A chronicle of the early days of James T. Kirk and his fellow USS Enterprise crew members.

Chris Pine: James T. Kirk

To put it simply Star Trek isn't just a reboot of a dying franchise, Star Trek isn't just a summer blockbuster, Star Trek isn't just sci-fi effect laden fun, Star Trek is an adventure, experience and humourous coming together of characters and creatures. This gives Star Wars a run for it's money and ultimately taps into something new the originals and new sequels lacked, spontaneity.

It's not just fresh visuals and new characters the music is new also giving the whole film a fresh, reborn, vibrant feel. J.J Abrams has successfully tapped into his vein of originality, poise and vision with stunning effectiveness. LOST, Mission Impossible 3, the writing behind Cloverfield and now Star Trek show us how imaginative a director Abrams is, and that we can expect more to come from this man.
Star Trek features some of the best effects and action sequences, to rival anything Transformers or Wolverine can throw at us. Indeed they surpass the former attempts in some cases. An example of a fight scene on planet Vulcan, on a very large coil, was an amazing adrenaline rushing experience, with swordplay and fisticuff fighting between Kirk and some Romulan assailants. The space battles were competition for Revenge of the Sith with some of the best visuals to appear to date, reminiscent of the Halo series in terms of looks and execution.

''Live long, and Prosper.''

Characters are relatable and likeable to audiences. Whether it be rebellious Kirk, Intellectual Spock and their fiery relationship and clashing of personas, wonderfully played by Chris Pine and Zachary Quinto, who strike the nail on the head perfectly. Eric Bana plays villainous Nero effortlessly, Bruce Greenwood excels as Capt. Christopher Pike, Karl Urban is likeable as the quirky witty Dr. Leonard 'Bones' McCoy, Zoe Saldana is the beautiful Nyota Uhura, Simon Pegg is the comical Scotty, John Chothe sword trained Hikaru Sulu, Anton Yelchin the Russian Pavel Chekov, Ben Cross as Sarek and Winona Ryder as Amanda Grayson Spock's Mother.

The film has been compared to Iron Man in more than one review the similarities are clear. Both films feature excellent dialogue and character interactions, swift, clever characterization, a minimum of laborious exposition, and also have a common flaw: a rushed plot which overall is almost a side plot. The only reboot to truly escape this pitfall thus far is Casino Royale, which successfully told a very tight story and also consistently developed Bond as a character. Bana is menacing enough and his ship is well-designed but overall he's no Khan or Chang and was much better-written in the Countdown prequel comic than in the film itself. There are also a series of massive contrivances to get everything where it needs to be which will have viewers rolling their eyes, but even these are handled well by the script, which is smooth and fast as opposed to clunky and sterile. Plus, they're necessary for this origin story not to be a typical boring origin story and become what it is.

It's a new directive, yet totally faithful to Trek where it needs to be: in spirit and inspiration. In a world of dreary blockbusters and 'dark' reboots, this Trek, though grittier in terms of design than anything before, shines, from opening to closing, as an example of optimistic, exciting, thrilling, humorous, and thoroughly enjoyable adventure action packed sci-fi cinema.

''Space... the final frontier.''

A look at Brian Clough's 44-day reign as the coach of Leeds United.

Michael Sheen: Brian Clough

The film effort The Damned United is a delightful inside glimpse at a period in time, focusing on a certain manager, a manager called Brian Clough. Director Tom Hooper incorporates live footage from televised news reels of the time with real time actors and happenings on set. The Damned United is going back to the day, living yesterday and being in awe of the good old days, the days when drinking and smoking before a football match were excepted, the dirty tactics of Leeds United and their brawling babaric methods with opponents, can be over-looked. This is a day when drinking tea on your lap was the norm, and football just wasn't simply about money, it was about pride and real competition.
Peter Morgan the talented Writer of The Queen and Frost/Nixon reunites for a hat trick with chameleonic Michael Sheen. Michael Sheen can tick off another box on his list, of his mimicking magic of iconic Englishmen as his witty performance is a key reason for what makes The Damned United a pleasure to behold. The performances stand out with many well done performances by the leading cast, in particular Sheen and Spall who show a very impressive on-screen bond, as Clough and Taylor.

