bogdan mihai (neagamb)

The entire cast is great, but it's really Bullock's performance that lifts The Blind Side above the typical sports drama. Bullock is ferocious as Leigh Anne, a real powerhouse of a woman who doesn't take no for an answer. It's a side of Bullock we haven't seen before on film, and The Blind Side really benefits from her ability to go there and not back down playing this woman who finds herself while helping out a homeless teen.

The Blind Side's a feel-good film that should attract both sexes due to the subject matter. There's gridiron action as well as fully developed characters in this compelling tale of family and football. To paraphrase a quote from an ex-NFL coach, The Blind Side is what we thought it would be, but it's also a whole lot more. Inspiring, heart-wrenching, warm, and funny, The Blind Side is a real winner.

The simplicity of the story and filmmaking is deceivingly perfect; there's a wealth of significant undercurrents to the film - the complexity of the father/son and surrogate father/son relationship, the disintegration of the American family, the willingness of people to believe what they're told, the determination of a boy to set things right within and for his family. These things are at the heart of the film, which is ultimately about a boy growing up, related through a loving sense of nostalgia that evolves into an acceptance of reality and responsibility.

The casting is, unsurprisingly, impeccable. Leonardo DiCaprio has been selective in his roles since Titanic and has had little luck as a result, but his performance here is a testament to his possibilities as an actor and a star. DiCaprio is undeniably charismatic here and makes the transitions in age from 15 to his mid-twenties with ease. There's also the subtle ways in which DiCaprio ages Frank in personality and spirit as his innocence slowly begins to fade. Tom Hanks is all process and heavy Boston accent as Hanratty, and his moments of development give one of the film's central relationships an added level (I just could'nt stop luaghing every time I heard "his Knock, Knock - joke"). Perhaps Hanratty wants the same kind of relationship with Frank as Frank wants with him. Christopher Walken's turn is remarkable. After years of seeing him playing eccentric villains or other assortments of criminals, to see him pull off a hard-working father with such a complete sadness to him is a revelation.

As if Spielberg hasn't shown himself to be the foremost American cinematic storyteller yet, Catch Me If You Can solidifies his status even more. This is the kind of film that reminds you of the absolute enjoyment of watching a great story in the hands of a great director and cast working with a love for the cinema that radiates from off the screen. But let's get one thing straight: Spielberg doesn't automatically make great movies because he's a great director; he's a great director because he has the ability to make great movies. Catch Me If You Can is one of them.

The Last Samurai overcomes its formulaic story to some degree in its execution. Japanese culture and history clearly fascinate director Edward Zwick. His team created authentic sets and gorgeous costumes and took copious advantage of the beautiful surroundings, especially the small town of Himeji. The attention to detail becomes a bit much, however, as the samurai prepare for their final climactic battle--several of these scenes could have been cut. But Zwick really shines as the battle finally begins: When the outnumbered samurai make their last stand, charging a hillside of Imperial soldiers armed with rudimentary machine guns, it's with the same doomed bravado the director captured in Glory when the black Civil War soldiers fought their last battle. The emotional impact continues when the battle ends and the entire Imperial army--made up mostly of Japanese peasants who have been turned into soldiers but cannot suppress many of their own beliefs--bow down on the battlefield to honor the fallen samurai. It's certainly a memorable moment. All the acting performances in this film are top notch, and I wouldn't be surprised if Watanabe was nominated for an Oscar. Cruise gives a convincing performance of the transformation from a broken man who cares about nothing to someone who cares so much for these foreign people that he's willing to die for them. The only problem with Cruise is his "stardom." He's such a huge mega-star that it's often impossible to forget you are watching Tom Cruise dressed up as a samurai, which is more than a little distracting. The Last Samurai is a breathtakingly beautiful film that is sure to land cinematography nominations. When the Japanese conscripts armed with muskets face down a charge of mounted samurai you will feal their fear. Kurosawa would be proud. While the story is not perfect, and we are forced to endure a few cheesy moments of Algren, it is undeniably powerful and moving. It's definetly a must see...

"Crash" shuns political correctness with an enthusiasm rarely observed in modern cinema: its characters say exactly what they think and feel providing for an uncomfortable but uniquely edgy experience. What Haggis seems to be saying is that we're all prejudiced in some way or another no matter how broadminded we like to think we are and his film takes a look at the aftereffects of that ignorance, of all that bottled-up resentment and intolerance. Bullock's character Jean sums the incendiary situation up best when she says she wakes up angry every morning and doesn't know why. It's because L.A.'s racial boundaries are so clinically defined, so stringent that the city's rich melting pot of inhabitants rarely comes into physical contact with one another on its bustling, dangerous streets. Bottom line, Crash is a masterpiece, thought provoking film that encourages dialogue on racism and ignorance. Given the tumultuous state of our current society this is indeed a positive thing.