Eat Pray Love (2010, U.S.)

Eh. The movie was better than the book, but that definitely didn't take much. And that's really about all I have to say about this movie. The scenery could have been exploited to much better effect. The writing could be stronger, but again, you have to consider the source material. I was most disappointed by the acting. I've always found Julia Roberts to be a very solid actress, and here she seemed weak. Whether it was the script or her, I couldn't say. I hope it was the former; on the other hand, her complete lack of chemistry with Franco or Bardem could have contributed.

I guess if you liked the book, you would like the movie. Otherwise, I wouldn't waste your time.

Rating: 2.5

Powder Blue (2009, U.S.)

Ugh, I don't know what to say about this movie. I think a brief plot summary should say it all: four Los Angeles residents (a mortician, an ex-con, a suicidal ex-priest, and a stripper) are brought together on Christmas Eve by a mixture of circumstances. Mix in a transsexual prostitute, organized crime, a terminally ill child, an absentee father, Jessica Biel in general, and Patrick Swayze as a strip club owner, and what do you get? A nasueating, over-the-top, poorly-acted melodrama that is basically a vehicle for Jessica Biel to take her clothes off. TERRIBLE.

I gather this was supposed to be a profound, gritty look at the intersecting lives of people with hard luck, and maybe a change or two here and there could have made a big difference. Better actors definitely would have. The lead character as a waitress instead of a stripper probably would have. Less forced writing may have too. Of the four main characters, Ray Liotta was wooden, Jessica Biel did her standard melodramatic overacting (and she did not look sexy at all, which she was clearly supposed to), Forest Whitaker was inconsistent, and Eddie Redmayne was (can you guess?) entirely brilliant.

In fact, I may have given this one 0 stars if it weren't for Redmayne—I would give him 5 stars on his own, which averages out to 1.5 for the entire thing. He plays this awkward, sweet mortician named Qwerty, of all things. Watching him tenderly put headphones playing ethnic music on a young deceased Hispanic woman made it worth watching this travesty. (Although watching his character character inexplicably fall for Biel's was quite painful.) The boy has talent; it's almost magical.

So unless you love Eddie Redmayne like I do, save yourself from watching this absolutely horrible piece of trash.

Rating: 1.5

Like Minds (2006, UK/Australia)

I definitely have to watch this one again, because even though I know what happened, I need to know why. This is a very dark, layered, psychological drama.

Det. Mackenzie (Roxburgh) calls Sally (Toni Collette), a forensic psychiatrist, into his investigation to psycholanalyze teenage Alex (Redmayne) to determine whether he could be guilty of murdering his disturbed/disturbing classmate Nigel (Sturridge). In a series of interview sessions, she learns the story of their twisted, complicated relationship, discovering that though dead, Nigel's psychological effect on Alex is undiminished. Despite all evidence to the contrary, she begins to seriously doubt his guilt.

Practically everything about this film, an independent drama by a first-time director, was incredible. One thing that especially struck me was the haunting score. It had this sort of ethereal female voice mixed with low orchestral instruments that truly captured the disturbing tone of the film. The dark lighting with a few splashes of color for emphasis further added to the tone.

The cast was a mixed bag. The school boys, Strurridge and Redmayne, were brilliant. It's true that I have a bit of a weakness for Redmayne, but he truly is a genius. In this role he walks the line between the innocently accused and the psychotic guilty, as the viewer isn't meant to know which he is until the end. Roxburgh was passable; he was a run-of-the-mill police inspector and didn't stand out one way or the other, which I expect was the intent. The most unfortunate cast member was Collette, who was supposed to be a great and compassionate psychiatrist but who was mostly wooden and underwhelming.

I was very interested in the title, which was originally Like Minds in the UK and Australia (it was a co-production) and was changed to Murderous Intent in the United States. The title can significantly change the way you interpret a film as you watch it, and it is especially true of this film and these titles.

Overall, this was an intense, brooding, disturbing, dark, creepy film, and it definitely stayed with me after I watched it. I get chills just thinking about it. This is another one I really need to watch again, knowing how it ends. I think I would have given this one a higher rating if the adults were better actors and some of the plot (mostly the secret society weirdness) wasn't so out in left field.

Those who are easily (or even not-so-easily) disturbed should beware, but if you love having your skin crawl, this is well worth watching.

Rating: 3.5

The Tourist (2010, U.S.)

I mostly avoided all descriptions, reviews, and previews of this movie, except for the very first teaser trailer. Basically, I didn't care what it was about and I didn't want to have my opinion influenced beforehand. I love Johnny Depp and Angelina Jolie, and I couldn't wait to see them in action together.

This was a cute movie. Not exactly the adjective one would expect for a spy film, but there you have it. It's also quite slowly paced for the genre, so if you don't go in expecting a nail-biter, you shouldn't be disappointed. Basically anything can happen when you mix romantic comedy with espionage. Mr. and Mrs. Smith, this is not. (Then again, Depp and Jolie don't have the chemistry Jolie and Pitt had—but who could?)

The story? Elise sits next to Frank, an American tourist, on a train going to Venice. Her intent is to trick the police into believing Frank is her elusive lover, who is a mysterious fugitive. Frank (who is a nerdy, socially awkward math teacher) finds himself pursued by both the police and the mobster who Elise's lover owes money to. Elise finds herself falling for Frank (which is helped along by the fact that her lover has continually let her down) and vice versa (though it causes him nothing but trouble). There are several plot twists that should probably feel sudden but instead feel almost like a mild surprise. Somehow, it works well.

The cast is fantastic. Depp and Jolie are great actors, especially in the roles of nerd and seductress, respectively. Paul Bettany plays the lead inspector, and I wish he had a more prominent role. There's just something about him. Toss in Rufus Sewell as the stranger, and it was a solid cast.

I also thought the score was fabulous. Even if the film was a bit slow for the genre, the music said, "This is a spy flick!" I do love James Newton Howard.

I'm looking forward to re-watching this, knowing where all the twists and turns go.

Rating: 4.0

Savage Grace (2007, U.S.)

So, here I go on my quest to see every Eddie Redmayne film I can get my hands on! It has to be said that in my (so far limited) experience, he makes any film he's in exceptional.

Savage Grace is based on the real life murder of Barbara Baekeland, wife of the grandson of the inventor of Bakelite plastic. So one goes into this film knowing that young Tony is going to murder his mother in the end, and that what the film is ultimately about is not the destination (as it were) but the journey. The problem is that with the scripting, Tony seems to have very little motivation until the final days before the murder. Yes, he has a pretty bad upbringing, especially considering he's a wealthy child, and yes, his parents alternate between suffocating and neglectful, but still. The motivation just didn't seem that strong, nor was his mental illness that apparent. Watching this, I wouldn't have been surprised to hear he murdered his father rather than his mother; that's how off it seems.

It's interesting that much of what is presented in the movie never happened according to some firsthand accounts, and even the murder wasn't staged as it was occurred actuality. In this case, I think the true story would have made for much more gripping drama.

