Free Films of 2008

Doubt is a film that is based on a play by the same name. Having seen the play myself, I can say the movie sticks pretty close to the source material, but transcends it and the cinematic adaptation is the better for being on the big screen.

This successful adaptation from stage to film is due, solely, to the fact that the playwright both wrote the screenplay and directed the film himself. So, no one else could be blamed for the film's minor pitfalls and no one else exalted for its overwhelming amount of triumphs.

One of those triumphs is the excellent casting and performance of Meryl Streep. Her portrayal of a nun bent of ousting a little-liked priest from her parish is both bone-chilling and blood-boiling all at once.

Philip Seymour Hoffman, playing said priest, does a fine job (as usual) and makes the role seem more human and accessible than it ever did on stage.

Amy Adams is up to her usual naive, doe-eye portrayals as a nun caught-up between what it right and what is wrong. The difference this time is that her awe-shucks, innocent safety-blanket style of acting is actually appropriate for this role and never feels forced (unlike her turns in Catch Me If You Can or Enchanted.)

Viola Davis delivers a heart-breaking performance. She transforms a rather tiny role (less than 10 whole minutes of screen time) into a gargantuan knot in your throat. You heart will go out for her and her plight.

The cinematography is so exquisite and refined that you'd think you watching a film made in Europe. The gothic-like art direction and costumes are reminiscent of something out of a Hugo novel or out of a Salem witch trial--which is actually a relevant event to liken this movie to since it more-or-less deals with a witch hunt of of the holy sort. And what witch hunt isn't of a holy sort?!?!

Behind only The Curious Case of Benjamin Button, and ahead of The Dark Knight, this is--without a doubt--one of the best film's of the year for me.

I thought this movie was a lot better than the trailers made it out to seem. However, I have not seen the original on which this film is based--so I have nothing to use as a reference. But I'm not usually one to compare new theatrical fare with their respective cinematic predecessors anyway.

The film was engaging enough for me to recommend it; but don't go expecting The Matrix because Keanu Reeves or Independence Day because it deals with an alien invasion--or has Will Smith's son in it. This film is neither--and it doesn't really strive to be.

The movie almost feels like a throw-back to simpler alien movies (probably a nod to the original flick and not a lack of imagination.) It's actually pretty refreshing to see a movie that isn't so reliant on HEAVY effects and actions sequences. Instead, this movie feels more intimate due the storyline involving an uneasy relationship between a mother (Connelly) and her step son (Smith.)

Generally speaking, the movie COULD have done with a bit more action; but it gave the right amount of it and some of the sequences were pretty breath-taking (in a retro sort of way.) Definitely not the worst sci-fi flick I've seen.

Here's a "kiddie" movie that is meant to be a little more and actually succeed at it. And it does so without resorting to gross-out humor to appeal to children or adult innuendo to appeal to adults. Instead, it does so through employing pure charm and an unadulterated measure of the cuteness factor.

Like Curious George did a few years back, The Tale of Despereaux brings to life one of the most beloved critters from literature.

The imagery is stylistically beautiful to watch and every shot drips with a syrupy quality and color palette that you won't be able to deny loving every minute of the movie based on that quality alone.

The story becomes dense in parts and may be a bit confusing or hard-to-follow for the younger viewers; but they'll be enthralled with the colors and Despereaux's adorable demeanor that they won't notice.

A fairy tale is a hard genre to make seem fresh nowadays with the post-Shrek aftermath. But this film brings something new to the table--old-fashioned feel-goodness.

Before seeing the movie, I thought Sean Penn would be accepting the Oscar on February 22nd. Now, I've reconsidered my position and am individually campaigning for Frank Langella.

His portrayal of Richard Nixon in what could've been a boring documentary-style drama, instead is the centerpiece of a movie so filled with drama and suspense that, although you know how it ends, you still can't help but feel caught up in the tumult of the era as if they were current events.

And Langella, quite frankly, steals the show. It's on his shoulders that the bulk of the movie's gravitas is carried. His experience in theater serves as a sturdy support for his talents and a platform for his work on a film so great as this one.

As a period piece, the film is visually up-to-par thanks to Ron Howard's excellent direction and cinematography that oozes style AND substance.

As a drama, the film is brilliant due to its magnificent script and the real-life subject matter that provides the bulk of the plot to begin with.

As a document of events passed, the film is an excellent history lesson without ever feeling like one.

Other performances from Michael Sheen and Sam Rockwell are admirable and add to the overall experience of watching something with lots of thought behind it. But it's Langella who single-handedly slaps the audience across the face with his assaulting portrayal of a president so ruthless and intelligent.

Frost/Nixon is an awards-hopeful that actually deserves the hype it seeks. But watch it because it's a great movie--not because of its awards potential--however great that potential may be.

Stay away from this movie at all costs. There is absolutely no redeeming quality this film possesses. It's repetitive, slow-paced and very dull. What could've been an interesting character study of illegal immigrants and their integration into the American society, instead, turned into a ho-hum attempt at creating a slice-of-life picture that makes you want to slice your wrists instead. "Tedious" would be a step-up for this. "Boring" is more like it.

I wish there were more stars to bestow upon this film. It is truly a modern masterpiece and easily the best film of the year (that I've seen.)

