Kick-Ass

*** stars

It's nice to know that there are filmmakers out there like Matthew Vaughn who are willing to take some big risks with their features. And it's no surprise to me that his latest film Kick-Ass matches those expectations. However, I was surprised that it did hardly anything else but that. This is a fun, over-the-top, and stylistically violent film that has moments of greatness until it outstays its welcome.

At 127-minutes, it was hard to tell exactly where this film was going around the 90-minute mark. This is a story of an ordinary high-school "geek" named Dave Lizewski (Aaron Johnson), one who likes comic books and dreams about the idea of becoming one. While I wish that there were more to this character than the "geek" stereotype (example: spends his Friday nights alone in his room jerking it to his teacher), it's certainly the perfect person you want to see become a superhero. One day, he ponders this idea, and does just that. He buys a cheap green and yellow costume online (that appropriately channels a rejected blue man's group costume) and hits the streets ready to tackle some crime. When he musters up the courage to approach some punks stealing a car, he nobly tries to stop them.

Then he gets stabbed.

Great way to introduce your hero, wouldn't you say?

Fortunately for Dave, he survives the ordeal and is willing to answer the call once again. This time he's much more successful. After taking down some thugs in a parking lot in front of a group of spectators, his actions are taken to the Internet where he becomes the biggest online sensation ever. He's on top of the world. That is until other superheroes decide to join in.

Meet the characters who steal the movie. Hit-girl (played by Chloe Moretz, who you might recognize as the little sister from 500 Days of Summer) is a pre-teen murdering machine, trained by her psycho, revenge-seeking father Damon Macready, aka Big Daddy. Nicholas Cage is in top form here as the wicked father, showing off his genius in a supporting role. Hit-girl and Big Daddy decide to bring Kick-Ass along for some, well, ass-kicking. They must stop an evil mob boss named Frank D'Amico (Mark Strong) and his nerdy son Chris, aka Red Mist, from taking them down. Christopher Mintz-Please (in case you steal need the damn reference, it's McLovin from Superbad) fits the character perfectly.

The plot is pretty standard in the world of comic-book movies, but it's the style and ultra-funny action scenes from Matthew Vaughn that makes Kick-Ass one hell of an entertaining ride. I'll admit my disappointment in the film's disguise of breaking Hollywood rules, by succeeding in its violence but becoming dependent on the conventions of a third-act script. When I saw the theatrical trailer for this film, I was excited that it looked like it was willing to go there. The film itself went there for the first 90-minutes, but it came crawling back in need of a conclusion.

Reviews For Movies In Theaters Now

Clash of the Titans
** stars

There is nothing about this Clash of the Titans remake that is really necessary. The script is formulaic, the visuals are sub-par, and the 3-D is strictly a gimmick. This is probably stuff you already know, so take it or leave it. If you're a moviegoer in need a summer movie fix, Clash of the Titans is a mild sedative. If you're a moviegoer who cringes at the thought of 3-D, side-effects include a hangover.



The Runaways
*** stars

About 20 twenty minutes into The Runaways, I kind of had the idea of where the movie was going. This is a by-the-numbers movie about the beginning of a band's formation, their journey to the top, and or course, their inevitable downfall. However, the film demands a sudden urgency thanks to strong performances by Dakota Fanning (portraying Cherie Currie) and Kristen Stewart (Joan Jett), and the absolute scene-stealing Michael Shannon.

The Ghost Writer
**** Stars

Roman Polanski may be involved in a low point in his personal life, but as a filmmaker, the man is still at the top of his game with The Ghost Writer, an intelligently taut and excitingly written political thriller. Ewan McGregor is perfectly cast as the ghost writer who will write the memoirs for former UK Prime Minister Adam Lang (Pierce Brosnan). After dominating British politics, Lang has retired with his wife in the United States. The character McGregor portrays has one job, to help him finish his book. Instead, he gets involved with a scandal Lang has been tied to. Eventually, it comes to a point where no one is safe, and the memoir's that involve highly sensitive material gets in the wrong hands. As a movie, The Ghost Writer is chalked full of wildly suspenseful scenes. It goes from a good movie to a great movie in the second half, turning into a powerful movie that is a relevant statement of uncovering secrets in order to do what's right. You can rule out Polanksi the person if you are repulsed by his personal life, but don't rule out Polanski the filmmaker just yet. This is the best film of the year so far.

