Free Films of 2007

This movie was excellent. Everything about it drips and oozes a masterwork that could only be assembled by the likes of Tim Burton.

With the help of the quintessential Burton actor, Johnny Depp and the effervescent, plucky presence of Ms. Burton herself (Helena Bonham Carter), this movie delivers all the goods you'd come to expect.

The story of the murderous barber set out for revenge is one that I found quite intriguing, despite it's lack of appeal on paper. The songs were excellently written and composed (although you won't find soaring, bringing-down-the-house numbers like in Chicago or Dreamgirls.)

The art direction, cinematography, costumes and makeup were one-of-a-kind to Burton's familiar style. A fantasy sequence where Carter's character daydreams about a perfect life is merit for Burton to win the Best Director Oscar in itself. The movie is photographed beautifully and, although the canvas on which it paints is a bleek and stonewashed one, the picture it paints is a vivid and sumptuous masterpiece that is eager to delight and tickle just about anyone's fancy.

Some segments of the film are explicit in their depiction of murder and gore. But that shouldn't stop anyone from seeing the movie. The acting, singing and direction should make up for any squeem-inducing moments. The visual palette should delight most. The songs should appease the most ardent musical lover. The story should satisfy most pundits who worry about plot and character arcs.

And Johnny Depp continues to deliver performances to be remembered. He continues to prove that he is a chamillion and can take on any part and excel at it.

This film should definitely not be missed. Also, Sacha Baron Cohen (of Borat fame) is a stand-out in a supporting role as Pirelli the barber. He is a riot and a perfect choice for the role.

I can definitely see why this film is one of the seven included in the Golden Globes' Best Picture category this year. It's got all the winning ingredients: a great cast, a great story, script and director. But along with those ingredients comes a formula.

In this case, that formula is taking a group of oppressed and enlightening them through education and inspiring the audience through this once-oppressed group's triumph over adversity.

Denzel Washington does an amazing job both on and off-camera. His skill as a filmmaker is just as good as his skill as an actor--and this movie is very much an actor's movie. It caters to the cast delving into their performance and creating a powerful emotion bond with the audience through their character and their character's troubles.

This film works well as a period piece of one of the darkest times in American history (for Whites it was the Depression--for Blacks, it was the Depression AND being Blacks.)

The themes of segregation, racism, philosophy, enlightenment and civil disobedience permeate throughout and leave you feeling good when the outcome is revealed. It's essentially a feel-good movie (but one that tends to delve into sentimentality and preachiness a bit too often for effect.)

The film will likely pick-up some Oscar nominations, but it is unlikely to win any BIG awards due to the films innocent and naive approach to such hefty subjects. In short, the film feels ever-so-slightly more substantial than, say, Remember the Titans. Both great movies in their own right...but just not GREAT enough. Therefore, I leave half a star to attest for the films shortcomings (which are few and far between, but present nonetheless.)

As far as existential, deeply profound and artistic films go--this one's got it all! I'll admit that Coppola's first film in 10 years is more like a David Lynch film--only in how out-of-reach it will be for most viewers; how inaccessible it is and how hard to understand it seems to be. In short, the film will seem like pretentious, high-brow, arthouse crap to most people who aren't in the mood for something that requires more thinking than watching a Will Ferrell movie.

The story of a man whose life (present and future) is changed by a sudden and striking event, leaves more questions than answers--but then again, film is supposed to that. There are soooo many themes running throughout this film (life, death, war, dream-states, time-travel, metaphoric transgression and the duality of man with his conscience--among others.)

This film is truly a genre-bending romp and follows no preordained Hollywood formula (from its relatively unknown cast to its allegorical cinematography and symbolic art direction) the movie reveals one riddle after another and feeds us only scraps of truth (without truth) and fragments of answers (without answers.)

I heard a woman after our screening complain that Coppola went from The Godfather--to this! The movie was obviously not meant for her. This movie is more along the lines of a Lynch, Aronofsky, or a Fellini film--highly cerebral and requiring a great amount from the audience.

Though the slow pace and confusing storylines may make the movie seem like it's robbed some of you of your own youth, give this a chance if you like to be challenged at the megaplex. Although, this movie--you'll be lucky to find playing anywhere at all.

If you're interested in seeing the film, get to the theater as quickly as possible because this movie is likely to be a complete failure at the box office and will not play very long--if at all.

That being said, I loved the film for myself. I don't know how much I could recommend it to others, but selfishly, the movie was made for someone like me. I like to think and re-think meaning and purpose of a film instead of simply sitting in a theater waiting to be "entertained." I like to learn and knowledge is something that this film provides in heaps and loads.