Parts of this film were extraordinary. For instance, as they take snapshots of this affluent life in the 1940s through the 1970s, the subtle changes in dress, decoration, and the like are very well done. And of course, acting is key here. Brooks Baekeland wasn't very memorable and Tony's grandmother was good (though she played a minor role). Hugh Dancy stood out as a gay man who was a sort of professional society companion. Julianne Moore, a very talented woman, was both lovable and loathe-able as Barbara Baekeland, a perfect combination. And Eddie Redmayne, of course, was brilliant beyond words. Watching him murder his mother, pick up the phone to order takeout, and then eat out of the white Chinese box with chopsticks while sitting next to his mother's body is just chilling. The combination of vulnerability and ruthlessness, childishness and maturity, is especially striking when portrayed by his genius. He really makes this one worth watching.

Rating: 3.0

The Pillars of the Earth (2010, U.S.)

I can't even begin to describe how wonderful this mini-series was. I worried about it doing justice to the novel, one of the greatest books I've read in my life. Thankfully, I had the benefit of watching this several years after reading the book, so it wasn't as fresh in my mind as it could have been, leaving me able to judge the series for itself. It was definitely watered down, but not in a bad way. For instance, the novel largely lost my interest at the end when it spiraled into an obsessive religious recounting of the murder of Thomas a Becket, whereas the mini-series focused on the beauty and glory of the completed cathedral, a much more important aspect of the work, if you ask me.

It was a truly magnificent undertaking. The historic backdrop (I loved that Maud, a personal favorite historical figure of mine, was not made out to be a villain), the setting, the varied individuals who the viewer becomes invested in or quickly comes to hate, the perfect and often moving music (one perfect step shy of majestic, sometimes moving, often reflective of the monastic setting). Love scenes, tragic deaths, wife beatings, and the like were handled well, painting a vivid portrait but still tasteful and not too graphic. (Some of the battles I thought were a little much, with sprays of too-bright blood, but not enough to take away from the overall effect.) In addition to the beautiful scenery, the costuming (and makeup in particular) were incredible. They did a wonderful job of subtly aging characters. And even though the plot was significantly condensed to fit into 8 hours, the writing was often beautiful and the plot clear. Wonderful.

However, the truly overwhelming part of the series was the actors. Ian McShane and Donald Sutherland were as great as I have come to expect. Several actors, particularly Natalia Wörner (Ellen), Hayley Atwell (Aliena), and Matthew Macfayden (Prior Phillip), who were previously unknown to me, were pleasantly surprising and perfect for their roles. Rufus Sewell, who I've seen in many films and always respected, never would have crossed my mind as the man to play Tom Builder, but seeing him I can't imagine anyone else playing the role anymore. He was spectacular. This entire ensemble had such chemistry, melding together to truly bring the world of Kingsbridge to life. You feel the frustration, fear, love, anger, hope, faith, and all the other powerful emotions driving the lives of these men and women as they struggle for happiness in an unfair world. Almost magical, really.

But the real star of the show was Eddie Redmayne (Jack Jackson). I think I'm in love. (In other words, I am greatly anticipating following his career.) I had seen him before in minor roles in Elizabeth: The Golden Age and The Other Boleyn Girl (they sure do love him for British historical!) and something about his face struck me enough to remember him from one to the other to this one. He truly has the most incredible face, beyond perfect to portray Jack. He has very strong jaw and cheek bones (okay, a weakness for me!) that give him just enough sexiness to explain the girls' attraction to him, but he also has the freckles and red hair and puppy dog eyes that give him the air of an innocent, sweet little boy who is originally a near-mute for shyness. Really, what a face. Anyway, as I said I've only seen him in minor roles before, so this is the first time I've been able to see some real acting, and saying I was impressed would be a huge understatement. He was Jack Builder. I can't explain it better than that. From the near-mute young man to the growing artist to the man in love to the fulfilled and successful builder, he played every aspect of Jack's maturing character with such artistry. I was really in awe. (I probably don't need to tell you that there will probably be many Eddie Redmayne films reviewed here in the next few weeks.)

I can only say that this series was sensational. I struggled to stretch it out, and I managed to split it into three days. It was difficult, because I was so engrossed I wanted to completely submerge myself in it, but I loved it so much I wanted to make it last. So three days wasn't too bad!

I can't do it justice. If you love historical drama, well told stories, exceptional acting, beautiful settings (I didn't even mention how extraordinary the cathedral was!), you must watch this. Powerful, wonderful stuff. I just loved it.

Rating: 5.0

The Kids Are All Right (2010, U.S.)

I have some lesbian friends who told me this was a great movie, the first "mainstream" film they've seen that portrays same-sex parent families as families like any other, and I do agree with that analysis to some extent. To begin with, Nic and Jules and their kids Joni and Laser seem like any other family, eating dinner, playing Scrabble and ping pong, having fights, and getting ready to send the oldest child to college. In some ways, it seemed healthier than the average family—with two moms, there was much more communication, a very positive part of the family.

Of course, the main arm of the plot is a problem that would be much less common in a straight family—the kids search out and meet their sperm donor, who becomes a part of their lives and even starts an affair with one of their moms. (This part really threw me. She cheated on her wife with a man?! Horrible.) This created quite a soap opera feel without getting too trashy.

I loved a lot of this movie. There were some funny parts and some parts that made me tear up. I didn't care 100% for the way they treated Paul (the donor), acting like he purposefully broke up their family when meeting them wasn't even his decision (though he did act poorly quite often and was generally a self-centered big-head). Still, I thought it was a touching story about what makes a family and how we struggle though the tough parts because we love each other. Jules' monologue on marriage—"If only I read more Russian novels, I might..."—was especially priceless.

I liked the cast too. Julianne Moore is great. Mia Wasikowska (who I only know as Alice in Wonderland) was perfect as the older kid. And I don't know if I've ever seen an Annette Bening film, but perhaps I should make an effort. She was fabulous in this movie, and I loved her especially in this good ensemble.

Open-minded people will enjoy this family's story. I doubt closed-minded people would even watch it, and if they did they'd find something wrong with it, but I thought it was lovely.

Rating: 3.5

Scott Pilgrim vs. the World (2010, U.S.)

I can't believe how much I loved this movie. It was completely unique, fresh, nerdy, and fun. From the opening credits (which have little cues to the rest of the movie, if you pay attention), it was just so fun. I can't think of a better word to describe it.

A lot of movies based on graphic novels either don't have the graphic novel feel or else they try too hard. This one was perfect. It made good use of a panel-like technique, but not too often. It was just enough to maintain the feel and emphasize certain shots without being overkill. The same went for "sound effects" written in during fights, for ringing phones, etc., as well as other video game-esque additions, such as lives up, power bars, and the like. One of my particular favorites was an angry girl who cursed a lot and always had a censor bar and beep appear over her mouth to cover F-bombs. Scott asks her how she does it; the character's awareness and acceptance of such abnormal elements in their lives added that much more to the movie.

