Best flicks of 2007

The basic story is about a man who stumbles upon the results of a deal gone wrong in a desolate area somewhere in Texas. He finds bodies, empty shells... and a wad of bills, which he proudly takes. Of course, badder people are out to find this money, especially one psychopath named Anton Chigurh (pronounced "Chi-gar" almost like "sugar"), played by a creepy but calm Javier Bardem who'll scare you shitless. There's a sheriff played by Tommy Lee Jones who goes on the trail to figure out what's happening and why. All throughout the course of the film is perhaps one of the most eerie, suspensful cat-and-mouse chases depicted on screen since I dunno when.

When the movie ended (and I was given a heads up about this), it seems rather abrupt. I'd say it is, but only in the sense that one didn't really pay attention to the film's message, but just watched the all-too thrilling plot unfold. Perhaps if I hadn't gotten the heads up, I might've been like, "What the hell??" so I'm giving it to youse guys. Plot doesn't necessarily serve as the backbone, but it does grip you from start to finish, everything just calls back to the film's title as the movie serves more as a lil' commentary on violence, making the whole movie message and central characters kinda tragic in a way.

Perhaps I've said too much now. Josh Brolin, Tommy Lee Jones, and Javier Bardem all deliver great performances in what is perhaps the best film of 2007, not to mention the best film the Coen brothers ever made. One viewing isn't enough, plus there may have been a few things I might've missed.

Animated films don't get the recognition they deserve most of the time. Some would just pass 'em off as kiddie flicks that lack substance, especially in a time when the majority of CGI animated films are mostly hollow while Disney, and us, rely on Pixar to create new masterpieces almost yearly -- Unfortunately, for some odd reason, critics were saying that last year's Cars marked Pixar's first slip, leaving everyone to speculate whether Pixar had done lost their magic... maybe everyone just thought of the characters being too two-dimensional, especially since Pixar previously brought out The Incredibles and Finding Nemo.

Leave it to Brad Bird to craft another marvelous piece of work that I dare exclaim, the year's best animated film so far. Hell, that actually undermines the film... what if I were to say: Ratatouille is the best film of 2007, so far? This briefly shows how an animated film can be more than something to just pander to wee ones. But since the Academy just had to instigate a separate "Best Animated Film" category, it's likely an animated film will never receive a Best Picture nomination. But I truly believe Ratatouille is way better than just being another animated film.

The animation is simply amazing... so fuckin' amazing that when Paris makes its debut on the screen, everyone just gasps in awe at its beauty. But the heart and soul of this film is both the story and characters: everything completely fleshed out and humanized that is suitable for both children and adults. The humor is persistent, the ever so evolving story paving way for great interest in its lightening mood and present conflicts. It's still funny as hell, the real deal is its well layered story. "Yeah yeah, sure, a rat who becomes a chef..." There's a helluva lot more than meets the eye, especially such a perception mended from its ads. Not once does Brad Bird cop-out or cheat his way through the story, he keeps everything close to reality as possible. At any scene towards the end could any other writer or director make the mistake of having everything tied-up nicely, a fault that lay in most films.

It's a film to remind us why classic films are regarded as classics. So much heart packed in such well executed story-telling, having a message that appeals to all... and, if none of that tickles you, may I remind thee that Ratatouille is funny as hell. The film is surprisingly long, but everything was clearly well-thought out by Brad Bird and co. that not once does it lose its flavor, nor overstay its welcome. Inventive and original, even if some things seem familiar. A comedic gem with a heart of gold.

This was a tough one to judge. It's the underdog of biopics... or rather, the ugly duckling. It's an experiment that deviates substantially from what we're normally accustomed to when viewing such a film. Does it respect Bob Dylan as an icon, a person, an artist, and/or a musician? Let us ask another question: Did Ray and/or Walk the Line achieve what they set out to do? The two films played it by the books (as written by Hollywood), but perhaps the artists would've worn smiles of approval on their faces had they seen the films (they did choose the actors who portray them). I'm not criticizing the two films, I mean, hell, I liked 'em... they're just so much alike is all, and follow the usual Hollywood tricks. I'm Not There is a film that dares to be different, but not to be elitist since its subject, Bob Dylan, does not walk in the footsteps like so many musicians do. He is a man of many faces, many lives, he did not have just one moment that defined who he is.