There is an abundance of intellectual wealth that somoene could gain from experiencing this film. Even though I couldn't recommend the film itself (despite my enjoyment of it) I am always eager to recommend a new, unique and challenging experience for moviegoers like myself. If the proverbial shoe fits...

Comparisons between Tom Hanks and Will Smith might surface now that Smith has a vehicle movie to carry on his own two shoulders. The difference, and improvement, between the two is that Smith's movie is pure entertainment, whereas Hanks' Cast Away was an over-the-top plea for another Academy Award.

I Am Legend starts off incredibly strong and only gets better as the film progresses.
As a fan of the last remake of the novel "The Omega Man" I thought that "Legend" took the best parts of that movie and included some new tricks to make it an out-an-out heart-pounder that does not relent from the moment it starts.

The initial shots of Smith cruising through a deserted NYC are visually striking in their technical superbness and excellent execution. Time Square turned into a wasteland where nature has taken the asphalt jungle and made it a jungle of conventional sorts--where lions roam to hunt and prey on deer! It's incredibly awe-inspiring that such a cliché situation can be executed so beautifully with the use of computer graphics and a little imagination.

And when it comes to computer graphics, I must commend the bringing to life of the monsters (or hyper-human zombies) that are left over from the apocalyptic mutation of cancer's cure. These animals have lost all semblance to human behavior and nature has taken them back as well. Six times stronger than Smith would ever dream of being, these freaks of nature climb walls, jump a dozen yards at a time, have fangs the size of Jupiter and don't care to hear about Smith's cure for their boo-boo.

At times the creatures seem a little too perfect in their computer-generated prowess. But it goes without saying that despite their moving too fast and too precisely through the streets and through the buildings, they still strike an incredible amount of fear into anyone wondering how they can be stopped.

Ultimately, the movie (like its preceding source material) turns into an existential commentary about the God's presence (or absence) and about ultimate sacrifices.

Religious symbolism notwithstanding, the movie works well as a thriller; a horror film; a zombie genre flick; an action pic with lots of cool sequences and choreography and a star showcase for one of today's most versatile and talented actors--Mr. Smith.

As far as romantic comedies go, this one was a very, very good one. It has an amazing cast in Hilary Swank, Gerard Butler, Kathy Bates and the supporting cast of Lisa Kudrow, Gina Gershon and Harry Connick Jr.

The comedy aspect makes for a very droll sitcom-like atmosphere that's shrill, fluffy and a good change of pace for the rather serious material the film deals with.

Loss is a major theme of the movie and learning to let go of something is a goal that Swank's character is forced to do; but not without a little pre-planned fun.

The tale tends to go in circles at some points (when you wish Swank's Holly would just get over it and move on already.) But a great subplot with Connick Jr. makes for an interesting (and ultimately satisfying) happy ending for our Holly. And not happy in the way you'd think.

The movie, although somewhat redundant at times, moves along rather briskly and effortlessly from one time period to another and back again.

There are great performances by Swank, Butler and Bates. And Kudrow is a hoot as a macho-man in a woman's body.

In a season filled with stuffy, over-the-top Awards movies, it's nice to take a break and see a movie that, although dealing with serious themes, doesn't take itself too seriously. It doesn't show shame for dabbling in sentimentality or the occasional cliché now and again.

If you're a fan of Swank, the hunky Butler, or romance, laughter and tears--see this movie.

P.S.
As a side note, Nellie McKay (a great singer-songwriter of the cabaret persuasion) makes her film debut in this as Swank's younger sister. She's so luminescent and her every scene drips with a spritely effeversence that makes me tingle. And she sings the title song on the soundtrack.

Atonement is a rich, visually-striking, masterpiece period piece. It brings the best of films in the style of Merchant Ivory: romance, jealousy, deceit, an epic time scale and unrequited, impossible love.

Keira Knightley and James McAvoy command the screen with their performances as Cecilia and Robbie; star-crossed lovers who, despite sharing an unorthodox affection for one another, are giving in to their feelings with no regard to convention or status of class.

However, their love affair comes across an impetuous and immature snag--Cecilia's sister Bioney. The 13-year old girl with a mad crush on her sister's admirer commits a grave error in judgement and makes for a chain of events that unfold in the course of a day and change the lives of these three characters forever.

An epic journey for reunion begins without notice and love lost becomes love longed-for once again. Physical seperation and distance of the two lovers creates a rift and familial seperation between the two sisters.

World War II commences and those two torn hearts become even more distant; but their longing to find one another always exists and remains as strong as the night when Robbie was taken away--when Cecilia made him vow to "come back to her."

The dramatic and woeful circumstances that ensue leave you feeling as heartbroken as Cecilia and Robbie and as full of remorse as Bioney--as if you'd committed her crime along with her.

