Happy-Go-Lucky

HAPPY-GO-LUCKY (2008) - Feb. 24, 2011
An enjoyable character study about an extremely cheerful London schoolteacher and what happens to her over the course of a couple of months, including getting weekly driving lessons from an irratible driving instructor.  Featuring above-average writing and direction from Mike Leigh (do I need to reconsider my opinion of the man?) and some really good performances (particularly Sally Hawkins in the main role), the film is a bit slow but quite entertaining throughout.  ***

Isolation

ISOLATION (2005) - Feb. 23, 2011
A solid little horror film about a genetic experiment on cows gone wrong, leaving a farm owner and some visitors to contend with strange creatures.  Shades of Cronenberg, as well as the original Alien.  The film is quite well directed by Billy O'Brien, who has a keen eye for visuals as well as an ability to really effectively build tension.  The film is sort of a slow burn, but the earlier, tension-building stuff is just as good as the later more in-your-face horror stuff.  ***

The Special Relationship

THE SPECIAL RELATIONSHIP (2010) - Feb. 22, 2011
About the relationship between Tony Blair and Bill Clinton, this was a well made, enjoyable film, though not on the level of the Queen.  It feels a bit episodic, like a series of vignettes rather than a cohesive whole, but it was definitely entertaining and quite well acted -- both Dennis Quaid and Michael Sheen were very good.  ***

Ong Bak 3

ONG BAK 3 (2010) - Feb. 20, 2011
A direct sequel to the mediocre but passable Ong Bak 3, this was an almost incomprehensible mess of a film.  I know there were supposedly some behind-the-scenes issues, which must be true because there is no possible way that anyone involved could have wanted the film to turn out the way it did.  The characters are non-existent, the plot barely makes sense, and the whole thing has zero narrative momentum, lurching haphazardly from scene to scene (scenes will often begin with no explantation as to what's going on, and will then end arbitrarily).  Much of the film consists of random Buddhist philosophy, and there's an interminably long strech in which Tony Jaa tries to recover from having most of his bones broken (including a lot of philosophy and dancing).  Seriously, so bad.  Even the action, which should have been the saving grace, is passable but mediocre (and far from abundant).  Boo-urns.  1/2*

I Spit on Your Grave

I SPIT ON YOUR GRAVE (2010) - Feb. 20, 2011
An intense, well made and kind of unpleasant film about a woman who is brutally gang-raped, and who then seeks elaborate vengeance on her rapists.  The brutal rape scene probably goes on a bit longer than it needs to (I think it could have been a few minutes shorter and still had the same impact).  One of my bigger issues with the film is the stuff immediately following the rape; the film bafflingly shifts its focus entirely to the rapists, and since we don't particularly know or care about these characters, seeing their post-rape lives just feels unnecessary.  It would have been much more interesting to see how the main character recovered from her ordeal, something which we don't get to see at all -- after the crime, we only see the girl from the rapists' point of view.  **1/2

Spiral

SPIRAL (2007) - Feb. 19, 2011
After the awesome Frozen and the terrible Hatchet, I wasn't sure what to think of Adam Green.  Well, I guess he's okay, because this was pretty good -- it's definitely not even close to Frozen, but it's a lot better than Hatchet.  About an artistic loner who is slowly befriended by a coworker, the film was obviously made on a small budget and looks pretty low-budgety, but for the most part is pretty well made, with good performances (particularly Amber Tamblyn and Zachary Levi).  It's a bit slow, though never boring.  The whole time I was thinking that I had the movie figured out, and at the end, there was the twist I was expecting -- but then the movie managed to catch me completely off guard with a second twist that I found to be completely unexpected.  I was thinking I'd give this movie two-and-a-half, but the film did such a good job of playing with my expectations with that second twist that I think I have to bump it up.  ***