Michael Sheen's Brian Clough is an entertaining, arrogant but likable character with self-destructive flaws. Obviously he has the best lines (unfortunately many of which feature in the trailer) and some of his best scenes are with Timothy Spall's Peter Taylor, whom finds their friendship severely damaged at various points as the events transpire. Clough's vulnerability and insecurities are explored in his relationship with Taylor and the audience learn that only as a team do they conquer English football. Clough's apparent hatred for Revie stems from being snubbed by the latter at an early Cup match. This experience drives Clough's ambition to not only succeed, but to attempt to eclipse the architect of Leeds United's Golden Age. Along the way we learn about the now familiar friction between the Manager and the Chairman, the task of signing players and the universal theme of pride coming before a fall.
Set in the late sixties/early seventies and seamlessly interspersing the action with real footage and interviews as aforementioned, this film enables the audience to embrace the spirit of the times.

As with legendary picture Frost/Nixon the story caters for people with very minimalistic knowledge of the subject matter and as such, it can be enjoyed by football fans, history fans and film fans alike. Plus there isn't a huge amount of actual ball kicking by the cast, so people won't switch off. There is an obligatory montage, but it's nicely done and over quickly.
The only downside to this film is that it's a little bit short if anything, but it leaves you wanting more which can only be a good thing. There's a mild bit of comical swearing throughout, which is justified given the situations the lead characters face.

Overall, The Damned United provides historical entertainment, laughs galore and fun beyond most fantasy and blockbuster films dream of achieving. This is one of those Michael Sheen triumphs you want to be there for, especially at the end when we even see the end results for the characters in the aftermath of Clough's 44 day management of Leeds. This for me was a wonderful climax, a beautiful conclusion and an absolute pleasure to experience. Plus the fact I say again, that my friend whom is a football/film fan, plus me whom loves history and film, plus acting and brilliantly portrayed characters, this is a golden movie to watch and for a universal audience. The Damned United is a perfect adaptation and tribute to a man who wasn't afraid of burning ambition, perhaps showing off a tad too much but in doing so he did some amazing things. His friendship with Peter Taylor is beautifully captured here, Spall and Sheen shine, Damned United shines.

''If you want to be loved, you're going to have to change.''

Bourne is once again brought out of hiding, this time inadvertently by London-based reporter Simon Ross who is trying to unveil Operation Blackbriar--an upgrade to Project Treadstone--in a series of newspaper columns. Bourne sets up a meeting with Ross and realizes instantly they're being scanned. Information from the reporter stirs a new set of memories, and Bourne must finally, ultimately, uncover his dark past whilst dodging The Company's best efforts in trying to eradicate him.

Matt Damon: Jason Bourne

From the word go its non-stop action, one of the best action films of modern times in existence. The clever aspects about the third installment is that it's wonderfully directed and executed by Paul Greengrass, it outdoes its predecessors in terms of pace and edgy cinematography, plus the facts that this scenario, this modern story of a Government secret experiment training program, could be real, individuals tapping into our phones, or being targeted and eliminated at any point, any number of cameras or face recognition techniques to clamp us down or capture us become frighteningly realistic.

Bourne Ultimatum features some of the best chases ever committed to celluloid. The chases in this are truly mesmerizing and the sound/beats, accompanying music, plus shakey camera work adds to the tension and teeth grinding element of the heightened mood.
Julia Stiles smile at the end priceless, her reminiscent familiarity to a lost love of Jason's, David Strathairn foreboding, excellent, and relentless in his pursuit of Bourne, and of course main star himself, Matt Damon whom is perfectly on form yet again, Identity and Supremacy being relative warm ups compared to this peak of a paralleled pursuit for the truth. Even the inclusion of Veteran actor Albert Finney another fine addition.