Basically, the story is quite simple. Scott Pilgrim is a 22-year-old in Toronto who was dumped a year ago by a girl who became famous with her band (while his continues to struggle). He dates a 17-year-old Chinese Catholic schoolgirl. Then he falls for an American Amazon.ca carrier named Ramona, and he has to battle her seven evil exes to be able to date her. The story worked really well. For one thing, the characters were remarkably realistic considering the fantastical situation they're in. (Also, great supporting cast—Anna Kendrick, Chris Evans, Jason Schwartzman, and especially Kieran Culkin.) Secondly, the fight scenes with all the exes were excellent and, yes, fun. They were intensely choreographed so that they didn't seem violent at all, but rather the bloodless fighting you see in video games. Lots of flashing lights, special effects, and then the bad guy dissolves into a pile of coins.

The music was also something special, channeling video game music from the very beginning, with the beeping Universal theme. It also had a strong overlapping presence in the characters' world, like when Scott beats his head against a pole, echoing the rhythm of the music.

This movie is great fun for the generation of early 20-somethings who live in an irresponsible world filled with music, video games, and romantic angst, but also for those of us on the fringes (for instance, those of us who have close friends or family in this world). Really, this movie is great fun for anyone, and I am shocked and pleased to recommend it highly.

Rating: 4.5

The Bad Mother's Handbook (2007, UK)

This was a really surprising and wonderful film, especially for a made-for-TV deal. It's about being a mother (as the title implies), but I think it was also about being a daughter too. Karen is a 33-year-old teacher's assistant who wants to go to Paris, and when she gets her birth certificate for her visa, she finds out she was adopted. Meanwhile her daughter Charlotte, who was born when Karen was 16, breaks up with her boyfriend when she finds out he's cheating, only to find out that she's pregnant.

That's what it's about, but it's not really about what it's about. It's more about the relationships, how they process their feelings, how their relationships with their mothers affected their own motherhood, why they made the choices they did. What they do becomes irrelevant, or perhaps inevitable. It's subtly and beautifully done. I especially loved the grandmother, who was obviously suffering from some sort of dementia and chattered to imaginary companions all day, mostly about her memories of Karen as a girl.

I think all mothers and daughters can appreciate this film, even if you weren't adopted, a teen mother, or a combination or product of these situations. Men play a very limited role in this film. Even Daniel (a lovable loser, portrayed in a perfectly understated performance by Robert Pattinson), who becomes Charlotte's friend, helper, and quiet but strong support, is a very unobtrusive presence for such a central figure.

In fact, the whole thing had an understated simplicity that you just can't help but appreciate. I teared up a few times, I'll admit. A moving, authentic work.

Rating: 4.0

Metropia (2009, Sweden)

I have to copy the plot summary from imdb to make this make sense: In the near future, oil reserves are nearly depleted and Europe is connected by a series of underground tunnels. While navigating these tunnels, Roger hears a voice in his head. Seeking a way to rid himself of the voice only leads Roger deeper into a bizarre conspiracy of control at the highest reaches of government.

This is rather oversimplifying, but it's difficult to explain. As you can see from the poster, this had the most interesting animation style I've ever seen. I couldn't quite decide whether it was 2-D or 3-D. The correlation between voice actors and characters was interesting as well. Roger looked vaguely like Vicent Gallo, while Stefan looked even more like Alexander Skarsgård. Yet these two characters also looked like each other a bit (which is a part of the story, not coincidence). So that was all pretty neat.

The world that they created in this dystopian future Europe was fascinating. The superior public transportation system, which is such a positive aspect of European life now, becomes the symbol of the worst parts of life in the future. Consumerism (and objectifying a specific woman in commercials for a specific product) gives the corrupted leaders a means of control over the populace. The colors are mostly black and gray, and only a few things stand out. Most noticeably Roger's dull red jacket, the model's brilliant blond hair, and the bright blue color of the shampoo she's advertising.

I can't fully do this film justice. The concept, the mood, the animation, the voice acting—all were superb. I highly recommend it, especially if you like something a little different every now and then.

Rating: 3.5

Babies (2010, France)

This was a very simple, sweet, engaging documentary. It's about four babies in the first year of their very different but very similar lives in San Francisco, Tokyo, Mongolia, and Namibia. The contrast between countries was interesting, to say the least. I do wonder how realistic it was, for two reasons. First, people may act differently in the presence of a camera in their lives. (Perhaps this isn't true of babies, but it would be true of their parents.) Second, editing can make footage a lot different than the reality. However, it seemed pretty real to me.

Inevitably for this type of documentary, the four lives were distilled into fairly one-dimensional portraits. The San Francisco baby's life alternates between having very hands on parenting and being left alone. Both of her parents were present in her life, with lots of reading, music, toys, activities, etc. The Tokyo baby was surprisingly similar to the San Francisco baby. For my taste, there were way too many bright colors in Tokyo, but otherwise it seems to be nice to be a baby in Japan. The Mongolian baby lives in an isolated area. You almost never see the father, and the mother appears only slightly more often. His brother constantly hits him until he cries, and cows, goats, cats, and roosters are running all over him all the time. It's a miracle nothing bad happened to him. The Namibian baby's mothers seems to sit around all day with another woman, mostly doing nothing but occasionally talking or grooming. (They must do more—perhaps new mothers are given "time off.") Of all the babies, the Namibian baby had the most unhygienic upbringing you could imagine, but of the four he almost seemed the happiest, rarely crying.

In all the footage they used, I felt like they could have included a bit on bedtime in addition to the rest of the day (mealtimes, bathtime, playtime, etc.). I did like how they showed the present day "babies" (around age five?) in the credits. Also, the music was a bit weird, oddly chipper, but it was somehow the perfect soundtrack to unify four lives in very different geographies.

This is oddly enthralling considering the lack of dialogue, plot, or even the "message" (or central theme) of most documentaries, but it's really worth watching, no matter your taste.

Rating: 3.5

Flickan som lekte med elden (2009, Sweden)

Inevitably, a film adaptation of a complex, multi-layered suspense/mystery novel of the outstanding caliber of Larsson's work just isn't going to have the same impact. True, a lot was too oversimplified (for instance, the sex trade angle, a huge part of the novel's plot, never made sense in the film). Also, the fight between Paolo, Miriam, and the German was way too *bang* *pow* super-choreographed.

Still, a lot of it carried over well. It was very dark and suspenseful. I still think the casting for Lisbeth was excellent, though Mikael was on and off. The music was eerie and dark, perfect to set the appropriate tone. Good stuff, especially if you haven't read the book but even if you have.

Chilling, powerful, engaging, and very Swedish. Good stuff.

Rating: 3.5

Letters to Juliet (2010, U.S.)

I thought that this movie looked really cute, and I like Amanda Seyfried quite a bit. Needless to say, I was quite disappointed.