Hot Tub Time Machine
*** Stars

As far as farces go, Hot Tub Time Machine ranks close to the top in terms of ridiculousness. As far as comedies ago, it’s not on par with The Hangover, but it’s worthy enough to be considered as the best hot tub movie ever made (whatever that means). In other words, it’s pretty damn funny. I love a movie with a premise that’s really out there, but I hate it when the movie feels they have to explain how the concept works. For example, did anyone really care how Phil Connors relived Groundhog Day over and over? No, it would have ruined the movie. So don’t expect Hot Tube Time Machine to waste it’s time on the scientific exploration of how the four main characters are accidentally sent back to 1986 by a hot tub time machine. Yes, it’s exactly what you’re thinking: the best title for a movie since Snakes on a Plane.

How to Train Your Dragon

***1/2 Stars

The most refreshing and surprisingly wonderful film of the early year belongs to How to Train Your Dragon, DreamWorks finest animated film since the original Shrek. Believe it or not, Dragon is as much a fine drama as it is comedy. It never surrenders to cheap laughs or potty humor. It's always nice to watch a fantasy film that remains faithful to the world it lives in and doesn't reduce itself to pop-culture references.

The story begins with an epic battle between vikings (the good guys) and dragons (the bad guys) through the eyes of the most notable viking's son Hiccup (Jay Baruchel) who one day dreams of becoming a true viking by killing a dragon. Unfortunately for Hiccup, he doesn't have the muscles or training to become one. However, he does get lucky during the opening battle by shooting down the most feared dragon of them all, the Night Fury. Too bad for him, no one was watching.

After the battle, Hiccup wonders through the forest, frustrated that no one believes his accomplishment. As he's walking, he finds the dragon he shot down without half of his tail, thus making it unable for him to fly. Too good of a person to kill it, Hiccup forms a connection with the dragon. He calls him "Toothless," because when he doesn't attack something, he hides his teeth. Hiccup decides to help the wounded creature by building it an artificial tail. The more he helps, the more Toothless trusts him.

Back in town, Hiccup's father Stoick (Gerald Butler) tells him he's ready for Dragon training. Hiccup takes what he's learned from his secret lessons with Toothless and applies it to his training, making him the best in school and a local hero amongst the vikings.

The title for the film, How to Train Your Dragon, seems to be both a literal and metaphorical statement, one that actually creates an emotional and political message of understanding in regards to a two-sided battle and the bonds these characters create simply by listening to each other. The relationship between Hiccup and his dragon is a beautifully executed one, which comes from a great screenplay based off Cressida Cowell's novel. I saw it in 2-D, and it was this good. 3-D must be on a whole other level. Either way you choose to see it, all that's important is that you simply choose to see it.

Chloe

** Stars

Chloe, or Fatal Attraction meets Closer, brings up the question: Does a B-movie with an A-list cast make it better or worse? The film doesn't necessarily provide an answer, and I won't be premature and say worse, but this uninteresting and lazy thriller certainly helps that claim.

This is one of those movies where every single character borderlines on being unlikeable. They are all either hopeless and helpless or lost and confused, and every member of the main family seems to know nothing about each other. Julianne Moore plays the miserable, middle-aged wife Catherine Stewart, a gynecologist who suspects her husband David (Liam Neeson) of having an affair after missing the flight home for his surprise birthday party. David's excuse is that he hates birthday parties and everything about them. You'd assume he's lying, but in the context of the conversation the couples has, Catherine seems to know this. So wouldn't you think after two decades or so of marriage, she'd know that a surprise birthday party is probably not the best idea? Doesn't matter. It happens anyway.

Her suspicions are raised when she reads a text message on David's phone, "Thanks for last night!"-Miranda. And there's a picture to go with it of her and David. Okay, now that's plausible. But things go from melodramatic to ridiculous when Catherine hires a beautiful young woman named Chloe to flirt with her husband. Her job? To see how he will act. Wouldn't it be much easier to just call Miranda's phone or text her back and pretend to be him? Wait, that's what a real suspicious person would do under the circumstances. This after all, is a movie, one with characters doing things they would never do unless they were in fact, in a movie. I'm all for suspending disbelief, but I won't settle for boring and illogical storytelling.

So just when I thought I had figured out Chloe, it turns into every joke I thought about in my head while viewing it. When the film reveals all its secrets, there were moments where I thought, it would be really funny if that character slept with that character, then lied about it, then had sex with someone else that was important to that character out of revenge, then went crazy because of all the rejection. I had seriously doubts I'd be right here, but this in fact, is what actually happens.

I did my best there not to give anything away. In other words, let's just say Chloe is not afraid to go there. It's a shame that the A-list actors are dragged along for the ride.

I may have just answered my own question.