Cedar Rapids

CEDAR RAPIDS (2011) - Feb. 18, 2011
An enjoyable comedy about a naive insurance salesman who leaves his small town for the first time to go to a convention.  Well directed by Miguel Arteta, though not as good as his last film, Youth in Revolt.  The film was fairly low-key; what really sold it was the real sense of comraderie between the four leads (Ed Helms, John C. Reilly, Anne Heche and Isiah Whitlock Jr.).  Helms, in particular, was quite good, and made for a very likable lead.  Reilly was also quite funny, and stole most of the scenes he was in.  ***

Carriers

CARRIERS (2009) - Feb. 17, 2011
There was nothing here we haven't seen before, but this was still a well made and entertaining genre film.  About a group of four people traveling across the country in a post-apocalyptic America (a deadly flu-like virus has wiped out most of the population), this was obviously not the first time we've seen a film with a cross-country, post-apocalyptic road trip -- but it works, because it's fairly well made, and the characters are engaging (Chris Pine gives futher proof that he should be big soon, and Christopher Meloni gives a memorable turn as a father desperate to save his daughter).  ***

Biutiful

BIUTIFUL (2010) - Feb. 16, 2011
A haunting, gritty drama about a father of two who finds out he's dying, this was a well made film, but another disappointment from Alejandro González Iñárritu.  It was definitely solidly crafted, and Javier Bardem gives a pretty stunning performance in the lead role, but I was just never really sucked in like I was for Iñárritu's first couple of films.  It was never boring, but it wasn't even close to being on the same level as the electrifying Amores Perros.  ***

I'm Still Here

I'M STILL HERE (2010) - Feb. 15, 2011
A mockumentary about Joaquin Phoenix's decision to stop acting, and to pursue a rap career, I'm not entirely sure what the point of this film was.  It's vaguely amusing, but clearly not going for Spinal Tap-esque laughs.  It doesn't have anything particularly insightful or interesting to say about the nature of celebrity or the effect that being in the limelight has on a person (unless the point is supposed to be that it makes you completely nutso).  Just in terms of the story it's telling, it's not particularly compelling.  The character Phoenix plays is more grating than anything else, spending the whole film alternately whining and mumbling.  So... what's the point, exactly?  *1/2

Revenge

REVENGE (1990) - Feb. 14, 2011
Not even nearly as electrifying as you'd think a movie called "Revenge" would be, this was a somewhat dull film about a ex-fighter pilot who goes to stay with a shady Mexican crime lord (and how those two met, something about saving the crime lord's life, is left somewhat vague, like many of the plot points in the film) and winds up falling in love with his wife.  Though the whole film is pretty slow, it's the first hour or so that really sinks the film -- the characters aren't really compelling enough to support the almost completely uneventful first half of the movie.  It doesn't help that Kevin Costner's character is fairly bland, and he doesn't have much chemistry with Madeline Stowe.  The film does improve somewhat once stuff starts happening, but it's kind of too late by then.  **

Blue Valentine

BLUE VALENTINE (2010) - Feb. 12, 2011
A well made and exceptionally well acted film about a couple who fall in love, and whose relationship eventually disintegrates completely (the film jumps back and forth in time from happy to sad).  Really, really well acted by Ryan Gosling (what a crime he wasn't nominated) and Michelle Williams, the film is otherwise solid but not quite on the same level as the performances.  ***

Welcome to the Rileys

WELCOME TO THE RILEYS (2010) - Feb. 11, 2011
A well made drama about a middle-aged businessman who befriends a young prostitute while on a business trip in New Orleans.  Very well directed by Jake Scott, who has obviously inherited more than a little of his father's talent (in fact, this was probably better than anything the elder Scott has made since Kingdom of Heaven).  The movie was also extremely well acted, which is a big reason that it works as well as it does -- James Gandolfini, Kristen Stewart and Melissa Leo all give top-shelf performances that probably rank among their best.  I really enjoyed this film  -- it was well made and featured three very compelling characters.  ***1/2