For starters, the film has six different actors playing the living legend. Facts are strewn into fictional environments, so the film is more about interpretations of these different phases (6 actors account for six different Bob Dylan phases). Marcus Carl Franklin plays the young Dylan looking for something more and taking on the alias Woody Guthrie (like his hero folk singer); Christian Bale is Jack Rollins, who accounts for Dylan's early folk years, and later born-again Christian phase; Heath Ledger is Robbie Clark, who is the actor playing Jack Rollins (kinda funny when you think about that), but also represents the love life of Dylan with the kids and the lovely Claire (Charlotte Gainsbourg); Ben Whishaw is the poet Arthur Rimbaud (the French-poet who famously remarked "I is someone else," a line that inspired Dylan, and perhaps this movie); Cate Blanchette is Jude Quinn, representing the hip, garage rockin' Dylan of the '60s; and lastly, Richard Gere is Billy the Kid, the recluse outlaw representing Dylan's time out of the spotlight. To condense these characteristics into a linear narrative might've been too much to handle for conventional Hollywood.

Six actors playing Bob Dylan always seemed like a gimmick, and I thought it was after my first viewing. But on the second, and the third, it all clicked. This is the only way a person could depict the life of Bob Dylan on-screen. He is a complex man, and you can hear that in his music (ever notice the changes with each album?). It's hard to follow as its narrative is disjointed, jumps around stories and timelines, and sticks weird shit in some parts that still has me confused. The only way to view this film is to go along with it, just like a surreal dream, and that's what I think it's structured as. It's a bit pretentious here and there, but what also enlightens me is how this movie isn't just a foray into the many lives of Bob Dylan, but also a rough outline of the many lives each person goes through. That's fuckin' great, I tellyawhat. If it weren't for No Country for Old Men, I'd say I'm Not There is the best film of 2007. But shit... if it weren't for Memento, I'd call this my new all-time favorite movie. But maybe I'm just so kind to the flick because I'm such a huge Bob Dylan fan.

Speaking of that, Dylan fans tend to get more out of watching this flick. But even non-Dylan fans appreciated the film. I mean, hell, even Dylan fans hate the film. But coming from a Dylan fan and a lover of film in general, I love this film. Win-win situation for me, I guess, heh. Watch this movie if you can. Highly recommended! ^_^

I tried watching Satoshi Kon's Perfect Blue a while back, and just could not get into it. I basically forced myself to watch it. In short, I didn't like it. Paprika on the other hand, is really something else. A real mind-fuck, and you can tell the animators had a fun time with this. It's a real treat for the eyes, but also the senses when the film manages to mesh artsy surrealism with good ol' film noir. Like watching a really trippy detective flick! My God, I hadn't watched a compelling animated flick like this in a while! Or shoot, I haven't watched such a compelling film in a while! I loved this movie!

I'll try to type more laters... ^_^

I must say, it's an eye-grabber the moment the film begins, and you can't look away... at all. After leaving the theaters, the film was on my mind for a while, mostly mixed feelings that would sorta kinda drag my rating down, but I'm-a say this first and foremost: It's about time P.T. Anderson finally creates a movie in HIS vision (Boogie Nights and Magnolia were just imitators of Scorsese and Altman). This fucking movie lives up to its hype... it's a bonafide masterpiece as everybody says. If I had typed this lil' critique up right after my viewing last night, I might've indicated less enthusiasm. This was a movie I expected to only like.

This is a brutal, uncompromising look on the follies of power and greed (capitalism) from the long journey of oil-seeking, as examined through an unforgettable character, played by Daniel Day-Lewis, who plays a manipulative, self-destructive oil tycoon named Daniel Plainview. From that small description, I'd expect something overtly political, like the half-decent Syriana, but multiple allusions are present from typical human flaws to religion are ones to span generations of viewers. Plainview is like the guy whose very touch kills whatever he lays a finger on; he knows this, and struggles to try make amends... but he's been touched by oil, and from then on... well, it's a hectic journey that slowly spirals out of control.