Greenberg

*** Stars

Greenberg is all character study and little story. It's a rather shallow film at times, but surprisingly, I never once found myself bored. As a writer and director, Noah Baumbach (The Squid and the Whale) makes some very brave choices in this film. Ben Stiller delivers a strong performance as Roger Greenberg, a failed New York musician who housesits his brothers home while he is away in Vietnam after coming out of a mental institution. He strikes up a friendly relationship with his brother's assistant Florence (Greta Gerwig) and spends six weeks doing nothing. Literally, nothing. Nothing except writing complaint letters to companies and drinking the days away. Florence and him grow rather close, in ways you wouldn't expect. They don't have anything in common, but they spend a lot of time together doing the small stuff. Roger is not the nicest person, and at times is rather unlikeable, however he is very much an interesting character with an original voice. Greenberg doesn't have an introduction or an ending, but rather a simple glimpse in the life of a group of people who did not expect the life they have been given. While this is a film that's easier to admire than to love, it's the bravery in Baumbach's talent that allows this to be a much better film than what it could have been.

2010 Oscar Predictions

The frontrunner for Best Picture The Hurt Locker has had a few bumps in the home stretch, but it should hold on fine and dandy for tomorrow night in what's been a rather unexciting and predictable Oscar race. Sure, Sunday night will be wonderful to watch, and lord knows I'll be in heaven, but I'm still disappointed in the Academy's choices for best picture. They got the ones we knew were going to get nominated right (Hurt Locker, Avatar, Up in the Air, Inglourious Basterds), but they missed the mark with other forgotten genres such as comedy. However, no matter what they choose, there is always a winner. And I must now predict them. I have already given my analysis of the movies (click here for that article), so here are simply my predictions and snubs.

Best Picture
Nominees:
Avatar
The Blind Side
District 9
An Education
The Hurt Locker
Inglourious Basterds
Precious
A Serious Man
Up
Up in the Air

Who will win: The Hurt Locker
Who should win: Avatar
Who got snubbed: Where the Wild Things Are, (500) Days of Summer, & Star Trek
Who shouldn't be there: The Blind Side

Best Director
Nominees:
Kathryn Bigelow for The Hurt Locker
James Cameron for Avatar
Quentin Tarantino for Inglourious Basterds
Jason Reitman for Up in the Air
Lee Daniels for Precious

Who will win: Kathryn Bigelow
Who should win: Bigelow
Who got snubbed: Spike Jonze for Where the Wild Things Are
Who shouldn't there: Jonze would take Lee Daniels place

Best Actor
Nominees:
Jeff Bridges for Crazy Heart
George Clooney for Up in the Air
Jeremy Renner for The Hurt Locker
Morgan Freeman for Invictus
Colin Firth for A Single Man

Who will win: Jeff Bridges
Who should win: Bridges
Who got snubbed: Sam Rockwell for Moon
Who shouldn't be there: All five are worthy, but if it were the case, Rockwell would take Freeman's place.

Best Actress
Nominees:
Sandra Bullock for The Blind Side
Meryl Streep for Julie and Julia
Carey Mulligan for An Education
Gabourey Sidibe for Precious
Helen Mirren for The Last Station

Who will win: Sandra Bullock for The Blind Side
Who should win: I have no say in this category
Who got snubbed: Saoirse Ronan for The Lovely Bones
Who shouldn't be there: This category is very weak this year.

Best Supporting Actor
Nominees:
Christopher Waltz for Inglourious Basterds
Christopher Plummer for The Last Station
Matt Damon for Invictus
Woody Harrelson for The Messenger
Stanley Tucci for The Lovely Bones

Who will win: Christopher Waltz
Who should win: Waltz
Who got snubbed: Anthony Mackie for The Hurt Locker

Best Supporting Actress
Nominees:
Monique for Precious
Anna Kendrick Up in the Air
Vera Farmiga Up in the Air
Maggoe Gyllenhaal for Crazy Heart
Penelope Cruz for Nine

Who will win: Monique
Who should win: Doesn't matter. Monique's going to win. She is worthy. So is Farmiga.
Who got snubbed: Any actress from Inglourious Basterds

Best Adapted Screenplay
Nominees:
Mark Boal for The Hurt Locker
Quentin Tarantino for Inglourious Basterds
Alessandro Camon and Oren Moverman for The Messenger
Joel and Ethan Coen for A Serious Man
Bob Peterson and Pete Docter for Up

Who will win: Quentin Tarantino for Inglourious Basterds
Who should win: Quentin Tarantino for Inglourious Basterds
Who got snubbed: (500) Days of Summer

Best Original Screenplay
District 9 (Neill Blomkamp and Terri Tatchell)
An Education (Nick Hornby)
In the Loop (Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche)
Precious: Based on the Novel "Push" by Sapphire (Geoffrey Fletcher)
Up in the Air (Jason Reitman and Sheldon Turner)

Who will win: Up in the Air
Who should win: Up in the Air
Who got snubbed: Where the Wild Things Are, Star Trek

Alice in Wonderland

**1/2 Stars

There's no denying Alice in Wonderland's ambitious attempts at recreating the magic of the 1951 original, but with a collaboration as appropriate as Tim Burton and Johnny Depp, it's hard not to say that this visual-trip falls short of its expectations. Although it's certainly not a failure by any means (and for many, it's certainly worthy of admission), it fails to produce a story worthy of future remembrance.