Everything about this movie was engaging and enthralling. The story of a man who ages in reverse might seen like a gimmick that might grow old half-way through the movie after the novelty has worn off. But, what happens is the complete opposite.

Where most movies tend to sag (plot-wise) this film continues to extrapolate on its theme of time, loss and fresh starts.

The execution by director David Fincher is both ambitious and rewarding. Every shot in this film is exquisitely photographed and brilliantly transports you and your imagination not only to a different time--but to a different world where this allegory takes place.

Brad Pitt and Cate Blanchett both give beyond-stellar performances. Though, the real stars of this film are its cinematographer and it's make-up artists. Watch the film and you'll know why.

I can definitely understand why critics labeled this movie "the one to beat" after having seen only 20 minutes of footage. Though the finished product is close to three hours long, it never dragged (at least for me) and it always kept my mind going with how joyful an experience I was having while watching it--and how I was unlikely to see anything better for a long, long time.

Most people will complain about being three LONG hours older at the end of this film--but they'll do so not because they actually hate the movie (though they might say that.) They'll say it to be clever and come up with a snappy headline that'll sell more papers or get more blog hits.

This is, by far, David Fincher and Brad Pitt's best film together--and, likely, their best individual work.

The story is epic in scale, heart-warming in its plot and dialogue; and it's mesmerizing in execution. A movie pretty damn near perfect!

Skip Twilight and see the movie that it aspires to be...

Let the Right One In is a brilliant, touching, and scary movie in the right dosage of each.

The heart-warming love story between two kids is at the center of the movie--and this film, above all, should be regarded as a love story between two friends.

As a suspense thriller, the chills are few and far between--but they are placed in the right spots and are effective in frightening without the old make-you-jump gimmick used to death in American films.

As a straight drama--this movie works well in that the child actors are very adept to their craft and know how to convey the innocence of childhood without compromising it with winks at the camera or your typical brand of self-aware child-actor cuteness,

All-in-all, this movie was nearly perfect. Slow in parts--but done so for dramatic effect. If you think you've seen it all when it comes to vampire flicks and you've just about shut them out of your life--watch this movie. It's definitely the right one--so let it in.

Completely over-hyped movie...

As a romance, it wasn't very romantic. As a suspense piece, it wasn't very suspenseful. As a vampire flick, it broke some of the most important tenets of vampire-hood. Diamond skin in the sun?!?! Come on!!!

Maybe I'm out-of-touch because I'm not a 14-year old girl--but I know a bad movie when I see one.

P.S. This has some of cheesiest dialogue I've ever heard in a movie: "You're like my own personal brand of heroin" takes the cake.

A near-perfect movie of epic proportions. This is what Pearl Harbor attempted to be. But it needed a director with more substance...

Baz Luhrman does a brilliant job not only making this picture look beautiful--but with making mean something. It's not just showcasing beautiful locales--but showing how the terrain can be a backdrop for something more than just "pretty."

The action comes late in the movie--but the romance and the story of aboriginals in Australia serves as a great theme for the movie overall.

The performances by both Hugh Jackman and Nicole Kidman are some of the best in their careers and this is Luhrman's most complete-feeling film.

Definitely check it out. Its run time might be off-putting, but it's definitely worth it if you put off feeling trepidation over watching a movie based solely on how long it is.

This was what I call a "family-friendly" Holocaust story. If there is such a twisted thing, this was definitely it.

But don't get me wrong. The movie was touching and heart-warming; but it is not for those war movie junkies who are into facts and realism in a film's depiction of the horrible events during WWII.

This movie tells the story of two boys on opposite sides of life. One Jewish, one Arian. They are both innocent, despite the world events that point to them being enemies.

It is this innocence that makes me label this movie "family-friendly." The director made sure to never get too graphic in depicting certain events or focusing too much on the atrocities that took place.

Instead, the focus is on Bruno and the friendship he forges with a little Jewish boy on the other side of a fence. One boy is free and the other is not. But their bond unbinds both of them and lets them love one another blindly.

Although this story is fictitious and out of the realm of possibility--it is told from the perspective of children (with all the trappings of innocence and naivety that comes with that.) So, just suspend your disbelief and enjoy this as a fable or an allegory. Something that is not true--but teaches a moral.

This documentary is very good at breaking things down for the layman who knows our economy is broken--but doesn't understand the specifics.

I knew that we were in a bad state, but never knew how bad things really were. This movie shows you a lot of numbers, figures, graphs and pie charts--as well as plenty of interview footage with some of the most prominent experts and people directly involved. It is shocking to see the staggering figures on the screen and learn that things are still not over.

Of course--it's not all doom and gloom. There is ultimately hope for a fix in the bleeding treasury. And, as the movie points out, it's up to the individual citizen to curb our own selfish spending and elect leader who will act.

Many may be put off by the presentation (which is more facts than it is entertainment) but this is a documentary that every American citizen should watch before going on shopping sprees at Neiman-Marcus.

Jonathan Demme is a master director who realizes what he must do to transport people to a certain time or place--or event. With this feature, he creates a brilliant home-movie atmosphere for the audience to immerse themselves in. A somewhat shoddy, shaky, documentary-style may not be for everybody (or those who suffer from motion sickness.) But, trust me, this is not Cloverfield or Blair Witch Project. It simply showcases the events that transpire as if you're watching an intimate home movie.

And the events that transpire are dramatic, indeed.