''Issue a standing kill order on Jason Bourne, effective immediately.''

Human, emotion,empathy, compassion, the question and unwavering answer of the mirrored, rising hero in touch with his humanity or a robot programmed follow-order cold assassin. The latter being a lonely road. No links, friends or family. End of the day do the right thing.

The Bourne Ultimatum is another addition to the series based on a novel by Robert Ludlum. It's positive message and detailed fast paced scenes will have you captivated in its almost two hour running time. Once again, Matt Damon is back again and seems more at ease than he was in the other two movies still wondering how or who put him in the predicament that he's in now. This time Bourne is in London and a reporter (Paddy Considine) informs him of an organization called Blackbrier, a more menacing organization than Treadstone that's run by an evil CIA agent, who wants Bourne dead. Also in pursuit of Bourne is a girl named Pam Lundy (Joan Allen) who has faith, that Bourne is not a threat that the CIA assumes he is. And the city-hopping is off in full swing up to his final destination in New York where he fights off his ex-handlers.

Though not a thinking-movie like the slower paced The Bourne Supremacy, this movie depends more on action and non-stop chases, for all action fans. And anyone who gets in Bourne's face, will likely get pummeled. Bourne has Blackbeier's henchman after him who seem to expose similar traits as him. But Bourne is more well-versed than them, so that gives him still the upper edge. Very tense scenes on the rooftops of Tangiers to the traffic-laden streets of the Big Apple, the chase reign supreme.

As a conclusion The Bourne Ultimatum obliterates James Bond into a trash can and pummels the living daylights out of it, while remaining the action film of the decade!
The end symbolizing Bourne beginning again like it started, water being a rebirth of sorts, and Greengrass leaving the possibility of carrying on the Bourne Legacy. If another installment is this action packed and this deep into the psyche of an Agent rebelling against his old immorally correct masters, then definitely I would love to see Bourne return to the big screen, a modern albeit troubled hero of unrivaled dizzying heights.

''I remember. I remember everything. I'm no longer Jason Bourne.''

An Interpol agent attempts to expose a high-profile financial institution's role in an international arms dealing ring.

Clive Owen: Louis Salinger

The plot deals with an agent (Owen) attempting to uncover and possibly prove a bank's involvement in sudden killings as well as arms dealing. The premise itself is good and sufficient enough to be carried through the film's nearly 2 hour runtime. This combined with a mostly solid story give the film an almost Tom Clancy-esquire style. Unfortunately, what keeps the story from being full realized from its potential is how it, along with most of the film seems to drag on to the point of yawns aplenty. Due to the relative slow pacing it can almost become hard to realize there's actually an interesting plot unfolding.

The events of the plot are placed on the shoulders of various characters, with Clive Owen and Naomi Watts carrying the weight of this task. While Watts, as with most of the supporting cast, seems to have on and off performance deliveries Owen really manages to shine as the lead. Most of the film's best lines of dialogue come from Owen and his conversations with other characters, especially Watts. Sadly, these line deliveries aren't too frequent and, as a result (as with the plot), it can become hard to realize the subtlety of some of the dialogue.
There are times, however, that the film manages to shine and show what it'd be like if every scene was handled as well. The one major action scene in the middle of the film is probably one of the better shot and more entertaining action scenes I've seen recently. There are also a few more suspense-oriented scenes that help make things interesting here and there, which also break up the seeming monotony. Unfortunately, these scenes are too few and far between to make much of an impact on the film overall.
Back and forth between Germany, France, Italy, New York and more, The International treats audiences to action and intrigue in some amazing locales. The most impressive sequence takes place in the Guggenheim Museum in Manhattan, involving the most unlikely ambush, machine-gun shootout and bloody getaway. The setup for location-hopping and international espionage makes this feel like James Bond, except there isn't quite enough action, the pacing is a little slow, and the first act is reminiscent of a CSI episode. That's not entirely a bad thing - although the film doesn't know what it wants to be, the constant chases, high-speed pursuits and thrill of the hunt is enough to keep things generally amusing.