I always admired Burton and Depp for their ability to adapt familiar stories into a creation of their own (including Sleepy Hallow, Charlie and the Chocolate Factory, and Sweeney Todd, among others). Perhaps this is why it felt so right when this duo began to tackle this Disney classic. Depp plays the Mad Hatter, who is surprised to find that Alice (Mia Wasikowska) has returned to wonderland 13 years after the original (this isn't a sequel, but rather more of a re-imagining). Alice, now at the age of 19, is the daughter of a very wealthy family who escapes to Wonderland on the afternoon of her marriage proposal. When she arrives, she has forgotten her previous experiences, so everything is new to her.

It's interesting to watch Alice try and rediscover the rules of Wonderland such as the drink that shrinks her and the cake that enlarges her. The first 45 minutes of the movie include some very interesting characters and humorous scenes, but as Alice makes her way further into Wonderland the magic that was once sprinkled all over this place wears out. Especially in the third act.

I never give away an ending to a film in a review, and I won't start here, but the third act of Alice in Wonderland ruins any chance of letting the film become memorable. Instead of continuing down the path of visual wonders, new characters, and Alice's experience, she is shoved into a Chronicles of Narnia like situation that runs the rest of the movie's runtime amok. Helena Bonham Carter is an inspired choice to play the Red-Queen, but there's only so many times one can say, "Off with his head!" and still find it funny. Anne Hathaway is almost reduced to cameo status as the White Queen, who wants us Alice to fulfill the prophecy and take down the evil Red Queen. The Mad Hatter and other familiar characters including Tweedledum & Tweedledee, the White Rabbit, Cheshire Cat, and Abosolom the Caterpillar, all help Alice on her journey to discover what was once thought of as a dream, has now become real.

I was never bored by Alice in Wonderland, and on a visual scale, it's captivating, but I think this simply proves once again that in order to have a great film, one must have great visuals along a great story (yes, this has to do with my defending of Avatar). In Alice's case, she has been reduced to a pond in a visual game. It's a good thing the game is worthy of spectators, especially in a movie theater.

Shutter Island

***1/2 Stars

When Shutter Island was bumped from its perfect release date from October 2nd of last year to February 19th, it created a huge asterisk in my mind of the way present film's are being treated. Yes, from a financial standpoint, Paramount made a successful call, opening to $41 million on opening weekend, but my question is this: why wouldn't this excitingly twisty thriller be just as successful opening at a time where the Oscars begin to boom in people's mind, in a month that's perfect for a horror-themed movies (a la Halloween), and after a great marketing campaign that included Oscar buzz and a fantastic trailer?

I'll probably never know the answer to that question, but I digress. Shutter Island is a good film that becomes very close to greatness in its final act. I'll admit the first two acts hold you rather than grip, but that's only because this is Scorsese, one of the world's greatest filmmakers, re-teaming with his muse of movie stars Leonardo Dicaprio, whose last three combined efforts have been masterpieces. In other words, it's a minor, small critique.

Dicaprio plays Teddy Daniels, a U.S Federal Marshall who is sent to a Massachusetts mental asylum on the secluded Shutter Island. His new partner Chuck Aule (Mark Ruffalo) joins Teddy as they try to unveil the island's dark histories after a patient named Rachel Solando has escaped. The asylum's creator Dr. Cawley (Ben Kingsley) is very proud of his life's work. He describes Rachel's escape, "it's as if she evaporated, straight through the walls." A B-movie line yes, but applied wonderfully under Scorsese's direction. As the mystery ensues, so does the evaporation of Teddy's sanity. We learn that there are secrets on Shutter Island much more complex than one might suggest.

This is a side of Scorsese we haven't seen in decades (Cape Fear), or perhaps ever before. It comes with a few mixed results, including a few draggy moments during Teddy's search, but they are overcome by a sensational final act that not only thrills, but moves. When we discover Teddy's past traumas intertwined with the actions on the island, hang on for some truly great cinema. Dicaprio shines (when does he not?) in a full-out, exposed, hold-nothing-back performance. Unfortunately for him, he has lost the chance for awards recognition. Yea-yea, there's always 2010's Oscar race, but the film's relevance will naturally be incorrectly labeled as untimely.