And in a sense, you have. The director should be commended by his stylistic approach to letting you see the events as they transpired from Bioney's confused and slanted perspective; as well as from a standard cinematic point of view. It's not rearly as repetitious as you'd imagine to see scenes repeat themselves. Since they're told from different sides, they are different scenes entirely and it makes you understand how clouded a young girl's mind can become when faced with such alien subjects.

The cinematography and art direction are absolutely lush and make you feel like a criminal every time you look away. And you won't be looking away at your watch either, because, despite its lengthy running time, the movie is so engrossing and so well-written and well-paced, that you don't even notice you've been involved in these people's lives for so long.

This movie DOES require you to make an investment of your time, your imagination and your heart so as to be able to feel what everyone on screen is feeling.

Expect this film to pick-up a slew of Golden Globe and Oscar nominations. These would include Adapted Screenplay, Score (for a magnificently-themed score that touches on the fact that this is a story that is being told through the writing--typewriting-- of a woman riddled with guilt;) and Best Picture--as well as Best Actress for Knightley and Best Director for Joe Wright.

Vanessa Redgrave also makes an impressive turn as an aged and still-remorseful Bioney. Her regret will never be quelled and her atonement is all she has to offer those whom she hurt and whose lives she changed forever.

This movie has everything that I love in a movie: an air-tight, engaging and excellently-written script; cream-of-the crop actors (talent-wise, not tabloid-wise) who really grip you with their intensity and utter devotion to the characters they are playing; and a director who really knows what the film they're making is all about and what it should mean to the people who are watching it.

Lauren Amborse (one of my favorites--of Six Feet Under fame) is a true revelation as an ambitious grad-student who is completely enamored with the world of literature and its escapist qualities. She is so in love with words that she is also in love with the man responsible for writing some of her favorite "works of art."

This man would be Anthony Langella's character (and out-of-touch; hiding in the darkness, forgotten writer who is working on his latest (and presumably his last) great novel. Still, something is keeping him from completing his work of art (10 years in the making) and he's not sure why he's unable to just hammer it out and finish it. This is when Ambrose's character comes in and "shakes things up" for an old writer who has little chance at ever being published again and therefore, being forgotten for all time with no legacy to leave behind.

Lili Taylor is outstanding as the writer's daughter. Her subplot storyline of feeling neglected by the men in her life (her father included) is heart-breaking and tender as well. It really shows you that this film is really a character showcase and it allows its actors to really sink their teeth and completely embody the characters they portray.

There is so much hurt and joy and learning that words can cause and there is a way of using words to shield ourselves from the things we want protection from. But ultimately, the truth about the way we work and why we do the things we do comes to light and slaps some sense into us.

We need words to slap us into believing in ourselves again. We need words to know how we truly feel about one another. We need words to live. We needs words to survive in a world where words are not spoken in order to spare someone's feelings or to strip someone from feeling anything altogether. Words give us our dignity--and when, for example, a writer runs out of words, sometims what's needed is somone to give that person the will (no matter how late in life; no matter how late in the evening of your existence) to speak words once more.

When I first saw the poster for this film (with hooded-out Chipmunks--wearing hoodies and looking like they're from the hood--I thought to myself: "Oh, no! The Chipmunks have gone ghetto!)

Fortunately, I decided to watch the movie anyway (despite Jason Lee's ugly close-up mug on the poster--which was removed for subsequent poster releases.)

It wasn't what I expected at all. The films gets off to an endearing start and makes you pine for the days of 1980s cartoons. The singing (in signature Chipmunk, high-pitched fashion) reminds you that the Chipmunks will live on forever--as long as there are voice modulators and children to drag their parents to the theaters or to the TV set.

That said, the movie IS quite infantile in its approach. It really doesn't have the asides and inside-jokes that are meant for adults. The movie caters to children and children alone--and it may strike a chord with those big children who may never have grown up (or completely detached from their childhood cartoon memories--from the 60s.)

Still, the movie works as an "aww shucks" piece that is completely cute and heart-warming in that childlike-reminiscent sense of the word.

About the ghetto approach (for some reason the producers must think that urban-gear makes the movie more modern.) This was a mistake in marketing but it works well in the film because it's part of the storyline about these rodents selling out to the commercialized music business world we live in today. They start singing about wanting a Hoola-Hoop and end up singing about having it made with an Escalade.

However, they learn their lesson and revert to their innocent selves by the film's end--and all kids learn a valuable lesson in the wake of all this Chipmunk madness.

Cute and cuddly, indeed.

This movie was so enjoyable (and such a pleasant surprise) that I've gone out and bought the book and am now enthralled with the reading it.) It's rare for me to give in to such commercialized co-opping. But I realize how the book will fill in the gaps of an already kick-ass movie.