Daniel Day-Lewis' performance is one to remember; ruthless yet ya still give a care, like Bill the Butcher from Gangs of New York, but this time we get an in-depth look on the guy; view how he came to be and why. Opposite him is Paul Dano, who plays a religious Evangelist named Eli Sunday who is more or less like our central protagonist. Though a performance that may call attention to itself, I can't see how the character would've been shown otherwise. Here is where the religious perspective comes into play, something that felt a bit odd and out-of-place (possibly prone to being mocked), but as the story progressed, there was maybe a good enough reason for its inclusion and depiction.

Good vs. evil? I think not... the film is purely demented that I was in awe from start to finish. It's so fucking twisted, it churns your stomach or you end up chuckling many a time. To explain why would perhaps ruin the whole experience. Sure, some parts are rather cliche and been depicted before, and I might've gone a little too deep with my final thoughts (which'll remain in my head so I don't ruin it for ya)... I was certainly surprised by a film I only expected to like, to say the least! I didn't expect to love this film.

One tiny grudge that doesn't diminish the film in anyway: the soundtrack. I like Radiohead, and was surprised to hear of the guitarist composing the score for this film... but I just didn't like it. It called attention to itself, and not in a good way. Other than that, a damn near flawless film that is sure to be remembered for years to come. A bonafide masterpiece.

Zodiac is 2007's first masterpiece (and so early into the year), a brilliant, compelling, frightening, thrilling and intelligent crime drama, spanning over two decades of searching for facts, most notably unearthed by cartoonist Robert Graysmith, played by Jake Gyllenhaal. The film is like a mesh of All the President's Men, Summer of Sam, and a lil' bit of SE7EN, as it focuses more on the investigative portions rather than bastardize the story like how a typical Hollywood film would do, ie: center around the killer. We've seen that before, done as horror films. Zodiac could have been easily done as a Silence of the Lambs-rip off, but David Fincher just sticks to the original source. An epic 2 hour, 40 minute length, the film doesn't wane or bog itself down... it grabs ahold of you and never lets go. More terrifying than a typical horror film, and more intriguing than the crap we've been bombarded with over the past year (The Number 23? Puhleeze!) Don't miss this film.

Sunshine is like Solaris meets Event Horizon meets Alien meets 2001... but that's such a typical comparison. This is a unique sci-fi film that seems very simple and kinda stupid when you hear or read descriptions about it. Only when you sit down and watch do you absorb the film better. A typical space setting with plot and character development, toss in a lil' horror, especially in the third act (which either ruins the film or enhances it for ya), and add some food for thought. The Sun's dying (impossible since "they" say the sun has another 5 billion years left to live, but that's not the case here) and a team of youngster astronaunts are sent to refuel the star. See? Does sound pretty stupid, enit? But quite frankly, I dug the movie a whole lot. 'Tis all about saving mankind, but poses interesting questions that ignites the never-ending battle between old foes, religion and science. Tantalizing thinking is at hand.
The film has an excellent cast ensemble: Cillian Murphy, Cliff Curtis, Michelle Yeoh, etc... and Chris Evans CAN act when he's not flying aflame. They may not be developed so much, but that's not the case for this flick. Visually, the movie is amazing that my regret is not seeing this movie on the big screen; possibly amongst the best CGI and special effects I've ever seen. The plot is far-fetched (even I scoffed a few times) which is more of a backdrop for what the film presents, but it all works best as it dives into its philosophical tone... oh, and it's pretty damn thrilling for the most part, too. Most of all, it brought back old-school claustrophobic space horror not seen in so long. One of the most visually beautiful and haunting movies of recent times. Don't let the technical stuff and third act throw you off. ^_^

Summer of "threequels," Jason Bourne's return outdoes every other fuckin' third-quel we've been bombarded with, although not to start dissing other threequel flicks I liked. I watched this twice now... once, because it was a few days after its opening premiere and was irked by the fact that some people watched it before I, and the second time to reiterate the whole trilogy after watching The Bourne Identity and The Bourne Supremacy.