The whole thing felt way too contrived, with stilted dialogue that almost bordered on wooden at times (and had a false ring a majority of the time). Overall, the writing was terrible. Aside from the dialogue problems, a lot of the plot was just too much of a stretch when it could have been much smoother. Parts were too easy, convenient, and basically unrealistic. I think "oversimplified" is the best word I can come up with.

The actors weren't bad. Seyfriend wasn't her best, but still cute. Her fiance was a Mexican actor playing a goofy maybe-Italian, which was a very strange choice. They do get extra points for casting Vanessa Redgrave, who is an absolute film goddess. I did like the male lead, who had very good comedic timing. He had a very strong (and to my untrained ear, accurate) British accent, but every now and then it went a little weird—turns out he's Australian. He also had something in his face (though not his acting) that reminded me of Heath Ledger, which was odd.

Anyway, this was a sweet concept that was terribly executed. Very unfortunate.

Rating: 2.0

Harry Potter and the Deathly Hallows: Part 1 (2010, U.S.)

I heard a lot of people say this was a boring film because they spend so much time wandering around doing nothing. On the contrary, I found it to be way too fast-paced. They're galloping around the countryside, accomplishing their tasks with seeming ease. It completely negated the epic David and Goliath, hopeless battle for Good that they're fighting, practically belittling their efforts.

I know one shouldn't judge movies based on one's knowledge of the books, but in this case I just can't help it. Of all of the Harry Potter films, I thought this one was the weakest adaptation. Of course, I rather expected it to be. They've been dropping threads of the plot and relationships since the beginning (or perhaps since the fourth movie), so with the final installment, it was impossible to weave together the complete, complex tapestry.

Of course, I still maintain that this undertaking put together one of the greatest casts, and this installment brought almost every participant together. Though it was inevitable to miss Hogwarts, the various settings, from nature to Malfoy Manor to the Ministry to a London street to a snowy graveyard in Godric's Hollow were all beautifully rendered.

I'm glad Dobby had his day, even if it was very "Oh, remember Dobby? He has a very close relationship with Harry even though you don't know anything about it, so he's going to come save his friend now!" Ugh. Even worse, however, was the thing that came out of the locket horcrux. It was way over the top and super cheesy. And greenish—think "dead faces in the water" and the army of the dead and all the other cheesy parts of Lord of the Rings times about a trillion and plus gratuitous nudity. Shiny nudity at that. So even Catherine Hardwicke could be proud! As you can tell, it annoyed me quite a bit.

The music doesn't stick out in my head too much, but I can only assume that it was good, since Alexandre Desplat is one of my favorite composers.

I still look forward to the second part of this film, but I won't get my hopes up.

Rating: 2.5

Morning Glory (2010, U.S.)

I had absolutely no idea what this movie was going to be about, but I saw it just because I adore Rachel McAdams. It was really a unique film. A young television producer gets a new position and must revive a struggling morning show program that consistently falls behind Good Morning America and its ilk. She fires the sleazy male cohost and lands a star news reporter (through a loop in his contract) who hates morning shows and constantly fights with the producer, his cohost, and everyone else.

Basically, this was a great ensemble drama with a slight twist of witty comedy. Harrison Ford, Diane Keaton, Rachel McAdams, Patrick Wilson, and Jeff Goldblum wove their parts together in seamless harmony. It was very cleverly written and a lot of fun. On the other hand, the drama side really makes you root for the show and hope it gets better ratings, even if you (like me) aren't the kind of person that cares about morning shows at all.

I liked this one quite a bit, but I especially bumped it up from 3.5 to 4.0 just for Rachel McAdams. She's just so cute, savvy, sexy, and spunky. I love her. Did I mention that?

Rating: 4.0

Walk the Line (2005, U.S.)

Here's yet another biographical film that never really interested me, but suddenly when I was cataloging it at work, I just had to see it. It was an excellent choice.

Reese Witherspoon was phenomenal as June Carter. Joaquin Phoenix was okay, though he was rather on and off. Toward the end he was amazing, and he also was in his drugged haze. His early singing was rather weak and might have been better if it was lip synced. His voice was much stronger at the end, especially in Folsom Prison and in Ontario. However, he had a majorly crazy singing face that looked like he was constipated or in pain or two seconds away from passing out. Maybe Johnny Cash really looked like that while singing, I don't know, but it was a bit off-putting. In terms of the rest of the cast, Tyler Hilton as Elvis was the worst casting choice ever, but I absolutely loved Jerry Lee Lewis. The chemistry between the entire cast was absolutely palpable.

Watching this gave a very good sense of musicians' road life in the middle decades of the 20th century. The costumes, props, and sets were perfect vehicles to transport the viewer back 50, 60 years.

The film seemed to go on forever, but not in a bad way. It was like I was so lost in the story that I had to wake up and readjust to reality when it was over. I even watched the deleted scenes, which I don't often do with this kind of film. I thought that too much was left out of the story, though I recognize the need to edit and thought they picked events well. I'm amazed that I was so interested that I wanted more. In fact, I went straight back to the library and checked out Johnny Cash's greatest hits.

Magnificent.

Rating: 4.5

Cutthroat Island (1995, U.S.)

I didn't realize this when I watched it, but apparently this movie bankrupted the production company and is in the Guinness Book of World Records as the biggest box office flop of all time.

I didn't think it was that bad, though it was very 1995. The score was no Pirates of the Caribbean, but it was pretty good pirate movie music nonetheless. The plot was decent plot, and the script was sprinkled with mildly amusing one-liners and good fight scenes.

Every now and then I would notice an anachronism, such as the cannons not rolling backwards when fired in an early fight scene, but in a later scene they were. Small compared to the whole female pirate, treasure maps on scalps, and other odd elements of the story.

Still, if you like campy pirate flicks, this one's for you.

Rating: 3.0

The Adventures of Milo and Otis (1986, Japan)

I remembered this movie very fondly from my childhood. I couldn't remember what it was about, other than the obvious cat/dog friendship. I decided to check it out from the library to "watch with my cats," two orange tabbies. This ended up being quite amusing, because one of them sat and watched almost the entire thing, and the other investigated for at least a few minutes.

You really have to appreciate the dedication of a crew that would spend four years filming live animals. I gather that there were some accusations of animal cruelty, but I don't know what came of that. It seemed to me that most of the action was realistic in terms of animals' real lives. I was surprised to see that the two had litters of kittens and puppies, which I don't recall from my childhood viewings. Still, it was done tastefully enough that a young child can watch it without figuring out what's going on (as I must have once).

I was shocked to find that I still loved this movie, which I have such fond memories of, as an adult. I think this is a wonderful, wonderful family movie. Very sweet. And two out of two cats agree!

Rating: 4.0

Easy Living (1937, U.S.)

This is precisely what you'd expect of a mistaken identity comedy of the 1930s. In other words, very sweet and very enjoyable.