Nicole Kidman looks radiant and amazingly awe-inspiring in this adaptaion. Her beauty should not be taken for virtue and her kind face should be carefully examined to get to a deeper, darker secret within her.

This is only one part of a dense and complex storyline that comes encrusted with elaborate mythology about alternate universes; out-of-this-world interpretations about sin, murder, conscience, the sould and the human spirit; as well as amazing visuals that dazzle and delight at every turn.

One stand-out sequence in this top-notch effects film is when two goliath polar rulers go at it for ultimate domination of their kingdom. Enough said about that.

The movie dwells on it's title a bit too much (taking too much time--too often--to focus on what our protagoist can see in the Golden Compass itself.) But other than that, it's really a knock-out film that is superficially geared toward children; but deals with incredibly adult themes and situations.

The fact that the original novel was written by an avowed Atheist should have absolutely nothing to do with your enjoyment of this film. Plenty of Jewish-themed films have been made by Jews (Schindler's List); plenty of Christian-films have been made by Christians (Passion of the Christ); and still, those movies have been enjoyed by plenty more people than those for which the film was made and targeted too.

Likewise, whether you're religious or anti-religion (and whether you want to read that antagonism of ideals into this film) it should not matter. The films stands on it's own due to a great story, awesome special effects and a truly original take on the fantasy genre. Definitely worth seeing--for all the reasons you may have heard around the watercooler--whether good reasons or otherwise.

I'll say that this movie was excellent, despite my unwillingness to enjoy it. I've never really been a Bob Dylan fan (partly due to the fact that I've found him to be "before my time.") But I've always found his music inaccessable and unrelating to my own experiences.

But all that aside, the movie turned out to be a great experience and I found my self tapping my foot through some of the musical numbers and really enjoying most of the performances.

Cate Blanchett is the stand-out among a cast of 7 or 8 who play different versions of Mr. Dylan. Richard Gere is the worst version (as a mythological cowboy--whose storyline seems somehow amiss and out-of-place in the otherwise fantastic plot.)

The director, Todd Haynes, takes extraordinary liberties with the material and creates a world full of surrealism and fancy. There's lots to digest and process in terms of symbolism, metaphors and pop-cultural refrences--particularly if you're not familiar with the era in which Dylan arrived at and enjoyed his success.

Ultimately, the story turns out to be one that most people can relate to (even if that's not always the case with Bob's music.) That is, that no matter how much you think you know yourself (or don't care to know yourself) there is always someone out there who has a perception of you that you must always live up to (whether you know it or not.) And you run the risk of losing it all (reputation, money, fame) if you fail to acknowledge that your image is being created for you--in the mind of those who look up to you; and your life is being written for you-- by those who most care for you.

Other stand-outs include Heathe Ledger as a younger Dylan and Michelle Williams as a Warhol-reminiscent shop girl who's out to please and tease Mr. Dylan. It's Blanchett, however, who will garner most of the attention for a performance given.

In the end, this movie creates a darker cloud around the mystery that is Bob Dylan. You should not watch this movie if you want a biography. The myth of Dylan deepens as you "find out more about him." If that doesn't make any sense, then that's what the movie felt like. Still, it was amazing to know that Dylan approved this (his only approval of a "bio-pic.) And with good reason. It stands to show that Dylan doesn't want you to know how he really works--and even though there's 8 version of him on the screen--he's still really nowhere to be found in any of them.

This movie was so well-done. Not like a steak, but like a movie that satisfies like one. It was filled with suspense, great acting and a great script that highlighted a dilema that anybody could easily find themselves in.

Imagine having to live with the guilt of committing a crime and never facing the charge. Never exposing yourself for fear of destroying your life. What runs through your mind?

Imagine being on the receiving end and losing something that's irreplaceable as well as losing faith in the people around you who are supposed to help. What do you do? Do you take the law into your own hands? Do you forgive and forget?

These are a few of the points this movie touches upon--as well as the way people deal with guilt and with grief. A life-changing event can really put your priorities in line--even though it may already be too late for that. It helps you re-examine yourself and where you stand in life.

Overall, the movie had outstanding performances by Mark Ruffalo and Joaquin Phoenix. Both of them exude their emotions with minimal effort and really make you sympathize with both their characters.

Jennifer Connelly does a fine job playing a supportive, dutiful supporting character that carries both gravitas and subtle tenderness--even when your heart is breaking for her during her outburts of raw guilt and regret.

Reservation Road deserves your attention not only because it is a great movie with great performances, but because it works well on many levels. It works as a thriller. It works as a drama. It works as a social commentary. It works well as a showcase for acting and lends itself to great dialogue and screenwriting. I'd also be a fool if I failed to mention that the movie delivers a remarkable and a surprisingly "edge-of-your-seat" kind of climax.