Overall, both visits were fuckin' worth it. This is by far the best Jason Bourne movie. Sure, it may follow the same pattern as the two movies, leading to Bourne finding the mother of all jigsaw puzzles, but the action is kickass. Straight outta Good Night, Good Luck is the new baddie David Strathairn, who plays it cooler than Brian Cox and Chris Copper in the previous flicks. Joan Allen is still good, and oddly, fine-lookin'. Julia Styles finally does more here than she ever did in the previous flicks combined. Her due is given. And Matt Damon as Jason Bourne can kick Ethan Hunt, Jack Ryan, or James Bonds asses if he wanted to. Hell, he's better here than in The Departed... okay, that might be a stretch, but still.

Now about that camera...

Paul Greengrass' unsteady-cam style might be a lil' overdone at times to the point of getting motion sickness, but I've noticed it somehow sets this Bourne movie and the previous one apart from Doug Liman's, sorry to say, standard formuliac atmosphere in the first Bourne flick (which I still like since the story is great). Yeah, it kinda does make the film a bit more realistic than it should, but sometimes Greengrass can't resist the urge to keep it unsteady even during convos. At least it helps to make the action fucking amazing... see for yourself.

There hasn't been anyone as badass as John McClane... Jason Bourne comes pretty close. Overall, the Jason Bourne movies create one kickass trilogy that's near-flawless... I just hope no money-hungry maroon dares to ruin 'em by including a fourth film (because there are more than three Jason Bourne books). The end-of-summer's masterpiece.

A five-star rating was expected... I cannot deny that. The Simpsons and everybody else know they're in a movie. A PG-13 extravaganza running at 87 minutes, The Simpsons Movie does offer surprises that won't be found on TV episodes, but thankfully, the creators don't strive to go all out with lewd and crude content, even when some surprising moments make their appearance. Out of character and crude they may be, the creators don't get carried away with how much they can get away with now that censorship isn't the problem. What makes them great is that they're not expected, but when they come, ya gotta laugh out loud, cheer and applaud.

I'm letting some continuity errors slide -- to make a movie work, sacrifices must be made, I guess. Besides, such continuity goofs are prevalent on the show, so it's no biggie up to this point. Any Simpsons fan should be aware of that. To some, it would kinda leave a nasty dent, sadly. At 87 minutes, it's also apparent that some stuff were cut (more sacrifices)... some scenes from the trailers and teasers were cut, or trimed shorter, no Patty or Selma, no Kang or Kodos, no Sideshow Bob, Minnie Driver's part was actually cut (and I love Minnie Driver) as well as Erin Brokovich's part... but of course, a lot of our favorite Springfieldians had roles cut shorter, or weren't present at all. Quite a bit irksome, especially since Minnie Driver's part was cut, and I was so looking forward to that. But to make a Simpsons movie work, the entire family must be the center of the universe.

Aside from that, I think the DVD will be all the more excellent. ^_^

So Homer screws up pretty big, and no eenie-meenie-miney-moe luck, or moving-the-town plan, will get him outta this jam; Homer's family support falls into jeopardy as well. Springfield is doomed yet again, this time a major environmental disaster, and Albert Brooks once again plays a maniacal madman in the form of an EPA official who always has the typical doomsday scenario to rid the country of such a problem. For a movie that revolves around our superstar Homer, there's quite a bit of the usual jabs at politics and religion, but such is always the case when it comes to the Simpsons. Completely leftist and hypocritical, it's still funny as hell.

It's inevitable that I love this movie, and not out of pity's sake (unlike some fans' reaction), but I think a lot of other Simpsons fans, like what Ebert said, knew this film would be a masterpiece without even seeing it just yet.

Despite how lukewarm and boring my critique may sound, I enjoyed the hell outta the movie. It's consistently funny as hell all the way through and there's even a touching moment that moved my sister to tears... that's what's great about this universe: it may appear cruel and crude, but it retains some heart that distinguishes it from the likes of Family Guy or South Park. Matt Groening and co. have created such a vast world that we all come to love and appreciate with memorable characters.