When J.P. Ball, a wealthy financier, gets sick of his wife's spending habits and throws her sable coat out the window, it lands on struggling single gal Mary Smith. This sets off a chain of events that causes her to get fired from her job, convinces hotel manager Louis Louis to think she's Ball's mistress, and leads her to meet Ball's son, who's also out looking for work to get out from under his father's control.

If this was one of those screwball comedies starring Katharine Hepburn and Cary Grant, it would be a lot different. I don't know if "sexier" is the word, considering we're talking about the 1930s. "Smarter" may be the word, both in the sense of "hipper" and "cleverer." One should avoid comparisons though, because as I said, this one was very sweet. I do love the sassy ones, but I liked this one too—it's nice to have a little variety.

Rating: 3.5

Lords of Dogtown (2005, U.S.)

This is the second 1970s biographical film I've watched this year, and it surprised me as much as The Runaways did. The subject matter isn't exactly the kind of thing that appeals to me, but I watched it because I've been meaning to for ages, since I plan to see every Heath Ledger film eventually. And I'm actually glad I did.

This film really captured the time, the movement, the people. Everything about it, from the costuming to the setting to the scripting to the acting, was perfect. It was especially great because I learned something I didn't know anything about.

The relationships between the boys were powerfully captured. In fact every relationship (parents, girlfriends, mentors, enemies) was so complex and real. I wish I could describe how strong these characters and their relationships were projected. It was the people, more than the plot, that made this film.

And of course, I can't make it through Heath Ledger movies anymore without crying. I thought I would make it through this one until they show his character, Skip, all alone, no longer his own boss, singing to himself and contemplating a bottle. Ledger could convey the emotion of loneliness better than anyone I've ever seen. (I do wonder what the deal is with his flat American accent though.) I would say his last scene was the best of the movie, but it had a lot of competition.

I wish I could do this one justice, but I can't. Please just take my word for it that this is a wonderful, moving, fascinating film, and remember that this is the word of a person who has approximately zero interest in the 1970s, skateboarding, California, teenage boys, or practically any other thing associated with this one.

Incredible.

Rating: 4.5

Prince of Persia: The Sands of Time (2010, U.S.)

I truly hope the subtitle doesn't imply they're planning a sequel, because this one wasn't very good. It was better than some other things I've seen lately, but still, not great.

In my humble opinion, Jake Gyllenhall is one of the most talented actors of his generation. What was he thinking accepting this movie? He wasn't bad as an action hero, but he's much more attractive and convincing as the slender, nerdy boy next door or as a sweet, shy but self-assured cowboy (as in Proof and Brokeback Mountain, two of my favorite performances of his). Who was this buff hero? Also, he had a strange, mild accent of no discernible origin. I guess it was supposed to be Persian, but I don't know. At least you can still say it was consistent though.

There was some good action here, but the plot was a bit hard to follow at times. If this makes any sense at all, part of their failure was the introduction of an object's concept without showing said object (i.e. the titular sands of time). It didn't work.

The music was underwhelming, which was a disappointment to me. A score can make or break a movie, and a good score here would have made it a bit more bearable. (Especially disappointing because I usually love Harry Gregson-Wililams' work.)

I can say that there were a few mildly amusing lines. Alfred Molina was especially funny as an anti-tax, anti-government "small businessman." Almost incongruous in ancient Persia, but somehow it worked for this particular movie. On the other hand, his character and other things meant anachronisms all over the place. If you're looking for anything close to historical accuracy, look elsewhere.

Further faults? Predictable villain. Pretty tepid, weak romance—the movie would have been better off without it at all. Eh. Oh, and then there's the weird déjà vu feeling, a product of the very Aladdin feel at the beginning and the very Gollum at Mount Doom climax. Does that give too much away? Oh well, if you don't see it now, you're not missing much.

Rating: 2.0

Fireball (2009, Canada)

So, I watched this in an attempt to erase the memory of The Lost Samaritan out of my head and replace it with a better Ian Somerhalder. I should have known better. Hello, look at this poster. That about sums up the movie.

A violent football player, Draven, wants to get revenge on all the people who've done him wrong. Somehow his body chemistry changes and he becomes a human torch. A fire investigator and a federal suit try to track him down, as he sets fire to everything. The big finale takes place in a nuclear plant.

Yeah, terrible. This is beyond B. There are no words. Bad writing, bad acting, bad scoring, bad everything. I don't know how I made it to the end. Don't watch it.

Rating: 1.0

Ondine (2009, Ireland)

I was rather intrigued by the concept of this film. Also I hadn't seen an Irish film in awhile, and I was curious to see what kind of film would cause Colin Farrell to leave Hollywood and return to Ireland.

Syracuse, who's better known as Circus because of his drunken antics, has a disabled daughter whose mother he's estranged from. He's a fisherman, and one day he catches a beautiful woman in his net. She says her name is Ondine, which means "she came from the sea." His daughter thinks Ondine is a selkie; Circus thinks he's falling in love.

Ondine is a modern Irish fairy tale, but it has all the magic and darkness of old Irish fairy tales and all the bleak realism of modern Irish life. I guess you could call it magical realism. It is damp, poor, sad, magical, beautiful, wonderful Ireland at its best. The contrast between the fantasy story and the true story is perfectly balanced. The score was mostly this (I can't help using the word yet again) magical-sounding guitar music which fit perfectly. And Colin Farrell was brilliant, a strong choice for the role of an almost weak and broken man. The girl who played Ondine was also talented, and the girl who played the daughter nearly stole the show.

Beautiful. Magical. Highly recommended.

Rating: 4.0

The Lost Samaritan (2008, Germany)

Terrible. Terrible! I was feeling the need to watch something with Ian Somerholder in it, and this was a definite mistake. An accountant has a long night at the office, and on the way home helps an injured motorist, which leads to him becoming the target of two dangerous assassins. I can't even remember how. Then he gets home to find his wife cheating on him, and the assassins follow him there, so he goes to a cafe and the waitress ends up tagging along on his adventures. How does any of this make sense? There's no clear plot, and that's the least of the problems with this travesty.

The music was way over the top music. I gather that this movie was made in Germany, and all the German actors who were supposed to be Hispanic or white Americans still had German accents. The script was ridiculous, writing beyond terrible. The one major "why" of the plot was never answered. The accountant's relationship with the waitress makes no sense. And to top it off, the girl's not even sexy and she tries too hard.

What was Ian Somerhalder thinking? He's a pretty talented actor. This was just sad.

Rating: 1.5

The Dinner Game (1998, France)

As I was watching this film, it occurred to me that it seemed very familiar. Turns out that it was the inspiration for the American movie Dinner for Schmucks. This is a perfect example of how much more class the French have than Americans. This movie was pretty entertaining, whereas the American one just looks tasteless.

Pierre and his friends have a weekly meal where they must bring an "idiot," competing for the best one. Pierre's idiot meets him at house (and how he gets him there is convincing enough to be believable), but Pierre's had a back injury and can't go. His idiot tries to help him, and naturally does everything wrong and aggravates every situation.