Definitely check it out.

I can honestly say this is my favorite movie of 2007 (so far.) It's a great story of a boy who, essentially, is in search of validation and fitting-in.

The premise may seem all-too-familiar at first, but after the initial Rushmore similarities during the prologue are presented, they're also dissolved. The movie immediately turns into something entirely different and, may I dare say: original.

The need for social acceptance is the quinessential theme of this film; with Bartlett (Yelchin) and Principal Gardner (Downey, Jr.)--two diametrically opposite characters--seeking the same thing! This proves the films universal appeal. It's really a dark statement on the state of the sheep in the meadow.

There's something completely sobering about seeing kids getting doped up in order to fit in. But that's sort of how our society works nowadays.

This movie has it all: a great script; funny and clever dialogue and comedy; poignant and tender moments of romance between Bartlett and his girlfriend Susan; as well as understanted moments of subtle dramatic tides between Bartlett and his eccentric mother (Hope Davis.)

Expect this movie to pluck some Oscar nominations--particularly in the screenplay category.

But don't be surprised if the title character merits its actor, Anton Yelchin, a nomination for Best Actor as well. It's a long-shot; but it would definitely be a deserved accolade of attention and popularity...which is all Charlie Bartlett would ever want anyway!

Now, I've never seen the original John Waters film or the Broadway musical on which this third adaptation is based; but I will say that I feel fortunate to have been left-out.

I enjoyed this movie so thoroughly that I can't imagine myself enjoying any more if I HAD seen the original. Maybe I liked it so much BECAUSE of my lack of a reference point.

Needless to say, the movie was awesome. The music and lyrics were fantastic and brought so much fun and effervescence to the screen that you just wanted to jump right in and start shimmying and shaking your fat-ass. Excuse me! MY fat-ass!

It's so great to see Michelle Pfeiffer back on the big screen and looking so beautiful--and singing again.

Queen Latifah and Christopher Walken deliver some poignant performances and add humor and heart to an already sweet story.

The supporting cast of youngsters, including Amanda Bynes and Zac Efron, is all well-cast and well-suited for this sugary confection of a film.

Even hunky James Marsden seems to fit right in and consumes every moment of screen-time he has with his boyish charm and squeeky-clean delivery of every line and musical note.

John Travolta as a woman wasn't nearly as annoying or distracting as I thought it would be. His transformation is truly incredible and he embodies the character of Edna whole-heartedly. And that's a big body to embody.

But the real strength of this film (regardless of whose picture is bigger on the poster) is newcomer Nikki Blonsky. Her Tracy Turnblad turns the blandest moment into a firecracker that pops and dazzles. You can't stop rooting for her from the very beginning and her charming portrayal of the ultimate "loser" is endearing and even inspiring.

Granted, this movie is a complete fantasy and, in turn, the themes of racism and discrimination are presented a little too light-heartedly. But in the end, you realize that this is just a musical based on a campy movie and that it's meant to be nothing more than silly fun.

This movie is guaranteed to spray a smile on your face and make the hairs on the back of your neck stand stiff with every laugh-inducing musical number and sequence. And you won't need any hairspray for that.

This movie was a completely chilling experience. It was a shock to find myself be so surprised by a movie for which I had little to no expectations.

I thought that maybe this would be a re-hash of the age-old creepy boy story: the Omen, meets The Ring meets Birth. But no. It was a completely new and, altogether, original take on the familiar premise.

The story isn't so much about a deranged boy and his desire to wreak havoc; it's about a boy's desire to be loved. Take that desire and turn it into an obsession and you've got Joshua.

I won't divulge much else about the story. But, suffice it to say, it's a very good film. The script is amazing and the score will haunt you and send shivers down your spine.

The performance turned in by little Jacob Kogan is a knockout. It is a much more well-rounded and "human" approach to a character that has been played by seemingly mute child actors who must rely solely on their off-putting appearance in order to scare. In this movie, the very essence of who this little man is is why the movie is so haunting and permeating.

Sam Rockwell and Vera Farmiga also bring gravitas to the film and brilliance to roles that could've also fallen in the same category of hapless victim (from movies like The Omen.)

This movie manages to bring something new to the table and keeps you on the edge of your seat--all at once.

Angelina Jolie is the heart and soul of this movie. Despite its touchy subject matter and political implications, the movie is essentially about a woman trying to cope with the drama that surrounds her. This drama would become one that unfolded before the world and caused a major uproar in 2002.

Although you know what happens in the movie (from hearing about Daniel Pearl on the news, etc.) you still feel surprised and you still find yourself at the edge of your seat as the story unravels.

Jolie delivers one of the best performances of her career in this beautifully executed film (no pun intended.) She shines where she should shine in a brilliant turn as a wife stuck in a foreign land with a problem that no wife should have to face.