If the film got its release all those years back, I doubt we would've sat in front of our telly sets watching the 400th episode. I don't think we would've witnessed some of the best sight gags this movie treated us with. And I really doubt we would've witnessed the greatest celebrity cameo the Simpsons has ever gained (but its debatable). You might know who it is by now, but for the sake of keeping it vague, you gotta watch the flick to see it. And who dies? Watch and find out.

The earlier seasons of the Simpsons are definately solid gold that may still put this movie to shame, but The Simpsons Movie reminds me of that effort the writers once put into them. After 400 episodes and this movie, I am also reminded of the last clip episode that was done: they still got plenty of ideas left, even if some are rather cheap. The best ones were saved for this film, and there are so many that to name 'em all would spoil the flick, and make this blog longer.

For a rather weak year for movies, especially when it came to comedies, The Simpsons Movie made up for all those disappointing ventures. Well fuckin' worth the agonizing year of waiting and worrying. If there's another minor flaw I have with the flick, it's too short. But I think the length is suitable... what's always problematic with some flicks (especially ones from this past year) is that they overstay their welcome when they shouldn't. Some jokes may be a bit "meh," but what's great is that another one will soon follow that'll make you laugh out loud. The 2-D animation was brilliant and colorful, compared to the dullness and realism of 3-D animation. Hopefully this restarts the trend of going back to traditional 2-D animation... but maybe not.

The Simpsons Movie may be a very good extended episode with some rehashed material, I didn't leave the theater disappointed. It's still anarchic and chaotic, but still more coherent and memorable than a typical Family Guy episode. As a movie, it stands well on its own, being perhaps the funniest film I've seen all year, and the year's biggest surprise. After a while, maybe the flick will wear down after a while, like one of those films meant to only be seen on the big screen (ex: Grindhouse)... but the DVD will be grander.

Best Simpsons episode ever? Definately not, but it'll be on the top ten. Best movie ever? You might think that, especially since a fan is typing this... maybe not, but it'll be in the top ten. Best movie of 2007?... hmm... Maybe. That's a big maybe... One thing's for damn sure: I'm-a watch this movie again. ^_^

I like David Cronenberg's voyages into the seemy underbelly of the soul, and this film is no exception. Cronenberg teams up with Viggo Mortensen once again to bring us into the dark side of the Russian mob, set in London. It's only 100 minutes long, but there's a whole lot that needs your undivided attention.


I'm-a re-type this sumbitch later...

One grudge: why is this movie rated R? Shoot, the movie adaptation of Rent got away with a few F-bombs itself (and then some), but it stayed a mere PG-13! Damn the MPAA... but that shouldn't stop one from passing judgment on this film. A modern musical it is, full of songs written and performed from the heart of these characters, reminding themselves of turbulent times that everyone goes through in their lifetime. Kinda reminds you that you do indeed have a soul, even in the hearts of bitter cynics like me. Glen Hansard has one hell of a voice, but he truly expresses himself in those tender quiet moments of confusion and sorrow. When he and Marketa Irglova are on-screen together, they create such a natural feeling that Hollywood's top dollars couldn't squeeze out of their big guns; the seemingly very low budget of the film lets this flow beautifully. Once brings out the innermost warm emotions, and also gives another view on how music can be very powerful when it comes to expression. Bittersweet as the title vaguely implies, nothing feels forced, but leaves us wondering. The music is nothing short of amazing, but like a typical musical, can kinda drag and seem repetitive. Nonetheless, they are heartfelt and stunning. Take a breather from the fancy zillion-dollar budgets of musicals like Dreamgirls or Chicago. Don't miss this film, this amazing little film full of heart.

Now this is quite an epic film running at 2 hours and 40 minutes (an approximate length), detailing Robert Ford's (Casey Affleck) admiration towards Jesse James (Brad Pitt) that slowly turns into betrayal. The film's lengthy-ass title says it all, or does it? To me, the film is like the cautionary tale about never meeting your idols. Such a grim allegory, enit?