It's pretty funny for what it is. I'm a little iffy on comedies that rely on mocking people for laughs, but because it ends (and this is not really a spoiler) with the jerk learning from the idiot, it works out okay. This is another very French one. Didn't like it as much as the last one I watched, but still enjoyable.

Rating: 3.0

Après vous (2003, France)

Antoine is a maitre d' in Paris. He's a good man who always says "yes" to everyone, and there's some strain in his relationship. So when he's late for dinner, he takes a shortcut home through the park, where he finds Louis hanging himself over a woman. Louis attaches himself to Antoine, who finds him a job at his restaurant and attempts to fix his life. Of course this involves Antoine meeting Blanche, the woman Louis was killing himself over, and Antoine falls for her too. Hijinx ensue.

This film was very French and very entertaining. Not just anyone can pull off the dark comedy, the love triangles, the bizarre but almost realistic antics. The French are just gifted that way. I enjoyed this one, and I would definitely recommend it.

Rating: 3.5

Fargo (1996, U.S.)

I don't even know where to begin with this movie. I almost can't even see why it's a cult classic. Jerry is in deep financial trouble, and his rich father-in-law is a jerk, so he decides to have his wife kidnapped and have her father pay the ransom. Basically every character is incompetent, except for the heavily pregnant sheriff investigating. There's a lot of violence, a lot of death, a lot of Minnesota accents.

I guess some people might find it funny, but it's just not my type of humor. Mostly I was impressed by Frances McDormand's performance as the sheriff. The rest of it, I could have lived without.

Still, I'm glad that I finally got around to seeing this cult classic.

Rating: 2.5

Repo Men (2010, U.S.)

Remy is a repo man for The Union, a company that installs artificial organs and takes them back when the owners can't pay their debts. After a job-related injury, he wakes up to find himself the owner of a state of the art heart. When he can't pay, he goes on the run, and his former partner is sent after him.

The concept wasn't bad, although I fail to see why his company wouldn't have covered a work-related injury. (Though to be fair, their boss was pretty evil.) The music was pretty cool, very smooth and jazzy, which lent a nice contrast to the constant action. The huge twist ending was also exciting. However, mostly I found the whole thing to be entirely too graphically violent.

Rating: 2.5

Europa Europa (1990, Germany)

This film would be almost funny if it wasn't so tragic, which is probably why almost every description one can find about it uses the term "irony." Everything that happens to young Solomon simply strains credulity, and yet they're true. As he stumbles from Germany to Poland, as he ends up in a communist Russian boarding school, as he ends up a war hero in the Nazi army, as a Hitlerjunge. But always he is a scared, lonely boy who is hiding his true identity from a world at war, and it is impossible not to become deeply invested in his story and to hope his deception is powerful enough.

Marco Hofschneider was perfect as the sweet, innocent, scared, lost boy.

The music sounded familiar, though I couldn't place it, and it definitely fit the plot. It sounds like something serious and bad is inevitably, inexorably creeping toward him, one step at a time, just like he's always one step from discovery in every situation he finds himself. It's the sound of Fate steadily closing in.

I would recommend this wonderful, powerful film to anyone and everyone. Truly incredible.

Rating: 4.0

Wake (2008, U.S.)

It seems like I've been saying this a lot lately, but this film was truly one of a kind. It's about a girl whose sister died young. Carys can't feel anything, and she wants to be able to cry. So she uses a connection with a friend who works for a mortuary and starts going to the funerals of strangers. At one funeral, she meets Tyler, the fiancé of the young deceased. His eulogy touches her, and she finds herself lying to him about being a friend of the family. They start a friendship, they both help each other grieve, and eventually they become more than friends.

I've rarely seen such a successful genre-blend. There was the obvious drama (revolving around death and family) and romance angles. Then there was a mystery, because there's a question about how the fiancée died (and Tyler might have done it). Then there's some extreme suspense when Carys and Tyler are alone in a cabin in the woods and Carys fears for her life. There's some pretty funny black comedy. And they all blend together so well that you can never quite settle into watching; your mind has to be actively engaged in the film to keep your mental footing.

I thought that the last shot was just too easy, but otherwise, wow. It was quite a roller coaster—funny, sad, suspenseful, romantic. A great indie film that definitely deserves a wide audience. Prepare to be surprised.

Rating: 4.5

Plunkett and Macleane (1999, UK)

I liked this one, but I would have liked it a lot more if it was set up better. The first 20 minutes and the entire rest of the film seemed like two different movies. The beginning was incredibly violent and graphic, popping out eyeballs and digging up smelly corpses. All of this leads to an impoverished gentleman and a run-of-the-mill poor guy start crime scheme in 1748 London. The gentleman (Miller) gets into the social events of the aristrocracy, finding out who is carrying a lot of cash and where they hide their money, and the two become gentleman highwaymen. The poor one (Carlyle) wants to earn enough to go to America, and impoverished one just wants to be a gentleman.

The grittiness lent extreme realism, but it also turned my stomach a little bit. The plot took awhile to pick up because the first scenes were so irrelevant, but when it got going, it was engrossing. It mixed action, a hard-luck drama (with class wars), romance, and a bit of black comedy too. I especially loved Jonny Lee Miller, who was adorable and hilarious. Alan Cumming was interesting as an aristocratic, flamboyant bisexual. Liv Tyler wasn't annoying like she usually is.

One thing that really stuck out was the music, which was partially modern pop/rock (like they were going for the A Knight's Tale feel, though not as successfully) and partially instrumental music that sounded like the type of music you would hear in a modern crime comedy where the "bad guys" are really "good guys." (Instead it was an historical crime quasi-comedy where the "bad guys" are really "good guys.")

If you're looking for something different with a strange feel, this one is worth a watch.

Rating: 3.5

Outing Riley (2004, U.S.)

This was one of a kind. One of five siblings in an Irish Catholic family with a recently deceased father is gay, and his sister (who knows) wants him to come out to his three brothers—an immature pot head, an internet porn-addicted stock broker, and a repressed Catholic priest. The contrast and interaction between these siblings was good. They had a great dynamic, and one could almost believe they were really related.

There were many funny lines, a sweet story, and it majorly broke the fourth wall. Bobby (the main character), says he pretends his life was like a movie, then he does things to make it clear his life was a movie, like pausing the frame to introduce characters, talking directly to the audience, and even stopping to ask the sound man's opinion on his life.

The music was like traditional Celtic mixed with mild '90s rock, a strange combination, yes, but it worked. Chicago was also obviously important to the writer. The city was almost its own character—he highlighted neighborhood restaurants, the fountain, Lincoln Park Zoo, and more.

I think this is my favorite coming out movie of all the ones I've seen. Also, Nathan Fillion!

Rating: 4.0

A Single Man (2009, U.S.)

Wow. This is a truly beautiful film, but in a quiet, understated way. Basically, it's about a man who was in a long term relationship, and his partner dies in a car accident. Because they're gay, the man isn't able to properly or publicly grieve.