I'll be shocked if this performance doesn't earn her another Oscar nomination--this time for Best Actress.

The film itself, Jolie not withstanding, is also a high quality piece in all respects. Its script is magnificent and the directions (from its tender moments of subtle pans; to the turbulent grittiness of its shaky trills) the movie is great to watch as well. There's never a dull moment.

Watch for Jolie's breakdown scene. It is truly harrowing and will make that evanescent lump in your throat lodge itself there for the rest of the movie.

This is the first GREAT movie I've seen this year. By GREAT, I refer to the kind of movie that could be up for awards at the end of the year. Granted, it's a foreign film but it still mertis the accolades that it has received and will most certainly receive in the coming months.

Marion Cotillard gives a knock-out performance of a real-life character--an uncanny portrayal along the lines of Jamie Foxx's Ray or Charlize Theron's Aileen Wournos.

She embodies the great French songstress Edith Piaf as we follow the life and times (hard times) of the artiste.

I'm telling you all now: if nothing else, Marion Cotillard WILL receive an Oscar Nomination for Best Actress--hands down! She might even win.

It's sad that a movie as sweet and heartwarming as this could be enveloped in such tragedy. During the post-production stage of this film, Adrienne Shelly (the films writer, director and member of the cast) was murdered in her New York apartment.

This film goes to show that Shelly definitely had the talent (both on and off the screen) to become a very successful filmmaker/actress.

The story of a newly-pregnant mother (Keri Russell) trapped in an unhappy marriage is so tenderly developed via a great script.

The performances by all actors are stupendous. It was a hoot to see Andy Griffith playing the grumpy town patriarch.

Russell, Shelly and Curb Your Enthusiasm's Cheryl Hines comprise the trio of waitresses whose exploits in the pie diner are cause for lots of laughs and touching scenarios.

Nathan Fillion does a fine job as Dr. Pometor (the man who is willing to drop everything to rescue Russell from her dreary marriage.)

The soundtrack is drenched with sweetness. The chimes and twinkle instruments it employs flutter into your ear as the sugary confections onscreen fill your mind with thoughts of nostalgia or at least a sense of wonderment.

There's nothing really extraordinary about this film--other than it striking an emotional chord and filling you with a little bit of joy. It's really what a feel-good movie should be like. Don't expect anything too deep or too serious. Instead settle for a light, fluffy pastiche that will leave you very satisfied and eager for another slice.

I was fortunate enough to see a test screening of this film last night. I was not familiar with the novel on which the movie is based, but I knew enough about the story to intrigue me into seeing it.

I was very disappointed. Granted, the print we saw wasn't the final version and they wanted our opinions as to how the movie could be improved.

First of all, the story has a lot of potential. It deals with the love that exists between a pair of lovers who cannot be together for the majority of their lives. They meet and part; meet and part for a period of over 50 years.

Florentino (Javier Bardem) must learn to cope with his unrequited love for Fermina. Along the way, he finds solace in sexual pleasure as a substitute for love--until it becomes an obsession (almost like a disease itself.)

All in all, the film was okay and the metaphoric juxtaposition of love set in a time of death and illness goes to show how damaging being love can really be. Love isn't always a good thing to feel.

The execution of the director was poor. The editing was choppy and slow-paced all at once.

It was hard to sympathize with the main character because of his many faults. But I guess that can be attributed to plot of the novel and not necessarily reflects the quality of the film. If the source material is flawed, the film can't fix it.

Overall, the movie was fair enough to watch--but not engaging enough to captivate me and hold my interest.

I must say that Catalina Sandino Moreno excels in her role as promiscuous (borderline slutty) cousin to the female lead. For this being only her third English-speaking role--she's really showing she can command the scenes she is in.

Unless they do a major revamp on this flick, stay away. John Leguizamo is horribly cast as Fermina's father and the movie reminds me too much of The Painted Veil (a far superior, similarly-themed film.)

This movie (or set of movies) was amazing. The throwback to the old, cheesy, goofy and silly days of cinema is hysterical.

The first film, Planet Terror (by Robert Rodriguez) is fast-paced and pumped full of energy and hyper-active visuals and action. It combines elements of zombie movies with campy art direction, cinematography and acting--as well as Rose McGowan donning a "killer" appendage.

The second movie, Death Proof (by Quentin Tarantino) is my favorite. It is chock-full of suspense and drama (as well as campy acting and dialog.) It's not just a scary slice of celluloid about helpless victims being taunted by a menace of the road. It's so much more. It's a film about getting even.