With a Kym (Anne Hathaway) returns home from a stint in rehab, the family (who's in the middle of planning Kym's older sister's wedding) isn't prepared to deal with the black sheep of the family during the white dove's wedding plans.

Hathaway gives her most impressive performance to date as a broken, fragile and selfish Kym. There is so much going on in this girl's head that you both pity her and wish she were dead.

Rosemarie DeWitt is brilliant as Rachel as she manages to both be supportive of her sister while feeling the sting of having attention taken away from her and her special day.

Debra Winger is also a great addiction--er, addition-- to the cast as the estranged mother who must reconnect with her family for a day while all of this drama is taking place.

Some of the scenes linger and meander into "drawn-out" territory (especially the toasts during a rehearsal dinner and the reception's dance sequences.) But, other than that, this movie is a great document of what the American family is like when in distress and a state of arrested development.

Do not miss Rachel Getting Married.

Sally Hawkins is a revelation in this film. Whether you appreciate people with endless pep or optimism, you'll definitely appreciate the performance that this great actress gives as a --you guessed it--happy-go-lucky woman who's bothered by nothing and by no one.

What works for me about this movie is that no matter how "bad" things get for her, Hawkin's character never once hides behind her bright view of the world to delude herself into a false reality. It's not so much that she hasn't matured or is avoiding to deal with things, as much as it is about her showing who she really is and how messed up everyone around can be--and expects her to be as well.

This is definitely a Best-Acrtress award contender. I find that even though it's a comedy, Hawkins gives a very impressive performance that can stand against the likes of Angelina Jolie or Anne Hathaway this year.

P.S. The driving instructor, Scott, will make you both laugh and be very afraid all at once.

Sure, the whole "underground civilization with none of the inhabitants knowing about the outside world" premise may be a little old by now. But this movie managed to endear me and intrigue me enough to recommend it. There are some amazing special effects, great acting from a bright young cast (including Atonement's Saoirse Ronan --doing a spot-on American accent) and an understated, yet deliciously enjoyable turn by Bill Murray; and a great overall concept of a city reliant on light to survive.

Also, the movie is geared more to the teen market. It's not raucous or flashy. It's very traditional in its art direction and makes for an aesthetically titillating experience. There are a few surprises in terms of creatures and cool gadgets seen in the flick.

The movie is definitely more substantial than a 3-D attraction like Journey to the Center of the Earth. But it, sadly, never manages to lift off much higher than that. It's caught somewhere between 'Journey' and 'The Golden Compass' (another movie that is beautiful and had great potential to be a hit franchise.) That still doesn't make it a train wreck.

Overall, very good time had. I just wish the film had been marketed better in the U.S. It definitely had the potential for being a hit amongst its demographic.

This movie is ultimately an unnecessary ode to the worst president of the United States. It never justifies its need to have been made; but it was better than what I was expecting.

This is mainly due to the brilliant cast and its dead-on interpretations of the real-life people they are playing. At the top of the list is Josh Brolin whom, at first, wouldn't seem like a good choice to play Bush. On the whole, he looks nothing like the President. But in this movie he manages to be convincing enough that by the end of the movie, you're doing double-takes to make sure it actually isn't the president.

Richard Dreyfuss is spot-on as Cheney and Thandie Newton is even better--if a bit like a characature--as Condoleeza Rice.

My two gripes about this movie were, one: the few instances where dialog from some of Bush's speeches (in which he sounds utterly moronic) are put into dialog that is out-of-context in the movie. It felt forced hearing him say his "fool me once" tirade at a lunch meeting when that's not where he originally said it. Another point that gets me was the overall production.

Considering that this film is directed by THE Oliver Stone, the project (like his previous turn in World Trade Center) felt pedestrian. It literally seemed too ordinary a film--like it could've been directed by a nobody-newcomer director. It had no visual flair or an ounce of controversy. This is, I think, attributed with the fact that Stone has, as of late, been a afflicted with a serious case of politeness and not wanting to offend anyone. In doing so, his latest films have suffered despite their potential for incendiary buzz.

It's the Chinese Napoleon Dynamite!!! Except this one trades in tether-ball for ping pong (or the more "politically-correct" term: table tennis.)

The movie was a lot more funny than Napoleon was at first viewing. This is the story of a dweeb loser who is Chinese but thinks he is black.

If you think you've seen this stereotype many times before, you're right. But never will you see it be so funny and refreshing. Not to mention, endearing.

There are tons of funny situations involving a fat kid, a duo of ambiguously gay ping pong rivals, and a tight pair of shorts. This is a great romp for anyone looking for a great laugh. Nothing serious here--just a helluva good time.

A brilliant movie coming from China. It's to the Chinese civil war what Saving Private Ryan was for World War II in terms of gritty cinematography, a story of heroism and perseverance as well as brilliant acting and scoring.

The movie is a class-act enterprise and you find yourself so enthralled by every minute of it. From beginning to end, the film is beautiful to watch and sumptuous in its design. The ambitious project pays off in more than just grandeur. The story at the core is one of utter redemption and a fight for more than land or a belief system. It's ultimately about the fight for what's right and for justice in the eyes of future generations.

Really a must-see.

A disaster, indeed. The only redeeming qualities in this movie were Nicole Parker as Giselle from Enchanted and Crista Flannigan as Juno.