Everybody hates Ford for being the backstabber that he was, but to see how his creepy yet innocent-like facade slowly turn into a menacing torn soul gives the character some grief and sympathy. I know this seemed to be like any ol' western, and starts off as one (the well-shot nighttime train robbery), yet everything is focused on, in particular, Robert Ford, played brilliantly by Casey Affleck who might just be the favorite Affleck now. He's one creepy bastard, yet you might kinda feel sorry for the poor bastard, at least until the film's title kicks in... then switch gears again. Same goes for Pitt's portrayal of Jesse James; loving family man one moment, dangerous and paranoid the next. That's what I like about the film; it doesn't attempt to romanticize or take sides on these characters, despite the admiration of Jesse James long after his death. This is when myth clashes with reality. It may look like a western, but in westerns, there are good and bad guys; purely black and white... this film has none of them shenanigans. It goes straight for the soul, and never lets up.

The length may disgruntle some, and it does drag a bit in some parts, but for those looking for something that represents filmmaking at its best, this should be for your viewing.

Leave it to legendary filmmaker Sidney Lumet to take us back to the golden age of Hollywood's years in a year that has already proven itself to be so. Before the Devil Knows You're Dead is one giant Greek tragedy, creating layers with one fucked up character after the other, in this case, an emotionally draining family drama. Working with a script by Kelly Masterton, this film does not hold itself back from such a bleak environment. Forget the implausibilities that may exist in the plot, the characters that resort to extremes are the bulk of this film.

The film jumps around the timeline like 21 Grams, but with a clearer focus... yet, some viewers still can't grapple with this kind of technique and would rather be spoon-fed the entire details. You don't like it? Tough shit. But seeing as how a lotta viewers like early Tarantino works, I'm not sure why they still don't buy into this technique. It helped the film work to an advantage; working around its MacGuffin (the robbery) allows to see into each characters' motivations that result in their life-altering decisions. And because this is a drama focusing on a family, it shows how fragile this network can be... heh, to watch this flick during Mother's Day weekend just left me with a knot in my stomach. :(

And let's not forget the actors and actresses, all of whom delivered probably the best of their careers. 'Nuff said. Watch this flick.

Michael Clayton reminds me of The Constant Gardener, only with less emphasis on plot but more centered around its characters. Perhaps Michael Clayton is "The Constant Fixer." It's a film essentially finding the truth while mixed up in the game of life: the choices, the hasty decisions, life and death... etc.

From an unforgettable opening with a spoken monologue by Tom Wilkinson, you're gonna be engulfed, but some might deter away into confusion and tedium as time goes on. It's a thriller with very little action, or close to none at all, everything is done by words. As a wise person once said, words are powerful. While it might appear boring to some, the dialogue is nonetheless intriguing. We begin to get into these characters' heads via quiet moments or their acting, all soon leading to a game of wits between foes, executed thoroughly. These people aren't robots like in a typical "John Grisham novel turned film" or other similar law-type films. They have brains, the got the smarts, they are fucked up, and when staring at the breaking point, what's gonna happen?

Y'know, I thought the film was just "pretty good" after walking out of a late show, but it stays with you. It doesn't attempt to be preachy at all, it's just... well, that's hard to say. As indicated, it's a thinking man's movie, so instead of huffing and puffing because little action is prevalent, focus on the characters. Plot serves little explanation (and quite complex), but the film goes deeper within its central characters. It's almost more philosophical than the usual movie tricks. This presentation is one that might be overlooked. Remember that lil' quote: "We're all just pawns..." That's what this film goes for. Shoot, this is one of 2007's best films. ^_^