Both films work very well together and share a cohesive theme. They provide a perfect balance in visual style, mood and setting. However, it's very interesting to see both storylines over-lapping (ever so slightly) at times. Some of the same characters bleed over to the second film. It's interesting how disjointed and different these two films are from one another and yet they still feel like they are complimentary and they mesh to create a singular movie-going experience for the viewer.

Add a few cheese-oid movie trailers for films as preposterous-looking as they are preposterous-sounding: Don't; Thanksgiving (a spoof of John Carpenter's Halloween); and Werewolf Women of the SS.

It goes without saying that you have to be an avid fan of these two filmmakers' work in order to appreciate this movie. If you're not a fan, then you've got to be open to experiencing something completely different and unexpected.

The film (as a whole) runs a bit long and the second feature gets-off to a slow start (thanks to Tarantino's infatuation with drawn-out dialog blocks.) But otherwise, it's well worth your money and your time to catch the double-feature at the Grindhouse.

The one question I kept asking myself during the entire movie: ARE WE DONE YET?

A very compelling story with amazing acting and great direction and script.

The story is univeral in its appeal and its relatability. It deals with lost souls in a large city (where you wouldn't think a single person could feel lonely.) It deals with elements of loss, pain and grief and the way different people cope with those events and emotions.

Adam Sandler gives one of the best performances of his career (for a dramatic role.) His tortured character is at a stand-still emotionally and has built-up walls so strong and tall that even his best friend couldn't break through them.

Don Cheadle, as said best friend, does a great job as the perfect husband who must choose between family and friends and standing up for himself in an unforgiving and cold work environment.

Mike Binder, who's fast becoming one of my favorite writer/directors, does a great job in shaping the plot through the use of great dialogue and subtext; as well as showcasing New York City via surprisingly refreshing methods.

That being said, it's also good to mention that this movie isn't meant for everybody. It's quite a sad story with some borderline depressing themes. But it has a good mix of heart, drama and comedic one-liners sprinkled throughout, that almost anybody should be able to enjoy (or at least) appreciate this film.

This is a great comedy. It has all the ingredients for a fluffy, frivolous and fiendishly funny movie that will leave you aching for more belly laughs and gasping for air. Maybe I'm over-selling it, but I thoroughly enjoyed Will Ferrell and his antics as well as Jon Heder's ambiguously gay and man-boyish charm.

The film is meant to be a complete genre farce. This movie is to ice skating what Zoolander is to male-modeling. In fact, during the first 15 minutes of the film, this one reminded me of Zoolander (almost a little too much.)

The story line was even similar (two competitors against one another and they finally reconcile their differences and work together to defeat a new opponent.)

The gags are as goofy as you'd expect and the inherent homo-eroticism only adds to the awkwardness that you're supposed to feel (and laugh about.)

The script is solid (much better than recent Ferrell disappointments--like Bewitched) and the direction was perfectly balanced between subtle nuance and blatant camp.

Amy Poehler and Will Arnett (the briefly-married couple from Arrested Development) share the screen once again in hefty supporting roles for which they excel.

Be prepared to either love or hate this flick. I loved it. I was in a great mood and was open to the most stupid kind of humor possible. This movie definitely delivered that...but it managed to bring slightly more to it that air-filled superficial slapstick. I laughed my ass off from beginning to end.

This movie was a pretty solid thriller. It had a good blend of suspense, drama and action. Joseph Gordon-Levitt plays a troubled young man with torturous memories of the past. After an accident changes him forever, he must learn to adapt to his environment from the basic tasks (like distinguishing a tomato from a lemon.)

His internal problems soon become the vulnerability a group of thugs are looking to take advantage of.

There is very good acting and a great script with fabulous dialog and interaction between characters.

The cinematography is outstanding and adds a slight tinge of noir. The direction is really good and the mood is set appropriately throughout the film. The setting, the camera angles and the pacing of the film all help it pull you through the storyline and help you come out intrigued and, ultimately, entertained.

Jeff Daniels gives a fine performance as Gordon-Levitt's equally-unbalanced friend and roommate; while Isla Fisher also does a good job with the disappointingly small and insignificant part she's relegated to play.

I wouldn't say this movie will have you at the edge of your seat--but it won't bore you either. It's really worthy of your time and consideration.

This movie was freaking hilarious. But I imagine it would've been much funnier if I watched the show or were a stoner (I've done neither.)

Still, the randomness and obscene nature of the movie are what make it so vulgarly outlandish and genuinely humorous. Of course, this won't be everybody's cup-of-tea. But if you're familiar with Adult Swim's line-up or this show in particular, you'll like it.

If you're not familiar at all with the show, watch it anyway and give it a shot. Chances are you'll at least giggle a bit here and there (and that's more than you can say you do at MOST comedies these days!)

The animation is poorly executed and the quality of the writing could be better. But like I alluded to before-- this is college-age, stoner humor and you will probably have to be buzzed to get the full effect.