Shutter Island ends with a line that will stay with you. Pay attention to what it means, who is saying it, and why. It's a haunting statement of demonized psychology only spoken after an intensely terrifying experience. Same goes for the movie.

Valentine's Day

0 Stars

Some of the most racist, sexist, and downright offensive movies to human relationships that people would think of is probably in the league of Borat, Jackass, Team America: World Police, or a Lars Von Trier movie. A suggestion? Add Valentine's Day right to the top of the list.

This movie is nothing more than a gimmick of hallmark programming. After the success of He's Just Not That Into You, I can just imagine the meeting studio executives had when trying to discuss a similar spinoff. In this scenario, Studio Executive #1 will play the bad guy and Studio Executive #2 will play the good guy.

Studio Exec #1: (in regards to He's Just Not That Into You) "Ok, the Valentine's Day release date worked and so did the big cast."

Studio Exec #2: "What about the story?"

Studio Exec #1: "Doesn't matter. We just need a theme. Hmm, let's see a theme for a Valentine's Day weekend release...(pondering)"

Studio Exec #2: "I'm guessing you want to do a Valentine's Day theme."

Studio Exec #1: "That's it! With a big cast! Brilliant! And it will take place in Los Angeles so none of them will have to travel!"

Studio Exec #2: "Ok, what's the story?"

Studio Exec #1: "Did you hear anything I've just said?"

Studio Exec #2: (Sigh)

Think I'm way off on this one? Disagree all you want, but after the $60 million+ opening of Valentine's Day, the next spinoff is now confirmed, called New Year's Eve.

Studio Exec #1: "Ok, so a holiday themed movie that opens on that holiday with the same title as the holiday, works. Any ideas?

Studio Exec #2: Oh screw it, I'm broke. New Year's Eve.

Studio Exec #1: BRILLIANT!

The Woflman

**1/2 Stars

The Wolfman is an acceptable film that is sure to entertain its intended audience. Yes, there are many laughable moments and everything falls apart in the third act, but I can't say I didn't have a horror-filled, bloody-good time. And not to sound like a broken record or anything, but it was rather refreshing. Too many blockbusters these days have me anticipating too much leaving me completely let down, or they're just downright insufferable (I won't point any fingers, but lets just say they are rooted from comic-book spin-offs, big robots, and action figures).

Ugh, I give up. I'm not fooling anybody.

The Wolfman however, delivers exactly what it promises. Some scary moments, plenty of quality kills, and a top-notch cast. For me, that's rather impressive given the films rumors of extensive delays and a hellish period in post-production.

Benicio Del Toro is an inspired choice to play an American named Lawrence Talbot, aka the man who eventually becomes the Wolfman. After Lawrence's brother is murdered by an apparent monster, he is called backed to his home in Victorian-era Great Britain to help discover the meaning behind his brother's death. Waiting for him is his brother's fiancee Gwen (Emily Blunt) and his father Sir John Talbot (Anthony Hopkins). With the town spooked and his family in mourning, Lawrence's search for the truth begins. Little did he know that would include him getting bit by a werewolf making him bedridden for weeks only to be completely healed of all wounds until a full moon hits the sky and he becomes a monster where he hunts human flesh until the next morning when he wakes up covered in blood with no memory of what he did as the town desperately tries to put him to death.

Happy Valentine's Day.

For what it's worth, director Joe Johnston is able to sustain The Wolfman to a very watchable length, keeping it well below two hours. Sometimes it's nice to get it and get out, especially for a premise that doesn't require that much of a set-up. We don't actually see the transformation until about half way through, which is when all logic is thrown out the window and is replaced by bloody action. But you know what? I'm not complaining. The film is visually arresting and on some occasions, quietly moving. However I will admit that the third act is totally lame. In what could be the most ridiculous fight sequence since Kate Hudson and Anne Hathaway in Bride Wars, The Woflman takes the cowardly way out and gives into the mass-audience's demand for third-act (and in this case, third-class) action sequences.

The movie is a toss-up. I for one never came to close to hating it and was quite interested in where the characters were heading. Hugo Weaving adds some clever wit as Inspector Abberline, who comes to town to track down the werewolf. When all is said and done, a better story would have been nice, but sometimes you have to take what you can get. So be it, The Wolfman cometh.

Crazy Heart

***1/2 Stars

Crazy Heart is a story we’ve all seen before, but told and acted in a way that is truly original. Jeff Bridges’ portrayal of Bad Blake, a country music star whose hit rock bottom, is a brilliant one, a performance of wonderful integrity and startling emotion. He deserves every award he has already been given, and I’ll be very surprised if someone else other than him takes home the Best Actor come Oscar night. Along side Bridges is a great a performance by Maggie Gyllenhaal, who surprisingly received a well-deserved supporting actress nomination for her role as Blake’s lover.