If you must watch it, wait 'til the DVD.

This was a stand-out film in terms of production value. The story is all-too-familiar for those who are acquainted with the characters from the PBS series...but the lush production mounted and filmed is worth the trip to the cinema.

Much like last year's Atonement, Brideshead Revisited relies heavily on its countryside palacial scope of its setting. Sumptuous cinematography, costume design and lighting all make for a very beautiful picture.

On the acting side, all are respectable--but it's Emma Thompson who really stands out as the iron-fisted matron of Brideshead. Her disdain oozes with every back-handed compliment or shred of seemingly civil dialogue spoken by her character.

The story of unrequited love-lost is classic and plays out like a typical Merchant Ivory epic--although this technically isn't one.

Definitely worth seeing on the big screen. A solid period piece despite its sad attempt to market it as something more contemporary and along the lines of a cheesy sequel to Cruel Intentions. That it is, most definitely, not.

Different locale, different gal, different morale!

It's just not the same without Egypt and Rachel Weisz. And, although the addition if the yetti is very welcome--if slightly over-the-top; at least it I can safely say that it could've been a lot worse. But I sure hope this is the end of series.

A better-than-expected political satire with true heart and genuine emotion attached.

It's really great to see Kevin Costner acting in roles that don't require any sort of grandiose scope or reach. It's nice to see him playing an everyman in every sense of the word.

In this one, he plays the drunken, party-boy-who-refused-to-grow-up part to the hilt. But he's got a daughter to worry about and he soon finds himself worrying about lots more things thanks to her and her mischief.

The issues that this film brings up are really resonant in America and its methods of electing officials. The circus that surrounds an election has a way of swaying public opinion in ways that this film points out very clearly--and tries to address from the perspective of a single, loser-of-a-voter.

Definitely check this out before the elections. Surely--and sadly-- not enough people will see it and it may even be out on DVD by then.

It's going to be so difficult to say things that haven't already been written about this movie. But here goes:

Heath Ledger steals the show in this brilliant second installment to the Batman franchise reboot. The performance given by Ledger is one for the ages and he truly defines the movie by creating one of the most menacing and haunting villains in a long, long time. I'd go as fas as saying he's the absolute best screen villain to come along since Hannibal Lecter in Silence of the Lambs.

His brooding persona seeps with disdain, anarchy and utter contempt for humanity and emotion--he really makes an indelible impression on your psyche.

I had a terrifying nightmare which included Ledger's Joker weeks ago--I can only imagine what kind of sickness my mind will concoct during my slumber hours now that I've seen the movie in its entirety.

Another show-stealer here (and a high recommendation for your maximum enjoyment) is the IMAX format. If you can see it in IMAX, DO IT!!!

The six sequences that were shot in TRUE IMAX format are absolutely breath-taking in their scope and magnitude. From the heart-pounding opening sequence in a bank to the blood-curdling climax on Gotham's streets, IMAX is The Dark Knight's new best friend. Forget his batmobile or his re-designed batsuit or his brand-new batbike. It's IMAX that is really Batman's newest and most-kickass gadget. The picture is beautiful, the action is insane and the bombastic surround-soundtrack will leave your guts in a posthumous state of vibration with every bullet shot and leap taken.

Speaking of posthumous (and things others have already written about) I'll have to add my vote with those who are predicting an Oscar nomination for Ledger. His work here is simply BRILLIANT (regardless of whether he's dead or not and regardless of whether this is a genre film or not.) His magnificent work deserves to be recognized.

As for the rest of the cast; it's also top-notch. Maggie Gyllenhaal is a welcome addition to the cast after a rather insipid and uninspired turn by Katie Holmes felt out of place in the last film. In this film, she brings a little more realism to the role of Rachel Dawes and rounds-out the character a little bit more instead of resorting to clichés and damsel-in-distress stereotypes.

Christian Bale is a fine example of stoicism and how to use a super-husky voice. It works okay and there's nothing really to say about Batman himself--other than he's up to his usual shenanigans in this new movie that, although named The Dark Knight, isn't really about him as much as it is about its villains.

Which leads me to Aaron Eckhart. I truly feel bad for the man who will be referred to as the "other" villain in Dark Knight. You'd think that after Ledger's sizable screen time and psychological torture on the audience there would no more room for another villain. But, as Harvey Dent, Eckhart is a great addition to the ensemble. And it will actually work to his benefit to be known as the "other" villain because it really goes with the duplicitous nature of the villain he becomes anyway. He tells the other side of the story (so to speak) and makes for an interesting relief when Ledger's mind-games become a little too cruel.

I'd also like to mention that I loved how they expanded Gary Oldman's role as Lietuenant Gordon. And his promotion to Commissioner was thought out in a very ingenious manner. Oldman really brings gravitas to a role that would be very one-dimension if played by a less-talented actor. It goes to show how perfect the casting of these films truly is.

Overall, this movie is amazing in all its aspects. Cinematography is the best I've seen in any action film since 300 and the acting is at the caliber of any arthouse drama. The action sequences are brilliantly choreographed and photographed. The soundtrack is underscored and very subtle.

I'd have to say that, along with WALL*E and The Visitor; The Dark Knight enters the trio of best films I've seen this year. Truly awe-inspiring.