It was directed by a fashion designer, which I thought was very clear in the overall look. Everything was brown, white, tan, and black, but then there are moments of bright color, like a little girl's dress—why that? When George remembers the deceased Jim, everything turns into this reddish gold, glowing tone, which is very effective in making his memories feel pleasant and warm, especially in contrast to the stark, painful present.

Colin Firth is absolutely phenomenal. His performance is so subtle and detailed and believable. He was George Falconer. The rest of the cast was good too, but they didn't shine as much as Firth. They also had a great script to work with. It used poetic writing without being saccharine. I thought the plot was more effective than if a woman was mourning her husband because a) he is a man and therefore less able, or allowed, to share his grief with anyone and b) because he is gay and therefore has to hide his love for Jim and therefore his grief.

A lot of the film revolves around the importance of human connection to pull George back from his suicidal grief. It's the "stranger" (student) who does more than George's close and intimate friend. The writer also uses a Huxley novel to talk about minorities and fear. In a college class he teaches, George compares the Nazi fear of Jews to the current fear of homosexuals, and he compares the fear of the unknown (from which most persecution of minorities stems) to the pervading fear of being alone. It was well done, much more smoothly than I can explain it.

The score was one of the best I've heard in awhile, especially as a companion to the film. It is understated for the most part, lovely but unremarkable until the end, when it is very heavy on the violins and much more prominent, as if an audio parallel to the clarity George is finally getting.

The 1960s sets and costumes were beautiful and realistic, which gave the movie a strangely dated feel when the subject matter seemed so current. It really underlines the fact that we have the same problem with gays that we've had for years, and that it's a really backwards mindset to have. Paired with the classroom discussion of Nazi antisemitism, it subtly says, "This is just as prejudiced and just as ridiculous." It was so subtle that I didn't even notice it until I started thinking about the film afterward. I do wonder why they chose a 1960s setting. I see why they didn't use present day and why they wanted to use a post-WWII setting. It's just interesting because the last movie I saw about a socially unaccepted sexual relationship was An Education, which was also set in the 1960s. I guess it's just a good decade to show a parallel with the current hypocritical decade, sexually repressed/judgemental and sexually open all at once. Interesting.

Rating: 4.5

Despicable Me (2010, U.S.)

Despicable Me was a very strange movie. A super villain named Gru loses his place as the world's worst villain, replaced by a nerdy kid who goes by Vector, smart smart but not world-smart. To break into his arch-enemy's lair, he adopts three girls from an orphanage that sells cookies so that they can infiltrate Vector's fortress.

I wish they had focused more on Gru doing despicable things at the beginning. I loved watching him waltz into Starbucks and using a freeze gun to cut in front of everyone in line. I guess this was the kind of movie that's made for plot rather than character development, but with such a good lead character, it's a shame they didn't spend more time on him. (Side note: why are villains always eastern European? What stereotyping!) I also loved his minions, who were adorable and hilarious.

I don't often notice sets unless they're really out of the ordinary, but the "sets" in this were awesome, especially in the two villains' lairs. The furniture, technology, built-in shark tanks, weapon systems, and more were really cool. This definitely couldn't have been pulled this off in a live-action film. Gru's big dark house in an otherwise cookie cutter neighborhood also gave me a laugh.

The use of Pharrell Williams as a composer was an interesting addition to the movie. It varied in feel from serious spy to goofy and then a combination of the two, plus some weirdly unexpected R&B. The title song, "Despicable Me," was awesome. So awesome that I want to download it and make it my personal theme song.

Rating: 3.5

The Ghost Writer (2010, France)

I love Ewan McGregor, and Olivia Williams is incredibly talented, so she carries a good deal of the weight of this film. Acting talent is very important in this type of slow-building suspense, where there's no obvious threat but instead a creeping feeling that something's wrong. The atmosphere is equally important, and it was dark and chilling.

I found the plot a bit strange, alternating between inexplicably complex moments and stagnant inaction. It wasn't bad per se, I just kept waiting for something to happen or something to make sense. Sometimes it was the good, suspenseful kind of waiting, but sometimes it was just a bit dull.

The last 60 seconds of the film were the absolute best. I love a good plot twist, and while part of this twist should have been more predictable, the other part came out of nowhere and completely made the film. Amazing what an ending can do to improve one's final impression of a film!

Rating: 3.0

The Adventures of Sharkboy and Lavagirl (2005, U.S.)

I had to do it. Cute little Taylor Lautner! But I have to say, if I was a kid or had kids, I would really like this one.

The characters are really good. The main character is just an average boy with an extraordinary imagination. The heroes aren't the most heroic; they have flaws. Lavagirl is clumsy and Sharkboy alternates between tough, vulnerable, funny and a smartass. (He's even part animal... Jacob Black much?) So adorable.

The characters, adventures, and scenery seemed to come right out of a kid's mind (which in fact it did—it came from the mind of the director's son). I bet it looked really awesome in 3-D.

I can't decide whether to call a lot of the jokes cheesy or corny, because there was definitely a lot of food involved in the scenery especially. Either way, it was fun. And I loved the bad puns, especially the ones from Mr. Electric, the villain (aka Mr. Electricidad, the teacher).

In addition to all the fun and adventure, there was a good message to kids about keeping their dreams and making the important ones into reality. Sweet little movie, good for boys and girls.

Rating: 3.5

Post Grad (2009, U.S.)

This was a cute little movie. Alexis Bledel is a girl who has just graduated with an English degree and wants to get her dream job at her dream publishing house. She doesn't, and she has to deal with unemployment. Meanwhile, her best friend is in love with her and she starts fooling around with her much older Brazilian neighbor. So she loses her friend, another important thing in her life.

I thought it was both laugh-out-loud funny and touching. Michael Keaton as her father and Carol Burnett as her grandmother were especially hilarious. Without the comedy and the romance, her post grad life felt like a mix of my post-college and post-grad school experiences, which is probably part of why I liked it so much. I think any college graduate can relate.

Not many comedies can impress upon the viewer the important things in life—family, love, hard work, being happy with who you are and what you do. All that and a few laughs too. Good stuff.

Rating: 4.0

The Runaways (2010, U.S.)

Color me surprised. I didn't know anything about The Runaways and I've never really liked late '70s/'80s music, but I was curious to see Kristen Stewart in this one. I already thought she was an underrated and quite brilliant actress, but this one really convinced me. I love how she is so unafraid to look ridiculous, wearing silly clothes, rocking the ugliest hairdo, and singing like a fool. And wow, she was Joan Jett. The even bigger surprise was that Dakota Fanning, who I've absolutely loathed in the past, was almost as good as Cherie Currie. Between the two of them and the rest of the cast, there was a great dynamic that lent an excellent sense of realism to the film.

Costumes and makeup were stellar. I was investigating The Runaways' website and some of the costumes matched their tour pictures to a tee. Sets, script, everything made the period come alive.