The story begins with Bad Blake, who at one point was a high-flying country star with fame and fortune, booze and women. The movie opens with him playing at a bowling alley, so obviously he’s hit some sort of road bump in his career (or perhaps a road block). He has become to care more about the whiskey he drinks than the tunes he plays. When he meets a young journalist named Jean (Gyllenhaal) at one of his shows, the two begin to spark an interest in each other. After Jean asks him what he wants to talk about, he replies, “I want to talk about how bad you make this room look.” Right then and there we know exactly what this character wants, and how open he is in getting it. After they hook-up for the first time, Bad Blake hits the road again to continue his tour, stopping every now and then to see the first women in a long time that’s made him, well, happy.

Colin Ferrell and Robert Duvall offer their fine talents in supporting roles that add a level of maturity and experience to Bridges’ already astounding screen presence. Duvall plays a bartender and Blake’s old friend, and Ferrell plays Tommy, Bad’s old apprentice who is a now a big country star. Tommy hasn’t forgotten what Bad has done for him, and offers him a chance to kick-start his career again. But the effects of alcoholism have already consumed Bad Blake, and it takes a lot of physical and mental pain before he can become himself again.

The movie takes a particular topic that movies seem to overdo and puts in a realistic, contemporary setting with a real character, making it a very down-to-earth story about a man dealing with such a such addiction to alcohol that he literally sleeps with a bottle wrapped up in his cozy arms on more than one occasion. There are no beatings around the bush here. Alcohol is as strong of theme in this film as Bad Blake’s music, if not stronger.

Bridges is one of America’s finest actors, and he proves this once again in Crazy Heart, a brilliantly acted and tragically real tale of one man trying to find a small measure of peace on the road to redemption.

The Lovely Bones

*** Stars

The Lovely Bones does not deserve the hatred it's getting, but it is a disappointment because it was supposed to be one of the best films of the year. Instead, we have a good film worthy of mild praises.

I understand why people aren't into Peter Jackson's screenplay here, but there is a too much talent on and behind the camera to just dismiss the whole film all together. Saoirse Ronan (Atonement) plays Susie Salmon (like the fish), a 14-year old girl who is raped and murdered (but the rape is not referenced here) by her neighbor George Harvey (a mesmerizing performance by Stanley Tucci) and watches over family from heaven dealing with the aftermaths of her death.

For the first timers who didn't read the book (including myself) think What Dreams May Come meets Mystic River. Mark Wahlberg and Rachel Weisz are fitting as Suzie's grieving parents (although Weisz's screen time is very limited), and there are some moments in Director Peter Jackson's film that are almost poetic (especially nearing the climax) but screenwriter Peter Jackson and company disappoint.

I know I sound like a broken record here, but this is another film that falls victim to the MPAA. This shouldn't be a PG-13 film because it needs to be darker, and it shouldn't be a dark R-rated movie because it doesn't need to be. What The Lovely Bones needs is to be unrestricted from money worries and ratings to tell the story we the audience wanted to see. If that occurred, we could have been looking at the Oscar frontrunner everyone was expecting.

The Blind Side

*** Stars

Did you happen to see the TV spots and movie trailers for the The Blind Side? They're awful; a completely recycled usage of Lifetime Channel original movies. Did you happen to see The Blind Side? It's good; a surprisingly original use of the sports movie genre.

Sandra Bullock gives an uplifting performance as Leigh Anne Tuohy, a white Christian from a white Christian family who decides to take in a homeless African-American named Michael Oher. To put it lightly, Michael has had a rough childhood. Out of the goodness of their heart, Leigh and her family take Michael into their home after they discover him walking home alone from school with no where to go. Once under their house, Michael learns to appreciate the aspects of family, and soon he becomes apart of it. They learn he has a knack for football. He gets good. Very good. Uplifting stuff right?

This is all stuff you already know. People are not going to see The Blind Side for the surprises, but surprisingly, what's good about The Blind Side is just this, the journey itself. Not the destination. The moments Bullock are on screen, the movie holds. Without her, that lifetime channel vibe afloats. An amazing story becomes a good movie. Not great, but I'll take that anyday.

Invictus

** Stars

This is the first time since Blood Work where I've called a Clint Eastwood film, not good. After leaving the theater, my brother Ryan turned to me and said: The writing and acting was amazing, the directing and editing was terrible. I couldn't have said it better myself.

Morgan Freeman and Matt Damon are truly wonderful in their roles. No one on the planet is better suited to play Nelson Mandala than Freeman. With the experience of a near immortal and one of the most trusted voices in cinema, Freeman is a surefire Oscar contender for Best Actor. So is Damon, who plays the captain of South Africa's 1995 rugby team. The incredible true story of using sports to unite the country (politically and emotionally) deserves to be an incredible movie. It unfortunately falls into the wrong hands with Eastwood.