Here's a movie "remake" that succeeds in updating on its predecessor's concept while remaining true to its original spirit. That's something that the makers of Bewitched or Charlie's Angels failed to do. This film, however, is fun, light, silly and sophisticated in many aspects.

It modernizes the idea of a bumbling fool who is part of an elite crop of agents who are meant to protect the public from eminent danger. The film does so in a manner so full of contemporary energy and vintage froth all at once. It never once compromises the integrity of the quirky 1960s series.

Much of that success is greatly attributed to film's superb casting--particularly that of Steve Carrell as Max Smart and Anne Hathaway as Agent 99.

These two are perfect for the roles of diametrically opposed (yet somehow seductively attracted) agents on a mission to save the world from impending doom.

The chemistry is definitely there. The script is amazingly fresh and excellently written. It exudes the old-school comedy of the original show while adapting the jokes to be relevant to modern-day audiences--sprinkling a few, innocuous pop culture references and dousing the frame with greatly composited shots; master effects and action sequences--as well as top-notch dialogue and side-splitting physical humor that is always "intelligent" and rarely gross.

Definitely the SMARTest mainstream comedy to come along since Borat.

This movie is a super timely indictment on the steroid use that has become rampant in America. What makes an American hero? What makes a hero get to his/her position? Must you be strong? Can you be that way without abusing or cheating? And if everyone is cheating to get there, is it really cheating at all?

These are some of the questions posed and answered in this movie. I found it to be very a insightful and in-depth commentary on something we've all heard sound-bites of on the news. It's really an important film to see--no matter if you're an athlete or a politician or anybody at all with dreams of a better life. What will you do to get there and how will you deal with the consequences of your decisions and actions?

What I like about this film is that, on the surface, it's a movie about steroid use; but it quickly unveils the deeper metaphor that the urge to succeed will cause people to do almost anything in any aspect of life to get to the summit.

The documentary is also very good at showing both sides of the story: those who are against "enhancement" and those who are in favor of it. Since the director himself is caught in the middle of both worlds, it's only appropriate and fair that he tell both sides of the story.

The film itself is very entertaining. It plays out with a Michael Moore-esque affinity for humor, sarcasm and exposing the truth then slinging it in the faces of those caught backtracking in a lie or a ridiculous comment--rendering them speechless.

If you like documentaries that are entertaining and have an important message, definitely check this one out.

As far as scary movies go, there are differing opinions on what should be held as a standard of excellence. Of course this is subjective, but I think that The Strangers meets what I believe to be my own standard of excellence.

This movie excels in that it doesn't pander to the gore-junkies by fulfilling their bloodlust with relentless slashing and decapitations. It doesn't bombard your ears with an obnoxious score of strings and deep drums. It doesn't even have that many "jump" moments.

This film simply relies on the fact that this could happen to anyone and it can happen very matter-of-factly. Without warning; without reason; with no help in sight. It creates a very helpless situation which turns into a very hopeless one very quickly.

The masked "strangers" are creepy enough to be likened to their close horror-movie ancestors like Michael Myers . But it's when they speak (and they do) that you're really chilled to the bone and you start to think that this could actually happen to anyone.

Of course--don't go believing that this is really, truly a real story. It's not. It's only loosely based on events that happened much, much earlier in time. If that helps to ease your mind, then so be it. If not, then the movie will have succeeded in doing its job--scaring you to death.

Not the best I've seen--but better than most of the wrecks out there.

The is, by far, the best film I've seen this year so far. Everything from the production design to the script, acting and costumes is nothing short of breath-taking.

But, as beautiful as the film is to watch--which it is--little Catinca Untaru will steal your heart from the moment she first appears onscreen.

Tarsem does a brilliant job--as expected-- with this film (which was shot in 18 countries.) The scenery is beautiful; art direction and cinematography are as insanely picturesque as they were in his previous major release, The Cell.

However, unlike The Cell, which suffered from a painfully dark and sinister tone; The Fall is light and flowery. It's a fantasy as seen through the eyes of a child and a storyteller. The concept is simple, yet complex. The human mind and imagination is boundless and therein lies the complexity. Tarsem does the best he can to showcase just how far-fetched things can be if you only dare to think them up.

It's also a great morality tale on the duality of reality versus fantasy. Also, it goes to show how a simple daydream can have the power to heal your broken body and your broken spirit simultaneously.

Don't be discouraged by the lulls in continuity. The visuals should fill in the gaps wherever there may be a shortfall--no pun intended. Or maybe so.

This film was well worth the wait--at least it was for me. Being a fan of the original series; the 19-year wait was a great way to anticipate a great fourth installment.

The way the story was "updated" was very clever and natural. Moving the story forward in the film the same amount of time as in real life was a no-brainer. And having the movie set in the 1950s lends itself to a fresh approach and new villains and complications.

Gone are the Nazis (replaced by the Soviets.) Gone is World War II (replaced by the Cold War.) Gone is the lore of Europe and its ancient relics (replaced by 1950s folklore of space and South America.)

Without giving too much away; all I can say is that the film feels very much a part of the series and doesn't rely to heavily on improved technology to make the film's effects seem out-of-place. It's a movie that runs seamlessly with the first three flicks.

Harrison Ford looks amazingly young for his age and so does the rest of the "returning" cast. Shia LeBeouf is a very welcome addition to the series' ensemble in that he brings charisma and humor to the films without overpowering Indy's character or without supplying too many annoyances.