Protocol, procedure and jurisdiction always get in the way of justice. No one can handle the truth because of the immense responsibilities; stepping out of the boundaries of the law is crucial to success, and no real solutions can ever change the overwhelming corruption that seizes each aspect of every government. This isn't a new premise for Hollywood, and The International isn't relying on huge twists or extreme creativity to separate it from the commonplace action films opening on a regular basis. Audiences aren't likely to get the resolution or confirmation they're looking for by the end of this confused thriller, but as far as anyone should be concerned, the inconclusive toxin results, edited police statements, cover-ups and assassinations are no match for Clive Owen's powerful stare. It's all he ever brings to a gun-toting engagement, and it usually suffices.

All told, The International is a film that shows so many signs of greatness but only occasionally successfully administrates them. If you're interested in the film's plot and how it unfolds you might find a solid watch with The International, but be ready for a rather slow story. This is far from a bad film, yet the well-executed scenes are too few and far between to make it worthy of an honest recommendation. For Tom Tykwer, this a far cry from Perfume and even a brief cameo by Ben Whishaw absently, subtly reminds of this fact, maybe next time Tom...

Historical, controversial and powerful insight.The last ten days of Adolf Hitler and his Nazi regime are seen through the eyes of a young woman in his employ in this historical drama from Germany.

Bruno Ganz plays Adolf Hitler who shows us a man who is plummeting into madness and despair. For Hitler was a man with a vision of world domination and racial superiority. Any mistakes would instantly send him into a violent outburst, and Ganz plays this beautifully. His mannerisms, his deluded ideas and he grasps at false hopes.
Alexandra Maria Lara plays Trundl Junge a secretary to Hitler, and the story is conveyed from mostly her perspective of events.
Thomas Kretshmann: SS-Gruppenführer Hermann Fegelein one of a favoured German actor for me was in the film, yet he meets an untimely demise. Another War Film along with recently Valkyrie and The Pianist.

''The war is lost... But if you think that I'll leave Berlin for that, you are sadly mistaken. I'd prefer to put a bullet in my head.''

Granted Downfall is a long film which could of been edited slightly, but makes up for with great fashions of the times, set pieces and a reasonable score. Also this is history being told honestly and in a truthful non-glorifying manner,yet in an also non-demeaning way either too.
Features graphic, violent and horrific scenes obviously.
One scene that especially disturbed me was in the bunker where a mother, sticks a certain kind of cyanide pill into her children's mouths and watches them die. Shows no emotion, no trace of regret, later committing suicide with her husband by gunpoint.

''Many mistakes have been made. Be ruthless. Life doesn't forgive weakness. This so-called humanity is religious drivel. Compassion is an eternal sin. To feel compassion for the weak is a betrayal of nature. The strong can only triumph if the weak are exterminated. Being loyal to this law, I've never had compassion. I've always been ruthless when faced with internal opposition from other races. That's the only way to deal with it.''

The film is also based on the memoirs of Traudl Junge (Alexandra Maria Lara), who was Hitler's appointed secretary. The plot also uses Inside Hitler's Bunker by Joachim Fest in order to keep the plot as historically accurate as possible. Hitler is obviously always the main focus of the movie, and even when he is not on camera his shadow on the events that happen on screen is always present. Minor grave endeavors are shown throughout the movie and director Oliver Hirschbiegel does a good job of connecting them to the main problem: the Nazi Party. These happenings range from instances of violence on the streets, to suicides.

The most intriguing part of the film is not the realistic reproduction of a bombed city, or the amazing acting by all involved, although these things are startling and deserve awards. No, the best part is definitely the way Hitler is illustrated. During his last ten days, he didn't have control over anything, not the country, not the army, and not even the Nazi party itself. While the movie depicts those things really well, it goes even deeper and acknowledges that the Fuhrer couldn't even control himself. It was something not even he realized until those final moments in that dark bunker, where he shot himself.