Eastwood was, is, and always will be a masterful filmmaker, but sometimes certain subjects are not meant to be told by certain people. Filled with the same structure problems as Flags of Our Fathers, it is more clear than ever that the man's reputation of using one take and moving on is wearing thin. For example, when rugby takes center stage in Invictus, I swear I noticed multiple uses of the same shot throughout different games. I never thought I'd say this, but I think it's time the man returned to his comfort zone, in hopes of finding a subject that supports his one-take technique.

Nine

**1/2 Stars

What's frustrating about Rob Marsall's latest madness of a musical is how surprisingly detached it is from the magic of its main character. Daniel Day-Lewis is on fire as Guido Contini, a famous Italian filmmaker in desperate need of a hit after a string of flop, but Marsall chooses antics over storytelling, and the movie falls short of its potential greatness because of it. In terms of moviemaking, Nine is too well crafted to be called a bad film. When the film isn't singing, and Daniel Day is in charge, it's electric. When Broadway takes over, it's anything but. Penelope Cruz, Marion Cotillard, Nicole Kidman, Judi Dench, and Kate Hudson are fantastic supporting players to Lewis, but the film's overall impact had me thinking: loved the players, not the game.

The Imaginarium of Doctor Parnassus

*** Stars

The doom that The Imaginarium of Doctor Parnassus faced when Heath Ledger passed away was hardly a speed bump. It was a roadblock. Thankfully, Terry Gilliam managed to blow through it with the help of three top-notch actors. Johnny Depp, Jude Law, and Colin Ferrell provide the goods needed to make Parnassus a good movie. That it falls short of a classic is perhaps inevitable, but there is no one person to blame this time around.

Sherlock Holmes

*** Stars

Robert Downey Jr. is the coolest guy in the room when he walks in it. This doesn't change in Sherlock Holmes, a very twisty and exciting take on the tales of the classic character. Director Guy Ritchie delivers scenes his familiar style and fast pace action in a runtime that exceeds 140 minutes. A bit too long, but certainly not frowned upon. Jude Law is perfectly cast as Watson, having great chemistry with Downey, who already seems to be posing up for the sequels. While it's certainly nothing masterful, Sherlock Holmes is a rousing holiday treat that stimulates the mind and tickles the senses. It's a surprisingly polished visual experience that may turn some viewers off who are looking for a classic detective story with its rough and tough feel, but don't judge until you see it. This may become the vintage Sherlock Holmes. Only sequels will tell.

Avatar

**** Stars

I am so proud of myself for waiting for the IMAX 3-D experience of Avatar. Sure, seeing it last week for free at a press screening would have been fine and dandy, but I felt like this was a movie that needed to be seen the right way. It was totally worth it, because it turned out to be one of the greatest movie-going experiences of my life. I know this statement packs a punch, but so does Avatar, the best film of 2009 and the best film of James Cameron's already astounding career. It took 14 years to make, time not only well spent, but well lived.

Avatar is not only a technical masterpiece, but also a truly taut and intelligent adventure, one that dazzles the eyes and stirs the heart. I haven't been this emotional involved in a blockbuster since The Lord of the Rings trilogy. Sure, The Dark Knight is one of the finest films of the decade, but my emotions sparked much stronger here throughout Avatar's entire 160 minute runtime. If you're an emotional person when it comes to movies (like me), expect James Cameron's latest to leave you breathless. Roger Ebert sums it up right: "Your intellect may be confused, but your emotions will never lie to you."

The year is 2154. The planet is a new world, called Pandora, a vastly rich and beautiful planet that the human race has bound to take control over, even though Pandora has never threatened Earth. However, Earth is dying and humans find it necessary to attack them because they have the resources we apparently need to survive (or to get rich, you decide). If you notice many similarities and comparisons to today's real world, you're suppose to. Cameron boldly places the ideas of today into the actions of tomorrow.

The story follows Jake Sully (Sam Worthington), a paraplegic marine who is recruited to take over an avatar after his identical twin dies. Jake is very interested because he can get his legs back in an avatar state. Also, if he does his job, he'll get an operation done where he'd be able to walk again. Therefore, the one thing that changes everything involves what Cameron does best: have a love story.

On Pandora, avatar Jake inhabits the Na'vi, the tribe that makes up the planet. They are very tall, blue-skinned, and extremely dangerous. But that's only if they attack you. They are mostly peaceful beings, who treat the earth the way we should.