Cate Blanchett is pitch-perfect as the villainess (an element sorely lacking in the first three films--the Nazi backstabber from 'Crusade' could hardly be considered a bona-fide villain.) Blanchett brings gravitas to her character without taking it too seriously. She is brilliant and malevolent--as it should be.

Overall, the story was great update. It treated the passage of time between the third and fourth film very well. It even parodied itself with inside jokes about Indy's age, etc. Yet it didn't feel too self-aware or self-conscious.

Go watch it! It's great fun and a cool summer, popcorn diversion.

This film was an excellent selection playing at this year's San Diego Latino Film Festival. I doubt if it will receive any sort of promotion or theatrical release in America, but it should.

This is the story of a blocked-off community in the heart of Mexico City. The gated neighborhood is called La Zona and it is a sole entity in the eyes of the city. The residents of this zone have made a pact with the city to be left alone and live in peace. They abide by their own rules and have their own committee which mimics a sort of small-scale government.

However, one night--a breach in security allows for three outsiders to intrude the zone and a manhunt is soon in place to find the men who pose a threat to the safety and security of their idealistic village.

The film is magnificent in its message and social commentary. The performances of every member of the cast were brilliant and brought such gravitas to a project that had potential based on its story; but really needed good actors to carry it through.

The film relies on world-events to make its point loud and clear. It evokes a plethora of emotions in the audience and makes for a really entertaining time--plus it brings a refreshing look at the way we see one another in the world--whether its people living across the street or across an ocean.

Watching this movie, during the opening credits, I wondered to myself: why didn't they make the first two Seuss adaptations --Grinch and Cat/Hat-- animated features?

The original material really lends itself to the medium of animation (naturally--they were illustrated books.) But in making them live-action movies, the first two adaptations were surprisingly life-less and devoid of any true emotions. They lacked what the original books were all about: heart.

Instead, the films were made to be actor's films--showing off the high-payed actors who were hired to be their over-the-top selves on screen.

But where Jim Carrey and Mike Myers failed in the live-action films, Horton Hears A Who triumphantly succeeds in.

This movie was so enjoyable and so fun to watch because you weren't concerned with seeing an actor playing a literary classic character. You were just enthralled by the colorful visuals, the incredible art palette painted by the gifted animators and being taken in by the story and its characters.

The movie (like the book) has a great message of empowerment and esteem. It relies on the story and character development instead of relying on over-the-top actors and hefty make-up sessions.

This is what all future Seuss adaptations should be like. A classic.

This film turned out to be a huge load of crap. I am never so adamantly against any movie I watch. I usually try to find the positive in everything. But this one had so little, that it'll take me strength to muster up a shortlist. Here it is:

There were good special effects (they should've been used more often and in longer sequences.) There was good cinematography and art direction. That's it.

The storyline was incredibly weak (mainly due to the fact that the film focused more on a tepid romance instead of man's survival against nature.) Also, the film featured too much of a conflict involving man against man (something that's been done in every other movie.) But in this movie, it should've been more about man's survival against the elements.

Other than that, the film was blandly Hollywood-ized and made into a two-hour pretty people fest. Pearly-white teeth; perfectly waxed eyebrows; professionally-styled dreadlocks...it was all a little to distracting.

I'm usually willing to suspend my disbelief; but that was impossible to do with this film; which was so adamant about making the film realistic in any respect.

This movie was light and funny. Plus it had a great message and showcased a black family in a light that is inspiring and doesn't rely on the wicked stereotypes that make a black comedy "successful" a la Big Momma's House, etc.

The film relies heavily on slapstick humor and physical gags--but that is what this movie should be. It works for what it's worth and makes for a good 90 minute romp and diversion.

This movie is on par with the likes of Schindler's List or Sophie's Choice in terms of Holocaust awareness and the profound nature of its message. However, where this film differs is in its methods to bring an aging theme such new life.

This films tells the story of a group of concentration camp prisoners rallied by the Nazis to work for the German government. Their skills as printers, graphic designers, paper specialists, etc. have made these men indispensable to the Nazis (at least for a short time.)

Where the conflict lies is when an idealist Jew refuses to cooperate and threatens to undermine the entire operation--thus, putting all his partners' lives at risk.

The movie is quite entertaining and grazes on light-heartedness despite its heavy and bogging subject matter. The movie could've dragged and been utterly depressing; but the script chooses to focus more on dark humor and handles the more heavy stuff with brilliance and taste.

This film won the Oscar for Best Foreign Language film at this year's ceremony (2008.) It is deservedly rewarded and I feel very fortunate to have had the chance to see it. I know many never will get to.

City of Men (the sequel to City of God) manages to be a great deal better than its predecessor. This movie, like the previous, continues the theme of showing the hard life that kids have growing up in the slums of Rio de Janeiro. But where this films surpasses the first is in its portrayal of a more human characters.

In City of God, the boys were ruthless, soulless killers. In City of Men, although still ruthless, cold-blooded killers, they are portrayed with a little bit more humanity. They are more well-rounded characters with a backstory that makes them relatable and, in some ways, worthy of sympathy.

Usually, I hate movies that are tinged with such violent tones and themes, but this managed to keep me hooked and caring for the characters whose lives I was watching unfold before me. The most poignant thing about it was knowing that, although fictional in plot, the stories seen onscreen must certainly happen in real life--and that makes the film transcend gratuitous violence status.