The movie looks great thanks to the cinematography of Rainer Klausmann, with battle scenes and aftermaths coloured in strikingly cheerless tones. Credit also has to go to director Hirschbiegel for the choices he made as far as what to film and where in the movie to put it. It is also to his credit, the way he directs the actors. Bruno Ganz practically embodies Hitler, portraying both his flaws, and positive traits. All the actors around him, while turning in great performances are simply puppets for him to interact with, remarkably mirroring the roles their characters played in Hitler's real life.

So in this film you get not only an enormously accurate picture of World War II itself, but also an accurate portrait of the life of the most important and flawed man in arguably all of human history. Downfall is an endlessly rewarding motion picture and one of the best of the year. So if you don't mind the German language and having to read subtitles, you will be able to acknowledge the importance of Oliver Hirschbiegel's Downfall.

''You must be on stage when the curtain falls.''

A college grad lands a job as a financial journalist in New York City to support where she nurtures her shopping addiction and falls for a wealthy entrepreneur. Based on the novel "Confessions of a Shopaholic" by Sophie Kinsella.

Isla Fisher: Rebecca Bloomwood

P.J. Hogan may be responsible for the refreshingly grim atmosphere of 2003 offering Peter Pan that tried to take away the timeless tale of the boy who wouldn't grow up away from its heavily romanticized robust roots, yet the ample book origins of Confessions of a Shopaholic, his latest film about a woman who wouldn't grow out of an excessive materialistic folly, is as substantial and as memorable as a flicker of a candle. Based from Sophie Kinsella's series of uber-popular books, this hybrid of The Devil Wears Prada and Sex and the City has all the profoundness one can expect from a Jerry Bruckheimer-funded project and a hypocritical underlying theme on anti-consumerism despite the extravaganza that's shown to us.

For a romantic comedy to remain in its genre, there are certain boundaries that it mustn't wrong. So we really can't begrudge such a film for playing it safe and Confessions of a Shopaholic is successful at that. Our financially naive protagonist inadvertently finds her calling while awaiting what she feels she's always longed for, but her addictions strive to bring her down. As she reaches rock bottom she will inevitably conquer her demons and rise once again. Perhaps closer analysis may uproot a deeper message as her boss's journey contradicts her own; while he yearns not to be defined by family she discovers that it is indeed those loved ones that define her.

Struggling with her debilitating obsession with shopping and the sudden collapse of her income source, Rebecca Bloomwood (Isla Fisher) unintentionally lands a job writing for a financial magazine after a drunken letter-mailing mix-up. Ironically writing about the very consumer caution of which she herself has not abided, Rebecca's innovative comparisons and unconventional metaphors for economics grants her critical acclaim, public success, and the admiration of her supportive boss Luke (Hugh Dancy). But as she draws closer to her ultimate goal of writing for renowned fashion magazine Alette, she questions her true ambitions and must determine if overcoming her "shopaholic" condition will bring her real happiness.

The finding yourself story, which has the truth come out eventually, seems to keep popping up in every single romantic comedy of late, Confessions of a Shopaholic is no exception, although the supporting characters and environment that surrounds star Isla Fisher is entirely more satisfactory. In fact, her wide-eyed, perky and cheery attitude brightens the screen, even if the plot is unduly contrived and understandably formulaic. She's believable, charismatic and similar to a great many, and eye candy for the rest - which is more than can be said for most of the generic female-oriented films that flood the field of foreboding romantic finding oneself genres.

Like last year's How to Lose Friends & Alienate People, Confessions of a Shopaholic revolves around the same humorous elements that made the far superior, serious executed story films of the 80s, Big and Working Girl successful: an open-minded boss who's willing to risk hiring an under qualified (or outstandingly creative) employee for the chance on a fresh point of view, and the joys of seeing said underdog rise to the top, against the norm, utilizing random luck at every turn, and combating jealous coworkers. The pattern is simple, the outcome is assured, and while no scene dares to stare originality head on, this fluffy, flamboyant romantic comedy manages to entertain unexpectedly.