This was a fascinating biopic that made me enjoy music that I'd never liked and taught me something that I never knew and entertained me all at once. That is a successful film if I ever heard of one. I'd love to see it again. A real cherry bomb!

Rating: 4.0

Death at a Funeral (2007, UK)

This one was different from the opening credits. I absolutely adored the score, which was fun and familiar sounding. It was cheerful and upbeat, yet slightly ominous at the same time.

Death at a Funeral is very British and an interesting ensemble drama. When a large family gathers for a funeral, there are all kind of interesting dynamics going on, from fighting couples to competing brothers to love triangles to hidden secrets that cause all kinds of trouble.

You'll laugh out loud, you might tear up a little, and your jaw will definitely drop multiple times. See it to believe it!

Also, I love Alan Tudyk. Love him.

Rating: 3.5

Salt (2010, U.S.)

I never thought I would see the day that I agreed with Roger Ebert, but I think it has come. He gave it four out of four stars, saying that "It's gloriously absurd. This movie has holes in it big enough to drive the whole movie through." Amen. It's like a super cheesy and preposterous 1950s spy film but with the realism that comes from modern day film techniques, and this is a very disconcerting combination. You could almost say it was so ridiculous it was good.

A lot of the plot devices lacked clarity, but I can't go into without giving away the ending. I did figure out one plot twist thanks to an episode of Lost, which was kind of fun for me.

Of course, I love Angelina Jolie more than anyone else I know. She makes an excellent action hero (see Tomb Raider). Apparently she's been wanting to do a spy franchise, and I wish this had a better script so they could make a franchise out of it. I do have to say thank goodness Tom Cruise dropped out, because this movie would have been ten kinds of awful with him instead of her.

Besides Jolie, the three best parts were the action, the setting, and the music. A lot of the action was based on Salt running and running and running from her pursuers, rather than explosions and shooting (though there was a good share of that too). The filming took place primarily in D.C. and was really well done. And the score (by one of my favorite composers) was perfect. If I had listened to it without the movie, I would have said to myself, "This would make good spy music!"

Don't expect much, and you'll be entertained. Especially if you like Angelina Jolie.

Rating: 3.5

Little Children (2006, U.S.)

Kate Winslet is one of the greatest actresses of her generation, if not all time. And Patrick Wilson is great when the psychologically disturbing and dramatic stuff (see Hard Candy). So a film with such a small cast that revolves around the two of them is sure to be a winner.

In an upper-middle class suburb, the lives of a woman with a porn-addicted husband, a man with a disinterested wife, a disgraced ex-cop, and a convicted sex offender dance around each other. It's hard to tell how they'll align (despite the common neighborhood), but eventually all runs together.

I guess this is supposed to be a film about people who can't control their impulses, but to me it seemed more like a film about people who are trapped in unhappy lives and deal with them in inappropriate ways.

It was sad watching these people pathetically run their lives into the ground. And while it was a powerful film, I think it was just too bleak for me. Still, definitely worth watching.

Rating: 3.5

Inception (2010, U.S.)

I don't even know what to say about this one. I had to make a conscious effort to relax my brow at the end of the film because I was doing some intense thinking the entire time. It is one of the most confusing things I have ever watched. There were essentially four stories nested within each other, plus side plots as flashbacks and goodness knows what else.

The basic premise is that a team is going to make a lot of money by placing an idea into a man's head. To do this, they have to approach him in a dream within a dream, thereby penetrating his subconscious as much as possible. The lead, played by DiCaprio, is slightly broken—mentally because he's gone into the dream world one too many times and emotionally because of what happened to his wife. He's a great actor, and he's complimented by a lot of other great actors. Joseph Gordon Levitt is a personal favorite of mine, and the rest of the cast was strong.

Two of the most important parts of science fiction are the world building and convincing science, and both were wonderful. It's one of those things that has to be seen, not explained, however. In fact, I probably need to see it again so I can remind myself what happened.

There were a couple of inconsistencies, but if you like a good thinker, this is definitely one for you.

Rating: 4.0

The Escapist (2008, UK)

This was a great cerebral drama. It's hard to elaborate on the best points without giving away the ending, but suffice is to say that a lot of the elements that don't feel quite right suddenly make way too much sense in the end.

Frank Perry is more than 10 years into a life sentence without parole, and he decides to escape when his estranged daughter becomes ill. He gets a group of cons together and they arrange an escape. After they leave the prison, the rest of the film takes place in the tunnels, sewers, and underground rivers of subterranean London.

The acting is phenomenal, of course. I've never been a huge fan of Brian Cox, but he was pretty great as Frank Perry. Dominic Cooper is strong as the sexually abused young new con, and Joseph Fiennes is, as always, one of the best actors of all time.

Most of the action seemed to be shot with a hand-held camera, and it made it feel like it was a first-person account of the breakout.

I expected a twist at the end, but I couldn't quite put my finger on what pieces weren't lining up. When the twist came, I was floored. It was one of those endings that made the whole film incredible. Good stuff.

Rating: 4.0

Toy Story 3 (2010, U.S.)

This was the first ever movie I've seen in 3-D. I don't know if I really liked that aspect of it. Mostly it just gave me a headache.

The movie, on the other hand, was great. I didn't think they'd be able to pull another story out of these characters, but they did. Andy's heading off to college and getting rid of his toys; the gang is donated to daycare, and it's a living hell.

Two big highlights were Buzz being set to Spanish-language Buzz, Barbie meeting (a very clothes-obsessed and shallow) Ken, and the aliens from the claw machine following around the Potato Heads ("You have saved our lives, we are eternally grateful!").

I was kind of back and forth about the ending. On one hand it was sweet and on the other hand it was way too sad and disappointing. Overall, it was the mix of funny and touching you'd expect from a Toy Story movie.

Rating: 4.0

Shutter Island (2010, U.S.)

Much better than the last film I saw that was based on a Dennis Lehane novel. DiCaprio plays Teddy Daniels, a U.S. Marshal who goes to a federal penitentiary for the mentally insane on a tiny island in Boston Harbor. With his partner, his mission is to find an escaped and highly dangerous prisoner. However, the doctors and administrators on the island are less than helpful, hurricane-type weather blows in, and Daniels is plagued by hallucinations/dreams of his deceased wife and experiences during World War II.

This is the kind of slowly building suspense that is all about creepy atmosphere and psychological drama, and it was very well executed. DiCaprio is a stellar actor, of course, and he definitely carried the movie. When it comes time for the big plot twist at the end and the memorable last line, he nails it.

Scorsese made a very interesting choice, and instead of having the film scored, he used a collection of instrumental classics. It worked perfectly. Some of the songs were beautiful, but the best one were creepy and frighteningly suspenseful. They did an especially effective job when Teddy and his partner first drive through the gates of the compound. It made me want to shout, "Turn around, don't go in there!"

You'd have to see this one to believe it. I just can't say much without giving away the ending. Which, I think, is a pretty good recommendation for the film.

Rating: 3.5