful," it is easily the most unique Holocaust film I've ever seen. Unfortunately, it will be filled away in my mind with the many other mediocre ones I've seen.

The Curious Case of Benjamin Button: 8/10 - It's a difficult film to review because of how unique it is. It's a tale of a man, played by Brad Pitt, who ages backwards, thus nullifying every relationship he ever has. The people we meet act as witnesses to our lives, and with every passing moment, grow older together. The film toys around with the variables in that formula and creates some very profound questions (without actually asking or answering any). Cate Blanchett delivers a wonderful performance as Pitt's love interest; in the hands of another actress I have little doubt her role would have been a two-dimensional cliché. I'm not sure if the completed film accomplished what director David Fincher ("Se7en," "Fight Club") intended, but I can state that I thoroughly enjoyed the experience of viewing it.

The Dark Knight: 8/10 - Heath Ledger's performance as The Joker deserves all the accolade it has received and director Christopher Nolan is able to elevate the film beyond the scope of any superhero movie I've ever seen. The film's script does struggle with the overwhelming material though -- it's uneven and too grand, even for a filmmaker of Nolan's ability. The mishandling of Harvey Dent and the final 30-minutes of the film stood out as glaring flaws and subtracted from what could have been a masterpiece.

Doubt: 8/10 - Two brilliant performances by Meryl Streep and Philip Seymour Hoffman give this film life. It is well crafted and never reaches too far in any direction -- it simply presents a case with no definitive conclusion...and it works very well.

Fool's Gold: 4/10 - Don't let the relatively high rating fool you, this movie is as bad as you can imagine: painfully contrived and more often than not it's completely ridiculous. However, it's also extremely light-hearted and care-free -- it manages to be entertaining on occasion.

Forgetting Sarah Marshall: 4/10 - A comedy without the laughs. When the best part of any comedy is how hot Mila Kunis looks, it's difficult to recommend it.

Frost/Nixon: 8/10 - Director Ron Howard reaches within inches of greatness with this film. There is not a dull moment to be found -- rightfully so given the topic -- yet, I felt as if something more was left on the table...as if Howard could have dug just a little bit deeper into the endlessly fascinating characters he chose to portray. Regardless, it was one of the most enjoyable trips to a movie theater I've made this year.

Get Smart: 6/10 - A hit and miss comedy with a few memorable highlights. While the film was casted perfectly, the script leaves something to be desired.

Gran Torino: 4/10 - My love for Clint Eastwood led me to rate this film far more favorably than it deserves. It contains one of the worst acting ensembles I've ever seen in a Hollywood film. Combine that with a pathetically predicable script and you're left with one of the bigger busts of 2008.

In Bruges: 4/10 - It's mostly entertaining and filled with wonderfully witty dialogue; unfortunately, the simple plot is not supported and writer/director Martin McDonagh struggles with the film's themes all the way until the end.

The Incredible Hulk: 8/10 - The best film to emerge from the Marvel Universe. It acted as the perfect palette cleanser to Ang Lee's disastrous attempt at the franchise -- "Hulk" (2003) -- and I sincerely hope that the direction the powers-that-be seem to be heading pans out as well as it potentially can. The film is can't-miss for comic book fans and those looking to see cutting-edge special effects.

Indiana Jones and the Kingdom of the Crystal Skull: 2/10 - The Worst film I've seen in theaters since Pearl Harbor (2001). I imagine much of my disgust stems from disappointment, considering the talent of the people involved and the material used. At best, I am fortunate enough to wake up one morning having forgotten I ever viewed it; at worst, it forever ruins one of my favorite franchises.

Iron Man: 3/10 - Superhero films normally are able to play out with more than modest suspension of disbelief; however, what director Jon Favreau and writers Mark Fergus and Hawk Ostby crafted is an exercise in lunacy. I spent a large portion of the overlong running time feeling embarrassed for them.

Kung Fu Panda: 6/10 - An entertaining animation with solid voice-acting. The one thing that separates it from many of the Pixar classics was the overwhelming melancholy I felt throughout -- I was never able to reach the emotional highs that always accompany the latest Pixar installment.

Milk: 6/10 - The film is fairly sloppy and most of the supporting characters act as little more than set-pieces; however, it would be criminal of me to not recommend the film -- Sean Penn's performance alone merits the viewing.

The Other Boleyn Girl: 4/10 - The adaptation falls somewhat flat, though I will fully admit if I had read the book, I would have more than likely been equally unimpressed. Novelist Philippa Gregory takes such excessive liberties with world history that it left me feeling no connection with the historical figures being portrayed on screen.

The Promotion: 4/10 - Funny concept, but it falls flat. There was no chemistry between Seann William Scott and John C. Reilly and far too many opportunities went wasted due to poor writing.

Quantum of Solace: 7/10 - While the film completes the story arc created for Bond in Casino Royale, it barely makes a dent in the overall story arc of the villainous organization we've been introduced to. Daniel Craig is still great as the Bond 2.0 that has been created to satisfy those lusting for more action, though I will say, I hope the next Bond brings back some more of the aura that surrounded the originals.

Rachel Getting Married: 1/10 - I haven't walked out on a film in theaters since "Pearl Harbor" (2001). Nor have I ever viewed a film where I hated every single character on screen as much as this one.