The story of the battle of Iwo Jima between the United States and Imperial Japan during World War II, as told from the perspective of the Japanese who fought it.

Ken Watanabe: General Kuribayashi

A well executed movie with a powerful, historical significance. Told from the side of the Japanese as they prepare to protect Iwo Jima from American invasion.
Some scenes especially the suicide deaths are quite graphic, and the action in it has a gritty, tense, war-drenched realism to it.
Fantastic diverse range of Japanese actors, Ken Watanabe always impresses. Would like to watch this again, very powerful, very emotional, very relevant and historical. Lets all take notice of the past for the future.
In the second half of Letters from Iwo Jima a group of Japanese soldiers find an American who has been badly wounded and take him into their cave. Their general speaks English, so he begins talking to this soldier, whose name we later find out is Sam. Although the two men should be sworn to kill each other, they are able to have a connection in the one conversation they have. A while later, the general comes back into the room only to discover that Sam's wounds have killed him. He searches him for a while and discovers a letter written by his mother. The letter is full of words that truly come from the heart of this kid's mother, and by the time the general finishes reading the letter, every soldier in that cave has realized that Americans aren't these savages; these hate-driven murderers. No, they all realize that Americans are exactly like they are, and that they don't want to be there and want to return home safely just like their enemies. I believe the point that Clint Eastwood is making with his Iwo Jima saga is just this: these two enemies were far more alike than they had imagined and they were both fighting only in hopes of returning home safely to their family.

''I don't know anything about the enemy. I thought all Americans were cowards. I was taught they were savages.''

As for the specific film itself. In just about every way imaginable, this absolutely brilliant film is a step up from Flags of our Fathers (which is not something I say easily, as "Flags" is a terrific film as well). From the acting of the incredible ensemble cast, to the film's delicate but powerful script, to the beautiful imagery of the film (the colour distortion could not be any more brilliant), to Clint Eastwood's absolutely perfect knowledge of film and what works in a film like this.
The score, written by Kyle Eastwood(Clint's son), captures the feel of the movie better than any score written for any movie this year. It is very quiet music, but listening to it makes you think about all the people that die as casualties of war.
The acting is truly phenomenal. All of the actors do incredible, extraordinary work, although I must single out two actors in particular who really blew me away. The first is Ken Watanabe. I haven't seen any of his native work, but I can safely say based upon his American studio work (The Last Samurai, Memoirs of a Geisha and of course this film) that the man is a force to be reckoned with. I simply hope that he is not reduced to roles in vain of Chow Yun-Fat or Jet Li in their American films. He adds such an atmosphere of wisdom, intelligence and determination, quite the opposite of how the Japanese enemy is usually portrayed in WWII films. His character is entirely human and not reduced to a suicidal, angry general type, which is probably what many people would expect. The second is Kazunari Ninomiya, who plays Saigo. What a heartbreaking performance this actor provides. He is small, scrawny, not built for war. He has trouble fitting in. His expression is that of constant exhaustion. But his determination to live and to honour his general over himself is touching and fascinating to watch. His delivery and performance in general is absolutely stunning.

''We can die here, or we can continue fighting. Which would better serve the emperor?''

In terms of themes, the most intricate and important aspect of the film is its examination of the psyche of the warfare itself. In Flags of our Fathers, like in his earlier films such as Unforgiven, Eastwood portrays an examination and dissection of heroism and what it meant both for those who are labeled heroes and those who did the labeling. With Letters from Iwo Jima, Eastwood studies the exact opposite of the spectrum; glory. It's almost as if Eastwood is more fascinated with the Japanese comprehension of heroism than the American one. The Japanese soldiers in the film don't have such a thing as heroism to begin with. What they do have is glory and honour. They accept their clear and present defeat with humbleness and modesty, perhaps too much so as they rather take their own lives than fall into the hands of the enemy. If Flags of our Fathers was a criticism of wartime splendor and heroism, Letters from Iwo Jima is a modest glorification of these elements.