I love anything having to do or taking place in the Art Deco period. The architecture, the decor, the music, the way-of-life; the forms of speech and the general opulence of the era. Therefore, my loving this film might be based solely on that aesthetic principle.

This film certainly has all of those pretty things to look at and listen to; but it also is anchored by a sweet story of success and perseverance; as well as by two brilliant actresses in Frances McDormand and Amy Adams.

Adams is back in her usually-plucky demeanor. An American actress living in London at the expense of the men her beauty has racked-up for her. Her effervescence on-screen is unrivaled by any other currently relevant actress in this type of role. She just glows and keeps you captivated by her bubbly speeches and her distorted view of reality.

McDormand, on the other hand, delivers a heartfelt performance as down-on-her-luck Miss Pettigrew (a governess) who's out to become something more in pre-war England.

Like Adams' character, Miss Pettigrew wants people to play by her rules instead of having it be the other way around. McDormand's subtle assertiveness compliments Adams' ditzy out-of-touch persona and makes the film a balanced piece in which the supporting characters can really shine.

There is plenty to be enjoyed in this movie; including a pleasant rags-to-riches story that never gets old; no matter how many times or in how many ways it's told. Miss Pettigrew Lives for a Day will have you living (and laughing) for a good 90 minutes of your night.

This movie exceeded my very low expectations in every aspect. Going in, I was dreading (but secretly looking forward to) this movie being nothing more than a hot meat showcase. And in that regard, it was.

But after the veneer of showing off hot guys and their ripped abs, the movie turned out to be not-so bad overall. It had a decent script that was low on the cheesy made-up teen colloquialisms and slang and actually delivered on a level deeper than kids dying for prom night to arrive.

Sure, it's a pretty shallow movie as a whole, but the acting was pretty good and the trite dialogue was kept to a minimum. Where the good stuff came in was with the more adult performances; cemented by Djimon Hounsou as a broken-spirited leader and Sean Faris' interacting with his mother. Those scenes were really deep, considering how superficial the film was.

The fight sequences themselves were amazingly choreographed and filmed. The use of slow motion and digital effects added a slickness to the film and made it pretty interesting to watch once the throbbing pecs and sweaty thighs got old.

But then again--those things never get old for me.

This is one of those movies that is often referred to as "cute." The interesting thing about that is that this movie is actually worthy of that label. It IS cute. Genuinely cute.

After being shelved for over two years, the fairy tale of the snouty beauty arrives and is the most endearing film of the year so far.

Christina Ricci is pitch-perfect as the sullen girl who is forced to live cursed and tucked away behind a wall. Her potential admirers are brought in conveyor-belt style to meet her and are as promptly compelled to jam out of sight--at the sight of Penelope.

Catherine O'Hara is hilarious as the detached, hyper-emotive mother who claims to want the best for her daughter--but couldn't care less about her.

James McAvoy plays a decent leading man and Reese Witherspoon plays an awkward background player.

Despite its shortcomings, Penelope succeeds at delivering an unpdated fairytale without overdoses of schmatlz or drippy sentimentality.

Of course a movie such as this one is going to ripe for dissection and plot-hole finding; but you can't watch this movie with the intention to knock it down on that basis. It's a movie that is completely reliant on the hope that the audience will suspend their disbelief for the entire run and not try to figure out how this is possible and that is not possible.

The film opens with a sequence of life-changing events that is seen through one perspective and, throughout the film, that same sequence is revisited using different perspectives.

This was made pretty obvious by the way the movie was marketed...but beneath that gimmick lies a pretty good story that keeps you guessing until the very end.

The performances are as good as they can be for a movie of this genre-bending format. There's action, intrigue and, inherently, politcal and social commentaries. But the movie never takes itself too seriously despite its subject matter.

Its main purpose is to be mindless entertainment on the grand scale--complete with a killer car chase sequence that rips and roars through the streets of Spain.

Again, it's not high-drama or even a fantastic thriller--but it's good enough and the formula will have you hooked until the very end--after the initial annoyance of re-tracing has subsided.

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 film paints a beautiful picture of life for women in Lebanon. The movie is devoid of bombs, terrorists, military and any of the usual suspects in movies that take place in countries such as Lebanon.

Instead, the film explores the trials and tribulations of five women who are connected by the work they share in a beauty salon. The bond they've created is a net of trust they can be assured of when it comes to confiding in one another.

Whether it be troubles with men; troubles with customers; troubles with dealing with aging; or anything else--these women are strong characters that exude a feminist aura that is all-but absent from the portrait the American media is willing to present us with.

This movie is a small, foreign-language gem that deals with women; is directed by a woman; but is no way a chick flick. It showcases the way of life in a country that I knew nothing about except for what I see in the news--and it's beautiful to see life being lived to the fullest by the inhabitants of a region with such a bad reputation.

This movie is one of the funniest, blackest comedies I've seen in a long time. Some may question the acting abilities of Colin Farrell; but in this flick, he's exceptionally well-cast as a cynically bored hitman sent to Bruges to wait-out his next assignment.

Along with him comes his best pal and partner in crime (played by Brendan Gleeson.) Together, they explore the sights of the little-known Belgian city and Gleeson's character tries to cheer Farrell's character up despite his pessimistic approach to being in a city where there's nothing to do except be a tourist.