Our screening tonight was put on by the pedantic peddlers of shallowness at MySpace. Our screening had a co-creator and Dana Snyder (an voice actor from the film) as special guests. I got a goody-bag with a t-shirt and some Meatwad socks! That was the icing on the cake and guaranteed that I'd give the movie at least 3 stars! But I give it half-a-star more because I actually think it deserves better than average.

This is probably the first GREAT movie I have seen this year. Sure, 300 was awesome! But it was because that's in a league of its own. This movie, however, really grabs you from the start.

The story takes place over the course of nearly 30 years and is filled with lessons along the way. The canvas is tinged with shades of tradition, pride, discovery and tragedy. But mostly, it is filled with a realness that seeps through and leaves you feeling like you've peered into the lives of a family.

Gogol is a young man with an identity crisis. His name has been the reason he's been taunted and teased his whole life in American. His parents, both traditional Indians, must choose between raising a child the way they were brought up in India or let their son be "free" to become whatever he chooses.

Along the way, there are pitfalls in Gogol's life and mistakes that must be mended. Ultimately, though, he realizes that home is where the heart is (no matter how far away home may be,) and that sometimes you've got to hold on to the memory of being in a place where there was no where further to go.

This was a great movie about retracing your steps in your family lineage and finding out who you really are and where you came from. What's the story behind a name and what's the reasoning for the choice made along the way.

The movie is beautifully crafted by Mira Nair (who is one of my favorite directors.) Her previous work on Monsoon Wedding and (most notably--and most recently) Vanity Fair is only the tip of the iceberg when it comes to the depth that a woman's perspective can bring to a story such as this one. The movie is filled with poignant moments of truth, courage and brutal honesty.

The acting performances were all top-notch. Standing out are those of Kal Penn as the troubled Gogol and Irrfan Khan as his sullen, but resigned, mother. This one should not be missed!

This movie was definitely a starter for 10, but it stalled out at about number 7. An average fair when it comes to British romantic comedies. There really wasn't anything original or terribly creative about the film's plot, style or general concept...but it was light and enjoyable enough to merit three stars.

The acting was great and the dialogue engaging. The characters were pretty well-fleshed-out.

Basically, the story of a young man with a passion for knowledge loses his bearings when getting into a prestigious university that's out of his league. There, he meets people who aren't a thing like him and begins to grow apart from the friends he knew back home.

The film explores many subjects: loss of a loved one; first true love; ethics in competition and even a bit of a social commentary pertaining to Britain's class structure in the mid-80s. It's all a bit too much for such a light film.

But, having said that, I still recommend it as a fluffy piece for a rainy day or a second date (when watching just an average date movie won't hurt your chances of making a good first impression.)

300 is bound to be a cult classic for many years to come. This movie drips with style and its visuals permeate through the screen and the images sear themselves onto your memory banks like Katie to Tom.

The story, which deals with the great battle of Spartans against Persians and ignited the will of Greece to form the world's first democracy, is epic in scope and vision. But it's Frank Miller's imagination that makes the story soar. The hightened reality that is presented makes for a rip-roaring romp that is jam-packed with action from start to finish. Not a moment lets up. There are no breathers or dull, slow-paced filler. That's what an action movie should be like. Non-stop action.

There is plenty of gore and blood for those sadists out there. But the movie is a wonder to behold; both because of the computer-generated effects as well as for the buffed-up Spartan soldiers. "We're in for a wild night" is an understatement.

Plus, the transformation of Gerard Butler into a brutish, savage Spartan is quite impressive; considering we last saw him as a sissy Opera-singing phantom with low self-esteem. I'm glad he traded in the black satin Phantom cape for the red woolen Spartan one. And what a difference a goatee and a six-pack can make!

This movie is so haunting and eerie from the moment it starts. David Fincher brings his signature noir directorial stylings as he did in Se7en and Panic Room; and he creates a period thriller of the best kind: one based on a true story.

The mood and pacing of this film is great if you're into being intrigued by a captivating script and understated, but brilliant acting. The musical score adds a bone-chilling resonance to the events that transpired in the late 60s through 70s. It's spurts of piano that sounds a bit off-key makes for spine-tingling moments when the tension has mounted enough to make you feel like you're watching a horror film.

Of course, I'm just a sissy and really get scared when it comes to psychological thrillers. These are the films that creep me out the most and really haunt me after seeing them.

The quality of the film is great from start to finish. The acting, the direction and music are the best parts. But the fact that this story is real makes it that much more terrifying.

It may run a bit long for some peoples' taste, but the pacing is just right and if you let yourself become engrossed, the time goes by rather quickly. Plus, they're covering 20+ years...so they have to do it justice. Great view!