In essence, with Letters from Iwo Jima, Eastwood creates a new kind of war film that stands quite apart from its counterparts both because it portrays the side of the enemy but also and especially because it takes extra special care in emphasizing the human aspect of the soldiers it depicts, humanizing and characterizing them to endless extent. As a psychological study of warfare and as a history lesson, Eastwood has crafted a truly masterful and meaningful piece that's riveting and fascinating as it is intricate and complex. One of the best films of the year.
To sum it all up, Letters from Iwo Jima is one of the greatest war films ever made, and easily does the best job of depicting war as something that harms all involved that I have ever seen. Clint Eastwood has, with this achievement, engraved his name as one of the greatest American directors in film history.

''A day will come when they will weep and pray for your souls.''

Two best friends become rivals when they schedule their respective weddings on the same day.

Kate Hudson: Liv

The romantic comedy is a type of film that relies on two obvious traits, the ability to make its audience laugh, and the ability to make that very same audience tear-up or at least feel some degree of warmth towards the central characters' love story. Bride Wars, which ostensibly at least, takes the form of your typical rom-com is an example of such that constantly tries to do the former and only hints at the latter only in the background in order to advance plot. The result from this is a middling and sluggishly mundane feature that neither offers memorable characters or even a few cheap laughs. To be fair, there has to be something said for the fact that I am not exactly within the movie's target audience criteria. Yet judging by the reactions of those around me, I got the feeling that what I was experiencing wasn't exclusively restricted to gender.

The story here, which zooms and focuses upon two best gal-pals Liv (Kate Hudson) and Emma (Anne Hathaway) as they try to cope with their simultaneous weddings, is one that is likely to get a few chuckles from females, but less so with their male counterparts. Yes, this is somewhat expectant of a movie titled Bride Wars, but then again, if half of your audience are neglected to the sidelines then you're needlessly cutting yourself short. This stunted, polarizing depiction of "every girl's biggest day" feels fitting to its source material, so women will enjoy this moreso than men, but not by much. You see, aside from the fact that Bride Wars wants nothing more than to cater to cheap gags and sappy melodrama fit to please the Legally Blonde enthusiasts, there also remains blatant problems in just about everything else that fills the movie's first two acts. With little romance to back up the flimsy plot, dull, dry characterization coupled with non-existent chemistry between either the friends and their partners, or even themselves, the vast majority of Bride Wars turns ugly, rather quickly, the movie pushes that this cat fight between Hudson and Hathaway is meant to be fun and airy with plenty of laughs, but it's too transparent and formulated to even move beyond dry caricature.

It doesn't help at all that the majority of the performances from the main cast are remotely daft. Hudson and Hathaway, who are supposed to playing long-time best buddies whom suddenly fall out over a petty dispute, are strangely forgettable, if not repelling, like a pair of unidentifiable twins. In all fairness, both hit the proverbial hammer on the head with their portrayals as stock-pile, cardboard cut-out typecasts befitting of the genre and only the genre, but this isn't exactly saying much. The remainder of the cast, who each have around ten minutes tops of total screen time are just as unremarkable, with Kristen Johnston giving the movie its only real favour and edge. So, what's worse than a romantic comedy with next to no compelling or memorable performances? Not much.

To be lenient however, Bride Wars isn't really a romance at all. At least, that's what I derived director Gary Winick was trying to put across. If anything, the movie exists more as a mildly poignant example of companionship in the form of friends rather than romance. This tangent, which takes full form in the third act, for the most part surpasses the drudgery that comes beforehand, and establishes a touching, if slightly overly done sentimental climax. By all means, it's far too little, too late, but I at least found myself moved by the movie's final statement, even if it was by means of extreme contrast. Yet had Winick went with this theme for the majority of his film, rather than save it for after all the silly, perfunctory cat fight scenes that in turn just about destroy all human shades within his characters, Bride Wars could have been a much more flowing, and relevant feature instead of a strangely wafer thin comedy piece. Instead it exists simply as throwaway popcorn fodder for girls on a night out who have nothing better to do than to revisit the same old characters, wacky situations and sit-com dialogue typical of your average Top Model episode. This is certainly no Devil Wears Prada and it's definitely not going to be affirmatively, kept in memory.