Rambo: 6/10 - I'd happily make the argument that "First Blood" (1982) should not land clumsily in the category of action flicks -- it was a definitive statement for a hugely important moment in time and it created a character that represented more than blood-for-sport and over-the-top explosions. I would also happily watch that character read a phone book, so giving a negative review to any film Sylvester Stallone portrayed John Rambo in would be nearly impossible. Unfortunately, while I did enjoy the newest edition -- and do recommend it to fans of the series -- it failed to capture the magic of the first three films.

The Reader: 10/10 - Never before have I seen a film that is able to explore adolescent sexuality or the Holocaust so well...and this film covers both of them at the same time. Director Stephen Daldry ("The Hours") has created a masterpiece and the definitive best film of 2008. In addition, Kate Winslet delivers a mesmerizing -- and Oscar-worthy -- performance.

Recount: 7/10 - The narrative structure of the film mostly follows a democratic perspective, causing a certain level of bias throughout. Regardless, it is fascinating to witness a closer view of the dramatic 2000 presidential election. Few fictional tales have been told with more twists than that historical month in U.S. history. This film is worth viewing regardless of one's political affiliation for both its relentless storytelling and high quality performances.

Revolutionary Road: 9/10 - Sam Mendes has done it again. He has quickly put himself up with the best directors alive today. Every film he has made (four total) has been perfect. He is also able to draw out what is probably Leonardo DiCaprio's greatest performance, which is far from a trivial statement. The film focuses on a couple from the 1950's: both trapped in the life they've created for each other. It's a chilling and thought-provoking subject matter supported by top-notch acting and brilliant direction.

Righteous Kill: 3/10 - I thought it'd be a challenge to make a film that cast both Al Pacino and Robert DeNiro -- two of the greatest actors of all-time -- this bad. It seems that director Jon Avent was up for the challenge though. I am still wondering if he even watched it.

Slumdog Millionaire: 8/10 - A wonderful, heart-warming film that slowly crept up on me while I was watching it. Director Danny Boyle ("Trainspotting," "28 Days Later...") poured his heart and soul into this film; and despite some slightly contrived moments, I left the theater truly touched.

Southland Tales: 7/10 - Where do I begin...well, I will say that the film is inarguably one of the sloppiest messes to ever grace the big screen...and then, I'll follow that up with stating that there's not a person I know that I'd recommend it to; however, it would be dishonest of me to suggest that I did not enjoy it. Director Richard Kelly ("Donnie Darko") is fearless in ways that might even impress David Lynch ("Mulholland Dr.;" "Inland Empire") -- he went out and made his movie, and he did it against the grain of everything Hollywood has established over the last century. It would be silly for me to suggest that a comedy about an actor's (Dwayne Johnson) screenplay -- based on his recent time travel, the upcoming apocalypse and his encounters with Neo-Marxists, a porn star (Sarah Michelle Gellar) and two versions of the same cop (Seann William Scott) -- would be for everyone (or anyone), but oddly enough, I think it was for me.

Standard Operating Procedure: 3/10 - Errol Morris' documentary is a shallow look at the events of Abu Ghraib prison during the beginning of the Iraq war through photographs and eye witness testimonials. I'd like to think everyone is aware of the mess in Iraq in 2003 (and for a good documentary on the subject, I'd suggest "No End in Sight"), but this film takes one small aspect of the disastrous leadership and doesn't do very much with it. I don't know what caused military personal at Abu-G to photograph their acts of insanity and it seemed Errol Morris had no desire to find out.

Tropic Thunder: 5/10 - An over-the-top ridiculous comedy that is saved by Ben Stiller cashing in on several favors to bring in a group of A-list actors for small roles, most notably Matthew McConaughey and Tom Cruise. Cruise delivers a performance that may rightly deserve a supporting actor nomination come award season.

Valkyrie: 6/10 - It felt as though I was watching a History Channel re-enactment, not a Hollywood film. Every character was two-dimensional and Tom Cruise is completely insane if he thinks audiences can suspend their disbelief to the extent of imagining him as a German World War II officer plotting to kill Hitler. Regardless, I cannot argue that the film was not entertaining or educational, so for those merits alone it is worth the rental.

WALL-E: 6/10 - Beautiful animation (as we've come to expect from Pixar) and a surprisingly good job at personifying robots -- something I thought would be far more difficult than the usual focus on animals. What hurt the film most unfortunately was the depressing and silently preachy plot. If the script had half the heart that the featured robots did, the film would have been a glorious success, rather than the definitive worst film that Pixar has produced.

Wanted: 3/10 - As beautiful as Angelina Jolie's ass is, and as entertaining as it was to watch the great Morgan Freeman channel Samuel L. Jackson in an effort to play Lawrence Fishbourne, I still feel confident in stating that viewing this film was one of the dumbest experiences I've had in my lifetime.

The Wrestler: 9/10 - The film is gritty, harrowing and unforgiving...and it is not for the squeamish. Director Darren Aronofsky ("Requiem for a Dream") puts together a devastatingly realistic portrayal of a washed up wrestler and is able to include some of the most beautiful moments I've seen on film. Even more impressive was Mickey Rourke's ability to elevate the project to an instant classic with a frighteningly good performance. The best analogy I could give -- and something that I was thinking about at several times during the film -- is to what Charlize Theron accomplished with her character in "Monster" (2003): a complete transformation into another person.

Yes Man: 4/10 - One of the worst screenplays I've seen produced this year and it never felt like Jim Carrey was able to get any rhythm in the role. It does have a fair share of laughs, though unfortunately many of them were awkward chuckles from viewing all the various things that just didn't work.


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)

Looking Back on 2007 -- Top 10 and More

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"

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.