Cactus

CACTUS (2008) - Feb. 10, 2011
Meh.  A mediocre drama/thriller about a guy transporting a man he abducted across the Australian countryside.  There's a long stretch in which the film keeps us entirely in the dark about what's happening (e.g. why the man has been abducted) -- I would imagine that the intent was to establish a vibe of intriguing mysteriousness, but instead it just comes off as annoyingly vague.  Things don't entirely improve when we finally do find out the situation, as the dynamic between the two men is never all that interesting.  Plus, the film kind of fails as a thriller (there just aren't that many thrills) and the characters aren't good enough to sustain the movie on their own.  It was decently made, I guess, and I was never bored -- but the whole thing felt kind of pointless.  **

The Thin Man

THE THIN MAN (1934) - Feb. 9, 2011 (Second Viewing)
I liked this film, though there really isn’t any particular reason to remember it other than for William Powell and Myrna Loy’s memorable performances and their remarkable chemistry (which is enough, certainly — though it would have been nice if the movie that surrounded them were a bit better). All the scenes in which they are just talking, just exchanging jabs and one-liners, are pretty great and certainly worth the price of admission alone. Nick and Nora Charles are obviously a supremely memorable couple, and just plain fun to watch. Powell especially gives an amazing performance, and his seemingly effortless charm makes already funny dialogue even funnier.  The problem here, however, is that quite a lot of screen time is dedicated to the convoluted and, frankly, fairly uninteresting mystery (the characters surrounding the mystery are equally forgettable). The plot involves a missing man and a series of murders, and there are so many side-characters and suspects that, by the time Powell’s character had assembled them all for a dinner party at the end of the film, I was having a hard time remembering who was who (or caring, for that matter). It’s a testament to how good Powell and Loy are that, despite these not-insignificant problems, the film still comes off quite well; I’d recommend it without hesitation. Clearly, there is a reason why they made so many sequels.  ***

The Damned United

THE DAMNED UNITED (2009) - Feb. 7, 2011
An enjoyable film about Brian Clough, a cocky soccer coach (sorry: football manager) and his doomed effort to make it as the manager of Leeds United.  I actually had absolutely no knowledge of the whole story going in, which turned out to be a good thing (I sort of figured that the film would follow the usual template and that Clough would ultimately whip his team into shape and be victorious, which was obviously not the case).  I was always entertained, though the soccer-heavy narrative was a bit much at times (there was almost nothing of any of the characters' personal lives; it was all soccer all the time).  Still, it was well made, and more importantly, very well acted: Michael Sheen was as good as ever as Clough, and the always reliable Timothy Spall was just as good as his assistant.  ***

Stone

STONE (2010) - Feb. 6, 2011
A surprisingly good film about a soon-to-retire parole officer who finds himself mixed up with a prisoner and his wife.  Robert De Niro gives what is probably one of his better performances of late, though he's still a shadow of his former self (it's sad that out of Edward Norton, Milla Jovovich and Robert De Niro, it's De Niro that gives the weakest performance -- by far).  Despite that, the scenes between De Niro and Norton are pretty great, and it's kind of fascinating trying to figure out who's playing who and who knows what.  The whole thing builds to an ending that's ambiguous, but kind of perfect.  John Curran's assured direction goes a long way towards making the film as effective as it is, as does the moody, ominous score (apparently by Jon Brion and members of Radiohead).  The film isn't exactly a thriller, but it has a slow-burning intensity that keeps you on the edge of your seat despite the more deliberate pace.  ***1/2

Sanctum

SANCTUM (2011) - Feb. 5, 2011
Hmmm... not so good.  It's kind of mystifying that James Cameron would put his name on such a subpar film, but then I guess all the underwater exploration was enough to make him interested -- shoddy plot and characters be damned.  Director Alister Grierson did a decent enough job with the action stuff -- the parts with the characters in peril were fine, if nothing particularly special.  The big problem here was with the script; the characters were all completely bland and unmemorable, making it tough to root for them when stuff starts to go bad.  The performances were mostly pretty terrible (Richard Roxburgh was pretty much the only one in the bunch who actually gave an okay performance), though it's quite likely that it's the script at fault rather than the actors themselves -- the dialogue ranges from barely acceptable to cringe-inducingly bad.  The first half hour or so was almost completely unwatchable, though the film does pick up a bit once stuff starts happening.  The film also improves once the cast gets whittled down enough for the film to focus on the father/son dynamic between the two main characters (the only two half-way decent characters in the bunch, despite the son's blandness).  Given JC's involvment with the film, this should have been so much better.  Also: 3D continues to suck.  **