''...But there's also the chance that the one person you can count on for a lifetime, the one person who knows you sometimes better than you know yourself is the same person who's been standing beside you all along.''

Two Boston area detectives investigate a little girl's kidnapping, which ultimately turns into a crisis both professionally and personally. Based on the Dennis Lehane novel.

Casey Affleck: Patrick Kenzie

In his directorial debut, Ben Affleck has completely morphed himself into an emerging artist and even more talented director. Gone Baby Gone might be the most innovative and moral challenging film of recent years. This is the story of young Amanda, a little girl who mysteriously disappears from her home and the activity and dangers that befall upon the people involved in her rescue.

The film stars Affleck's brother Casey as Patrick, in his most challenging and engrossing performance to date. Not since Sean Penn in Mystic River has a role been so subdued yet immensely victorious and depth defying in choice of delivery and spot on emotions. Casey Affleck has paved the way for himself in roles that demonstrate the actor's showcase and give the performer range. It's a bit odd what to make of the younger Affleck in the upcoming awards season. He fairs a better shot for his earlier raved performance in The Assassination of Jesse James by the Coward Robert Ford for a nomination, but his performance in Gone Baby Gone is just as important.
Ed Harris, who's been long overdue for Oscar recognition is purely haunting in his role as Remy, a hard-nosed cop looking for young Amanda. In one scene in particular, Harris shines and gives his best portrayal since The Hours. Although his character is a bit one-dimensional, Harris elevates the material and turns it into his show and steals frame after frame in a role easily submerged in a picture like this.
Morgan Freeman, in a role we have not seen him in before, plays Captain Jack Doyle, the head of the missing persons unit with personal experience in the loss of a child. Freeman, although absent for most of the narrative, sugar coats the top acting talent in the picture. Freeman's agenda into more range projects in his older career is reaffirming his Oscar win in 2003 for Million Dollar Baby, but now with the more rewarding films worthy of consideration.
Michelle Monaghan plays Angie, Patrick's significant other who's personal fears interfere with her involvement in the case. To be honest, Monaghan gets lost in the shuffle and while the audience empathizes with her throughout the latter of the film, she's placed into a role easily overshadowed by stronger supporting casting. Perhaps being the only strong woman role would have gave us something to awe at, but not with the guns at full blaze at the hands of Amy Ryan.
Ryan plays Amanda's mother Helene, definitely not the most likable of characters but tragic in character arc. It's like a full on tennis match going back and forth with Ryan and audience; the viewer is hating her one moment and then needing to hold her the next. Helene is multi-layered and grasps her own importance of parenting and the whole film it becomes a fallen angel lost in the crossfire of conception. That is the tragedy of the film, a film not only about the loss of a little girl, but the loss of innocence and the torment that betrayal brings, guilt and corruption can weigh heavily upon our very soul.

Ben Affleck is completely in control of proceedings, which he has lacked in his acting. He knows what the mission is of this picture and would gladly take a spot amongst some bigger, older talents among Oscar prospects this year. Along with Co-adapting the film with Aaron Stockard, if Oscar is feeling like inviting Affleck to the Kodak, the screenplay category seems like a better fit, especially with an already win for Good Will Hunting. Other possibilities for consideration is wonderful cinematography by John Toll and a great musical score by Harry Gregson-Williams.

Comparisons to Mystic River are all about, being done by the same author how could we expect no less. Mystic River had more of the message of the domino effect of one's actions on others, Gone Baby Gone brings it to a whole new level and scope. This film is about a society, a society who has lost the importance of innocence and the beauty of life. It focuses on the beauty of children and rest assure, when the film is over, if you're not yearning to be a better parent of embrace a child as a blessing, there is probably emptiness in your chest. This film is altogether realistic, truthful, beautiful and spectacular. A must-see film of the year and a pleasant surprise coming from Ben Affleck.