Soon, the assignment is delivered by head hitman in suburban father disguise (played by Ralph Fiennes.) But the assignment is delivered to Gleeson's character instead and this causes a rift (so to speak) between the two pals.

The humor is very dark and biting. The acting is top-notch and the setting is really a sight to see (if you like Medieval European cities.) It's a movie that has all the elements of good entertainment: humor, suspense, a great script and an actual plot that doesn't pander to or belittle the audience and still manages to entertain and be worthy of being recommended. Highly!

Christ--I thought this might be bad! But I was obviously wrong! It was far worse than "bad!"

On the surface, The Water Horse may seem like trite, sentimental Disney-like crap along the lines of Free Willy or Homeward Bound. But this movie really surprised me with its depth and utter charm and heart without the schmaltz of a lesser film.

I think the trick is that this film is, not only set, but is produced in Europe. They somehow have an affinity for making superior films where American cinema would opt for formula and safe gimmicks.

Sure, this movie has its share of gag-inducing "boy-meets-creature-and-become-inseperable" moments; but the film doesn't dwell on the emotion too much.

The film is boued by solid performances by Emily Watson as a heartbroken widow; Ben Chaplin as a war hero; and David Morrissey as a domineering general whose heart is ultimately in the right place. Alex Etel is also great as the young boy whose father-figure complex is a tough subject for such a young actor to take on. His subtlety during flashback scenes is amazing and he captures the longing a child might feel for a long-lost parent.

But the star in this sweet creature-feature is the water horse himself. Named Crusoe, his development is amazing to watch (from egg-hatched, to cute mongrel, to regal king of his domain in the loch.

The CGI is pretty good for a movie with this small a budget. The interaction between young Angus (Etel) and Crusoe is seamless and, although not perfect, is good enough to create the illusion and possibly make you believe that this story could have possibly taken place in our reality.

There is a pretty brilliant subplot that involves impending attack from Nazi forces via submarines. This storyline really lends itself to the plot of the movie beautifully and, without it, the movie would drag and have nowhere to go but out to sea.

All in all, the film was pretty enjoyable. It has its share of touching, "aww" moments mixed with great visuals, a solid period piece tone and rock-solid acting.

Ultimately, the film's lesson is that of being happy with what you've got and stop longing for what you've lost. There is always beauty in pain and something precious and new always hatches from the shell of something that's been lost forever. [10JAN08]

This movie was really perfect in every way. I'm a huge Paul Thomas Anderson fan and his direction of this film is the best I've seen from him. Daniel Day-Lewis is the perfect actor for the role of the ball-busting oil tycoon who will stop at nothing (and I do mean NOTHING) to get what he wants.

However, the real breakout of this film is Paul Dano. His turn as an evangelical preacher in rural California is mesmorizing (almost as much as Day-Lewis' portrayal.)

These are two men who are basically propagating a different version of the same thing. To Dano's character--Eli--God is the almighty one we've come to know. To Day-Lewis' character--Plainview--God is oil. This is his religion and both are ambitious enough to go to extreme lengths to spread the word of their respective gospels to as many people as possible. Eli preaches to a traditional congregation of people in search for their souls. Plainview preaches to a congregation of villagers and farmers who must be convinced that drilling their land will be the best for their families and communities. Neither man's task is easy. Whether it be converting sinners' souls or skeptic minds--they'll do whatever it takes to add another notch on their proverbial belts.

The film's score is chilling and reminiscent of a Kubrick film. The descent into madness of both these men is captured purely and unflinchingly in Anderson's brilliant script (based on Upton Sinclair's "Oil!")

This movie has become one of my favorites of the last year and I hope it receives the accolades it deserves. More importantly, I hope that it receives the publicity it deserves because people should see this movie. People who love film and who love character pieces and showcases should not miss this epic masterpiece. [07JAN08]

I thoroughly enjoyed this film. The cinematography was excellent and the performances by its lead actors were great; particularly that of its leading lady, Belen Rueda. She was pitch-perfect as the vulnerable mother whose past is directly and hauntingly connected to the place where she's presently setting up her own family.

Turns out: their new house is the orphanage in which she grew up. Her husband and young son seem to be happy in the new home, but somehow she--Laura--seems to be coming undone at the seems. Her digression into mental oblivion continues as strange happenings in the house ultimately lead to the disappearance of her own boy.

From this moment on, the search for her son is on and time is running out. But first she must reconcile with her past and the demons that haunt her memory.

Guillermo Del Toro (of Pan's Labyrinth fame) is behind the helm as a producer; but it's almost as if he'd directed the film himself. The movie is rich with fine details in art direction and cinematography that directly parallel literary elements that exist in the scrip and the film's storyline.

The opening credits sequence is pretty creative and innovative. The film's pacing is perfect. Suspense is built-up through exposition and glimpses of other-worldly beings (including a chilling boy with a sack-mask.) The movie's climax is prefaced by a spine-tingling sequence involving a game of red light/ green light.

Ultimately, despite its moments of "gore" and utter and genuine horror, the film has a surprisingly uplifting, if not happy, ending. I think any fan of supernatural thrillers will be pleased to the maximum. Definitely worth seeing as it will be a contender for Best Foreign Film at this year's Academy Awards. [03JAN08]