Jake falls in love with Neytiri (Zoe Saldana), a Na'vi native who rescues him from the wicked creatures that inhabit Pandora (think Skull Island). After being accepted into their tribe for adhering to their environment, Jake is taught their way of life by Neytiri, through which they do indeed fall in love, which forces Jake to re-think which team he is fighting for.

The cast is great, the direction is outstanding, and the visuals are literally flirting with perfection. Sigourney Weaver particularly, has a much juicier part here than what I was expecting. She plays for the good side as a experienced scientist who wants nothing but to ensure the safety of the Na'vi. It's not so much the argument that humans are the enemy here and that's that, but it's what the human race represents that's the real enemy. This film should be discussed, analyzed, and be allowed for multiple viewings. It's extraordinarily fascinating.

What makes Avatar stand out is how Cameron uses groundbreaking technology to further storytelling, not just action. The story is more than just a good vs. evil fight, it creates a whole new world physically and emotionally. I'm not bringing down the action here, because it has some of the best action sequences in film history. The whole movie is a pure adrenaline rush. Good luck finding a better film in 2009. I know I won't.

Brothers

*** Stars

I always knew Tobey Maguire could act, but I never thought he could scare the hell out of me. In Brothers, Maguire gives the best performance of his career (so far) in a brilliantly acted film that falls shy of greatness due to the wicked curse of melodrama. Not to dismiss the film, because it is certainly very worthy of praise, but I wish somehow director Jim Sheridan (In America) found a better way to balance the war sequences and home life. Maguire stars as Captain Sam Cahill, a dedicated soldier who is called up once again to serve a tour overseas. Natalie Portman (in a terrific performance) plays his wife Grace, and Jake Gyllenhaal portrays his brother Tommy. The three are a knockout together, and if only the film had followed suit, we'd be looking at one of the best movies of the year. After Sam is pronounced dead, killed in action, the family comes together to mourn him. However, they soon discover that he is alive. Now the trailer for Brothers would have you believe that this is about Sam returning home to find Tommy and Grace having an affair. Don't worry, the movie is too good for that. In fact, this bothers me because it's making you believe that this is a soap opera, when it's anything but. When Sam comes home, Maguire owns the screen. He was nominated for Best Actor at the Golden Globes. I don't see him getting nominated for an Oscar, but that sure would be one hell of a worthy nomination. He's had some good performances outside of Spider-Man in the past (Seabiscuit, Pleasantville) but with Brothers, he has established himself, for me anyways, as one of the best actors of his generation.

Up in the Air

**** Stars

There is a moment in the most timely film of the year, Up in the Air, where George Clooney, playing a man who fires people on the road for a living, gets up and makes an annual speech about the physical act of moving. "Make no mistake, moving is living" he says, with that jaunty grin that proves just how much of a movie star he really is. He plays Ryan Bingham, a man whose life is his job. He fires people, but his life consists of living up in the air and on the road. He travels all over the country, building up enough flyer miles to earn himself gold status for the rest of his life. That is until his work decides to ground him after creating a new way of firing people. How? Yes, you guessed it. Over the Internet.

Ah yes, imagine a typical day at your job. In today's world (meaning with the economy in the shitter) everyone naturally has a fear of being fired. Then you get sent into a room and are ordered to stare into a computer monitor. From there, someone will come on and fire you as gently (aka as mean) as possible. Not only are you getting fired, but no one even had the decency to look you in the eye. Welcome to the suck, I'd say.

Obviously Ryan Bingham hates this new system. One because he believes that there is an art to how he does his business, and two because that would mean he would have to go home. Home to an empty apartment, an empty refrigerator, and an empty life. In a desperate attempt to get back up in the air, he agrees to take newcomer Natalie, played by Anna Kendrick (keep an eye out for this true talent) and creator of this new way of firing people with him on the road to experience what it's really like to fire someone. Face to face.

Hmm, time for old Clooney to have some fun. Fun both professionally and sexually. Yes, on the road, Ryan Bingham bumps into a love interest named Alex (played wonderfully by Vera Farminga), both of whom get aroused by the very thought of how many gold member and credit cards each one has. They hook up a few times, until Ryan starts to feel something. Is he in love? Is he ready to ground himself at his home in Omaha, Nebraska to start a life of love with Alex?

Well, I was surprised while watching this splendid piece of cinema that none of these questions have anything to do with what the film is really about. It definitely has the witty charm and familiar humor of a romantic-comedy, but it avoids every single cliche in the book. Clooney gives the performance of his career in one of 2009's best offerings, a movie whose time and tone are perfectly aligned. This is Jason Reitman's third feature (Thank You for Smoking, Juno) and his best work to date. If there is one film out there that can be considered a lock for Best Picture, look no further. Up in the Air is a moving ode to life. And make no mistake, moving is living.