Into the Wild reminded me of Jack Kerouac's novel "On the Road," minus all the parties, women, drugs, and San Francisco. I saw a lil' of Kerouac's Sal Paradise within Christopher McCandless (Emile Hirsch). Side by side, we just have the central characters traveling on a spiritual journey, revealing deep contemplation and philosophical ideas, but most of all, finding themselves. Along the way, they'd encounter obstacles and interesting characters... but McCandless, who takes on the name Alexander Supertramp, manages to touch few he came across. Oh, and he decides to fulfill his [ill-fated] trip to Alaska. If there can be one more comparison I might make, the film reminded me of a Calvin and Hobbes strip (y'know, when the boy wished to secede from his family and live out in the Yukon). Perhaps McCandless is that embodiment of youth disillusionment and/or detachment.
Chris' motives might lead to heated debates within the viewers, his penchant to be free and live life without so much as a second thought is rather intriguing and even just a bit inspiring. To embrace and view nature in all its beauty despite life's shortfalls hiding behind a mask... well! Our Supertramp manages to break free from its restraints, but ultimately, at a price. Even though we know of his fate, we the viewers can't forget the journey he took, the people that he inspired (and vice versa), the cultures, and the epiphany he would eventually find. A movie full of heart, thoughts, and freedom. The performances, the music, the cinematography... hell, all are top notch that I don't need to go into further detail.
^_^

Lil' critique coming eventually... :p

A dead end life for a waitress who's looking more than this provincial life she's enduring. Sounds like something we've been treated with before, right? Reminds me of Belle from Beauty and the Beast (1991), but Waitress also takes a slice from the 2002 dramedy The Good Girl (starring Jennifer Aniston). But aside from comparisons, this movie doesn't waste time with build-ups, it jumps right into what's going on. What do we learn right off the bat? Jenna (Keri Russell) is pregnant with her husband's baby, and she is rather repulsed by the idea. That's when the laughs begin, and it continues throughout this quirky mishap of shattered hopes and dreams. It's not a dramedy (dark comedy) per say, but a warm-hearted chick flick that leaves the viewer feeling warmth. With a dominate female cast (although sometimes borderline on overacting or forcing) and a severely one-dimensional abusive husband with two other male roles that scream cutesy cliches, its sweet maturing tale wins us over (or at least, some of us). It's a chick flick, but the romance is kept at a minimum because that is not what Jenna has in mind (nor the director/writer)... watch and find out. Waitress is funny as hell and a sweet delight to endure. The characters are so loveable you just wanna eat 'em up. ^_^

My God... is it me, or does the 2007 movie year just keep getting better??

Will type s'more laters... :p

Juno is kinda like the teenage version of High Fidelity (2000) meets both Waitress and Knocked Up from earlier 2007; the maturing theme and obscure music or pop culture tastes with a handful of comedy and memorable witty dialogue, yet still feeling true to real-life experiences. Although the film at times might be too cool for school, especially with a kickass soundtrack and an ensemble of the most lovable characters to grace the screen that spew the smartest responses mine ears haven't heard in a while. Hip and witty, but the film is still smart enough to understand its nature and follow through. Upon leaving the theater, I've immediately concluded Juno as being one of the most endearing and funniest movies of 2007.

Wes Anderson's films always look the same; too smart for its simplicity fueled by hip muzak. They're too pretty and dead-panned. The Darjeeling Limited could be great, or pretentious. Hell, it could be both if they're meant to be equal compliments. I just wish the guy could do something new (we'll see when The Fantastic Mr. Fox hits theaters...), but even the best directors tend to recycle themes. But it has been nearly ten years since Rushmore...

Not that I'm getting tired of the guy's antics, because I really liked The Darjeeling Limited. Hell, you could say that I loved this movie. It's a film about three estranged brothers attempting to reconcile on a so-called spiritual journey in India, of course held back by their ongoing flaws. It's human nature to be fucked up and endure fucked up moments that continue to plague our lives at one point or another. Just sitting blankly and wondering why this is, only to hastily conclude, "I dunno," is perhaps the biggest setback a person can go through. The brothers' journey just goes haywire for all the hilarious reasons, but still evokes any kind of emotion Anderson is aiming for.

I say smart because the tone and characters are too smart to be involved in this kind of predicament, but Anderson can still make it believable and work. I laughed, I thought, and emoted some kinda feelings that point to, "Ahh, I can relate." One of the best feel-good dramedies since I don't know when.