The Mechanic

THE MECHANIC (2011) - Feb. 4, 2011
A kind of mediocre but basically entertaining film about a hitman who begins training the son of his mentor (who he was tricked into killing).  Jason Statham gives an expectedly solid performance, and Ben Foster was good as his protege.  The film seems kind of sloppily written in parts (i.e. Statham discovering that he was played relies on a huge coincidence that feels pretty lazy, it seems like he could have easily found out the truth about his boss with one phone call, an action sequence involving a cult leader has absolutely no connection with the rest of the film, etc.).  Simon West's direction is fine, for the most part, but the action is a bit more shaky/quick-cutty than I'd like (it probably doesn't help that Hard-Boiled, one of the finest action films I've ever seen, is still pretty fresh in my mind).  Also, CGI blood is used extensively, and I continue to be mystified by its current pervasiveness -- it always looks awful.  Meh.  **1/2

Hard-Boiled

HARD-BOILED (1992) - Feb. 3, 2011
Oh man -- why did I wait so long to watch this movie?  I've gotta watch some more of John Woo's pre-Hollywood stuff.  About a gritty cop who wants to take down an illegal firearms dealer with the help of an undercover officer, the film itself (i.e. the non-action stuff) was fine.  Ho-hum and a bit dated in parts, it did a decent enough job of setting up the characters and keeping things moving between the action.  Oh man, the action.  Finally, after having only watched Woo's American films, I see why the man is regarded as a legend; the action in this film is almost ridiculously good.  Always engaging, exquisitly staged and featuring amazingly kinetic camerawork that never feels overbearing, I think the shootouts here are among the best I've ever seen.  Certainly, the last scene, an epic half-hour shootout set inside a hospital, is a pretty stunning accomplishment.  You'd think a shootout that lasts that long would overstay its welcome, but oh man it does not.  So good.  There's also a scene in which Chow Yun-Fat takes on a warehouse full of guys that's pretty jaw-dropping.  Why weren't any of John Woo's American films even close to this good??  ****

The Killer Inside Me

THE KILLER INSIDE ME (2010) - Feb. 1, 2011
About a sociopathic deputy sheriff in the 1950s who starts killing people, this was a handsomely made but meandering film that ultimately feels kind of empty.  Featuring yet another very good performance by Casey Affleck, the film is otherwise decent enough but just not particularly involving.  It feels kind of disjointed; we never particularly get to know the characters well enough for the low-key, plotless narrative to really work.  The controversial murder scenes were fairly disturbing, but they don't have much of an impact beyond the surface level, because we don't particularly care about the characters.  **

The Lost Weekend

THE LOST WEEKEND (1945) - Jan. 30, 2011
I really liked this film. It takes what seems like a fairly limited premise and turns it into something pretty special. Kudos must go to star Ray Milland for his nuanced performance. When he tries to rationalize his addiction near the beginning of the film, he’s so charming that you almost believe him.  It quickly becomes apparent, however, that this is a man who is completely ruled by his nearly crippling addiction. Milland does a great job of really selling everything that his character goes through, from his near-exuberance at the start of the movie to his increasing desperation to satisfy his cravings (he has limited funds, and spends all his time either drinking or figuring out where his next drink is coming from).  There’s something grimly compelling about watching Milland’s inexorable descent and his complete powerlessness to his own addiction. Every time you think “surely, this is rock bottom,” things manage to get even worse. The whole thing might have come off as over-the-top or even preachy under a lesser director, but Billy Wilder directs the film with a sure hand, and never allows it to be overtaken by melodrama.  ***

Maid in Manhattan

MAID IN MANHATTAN (2002) - Jan. 29, 2011
An enjoyable romantic comedy about a maid and a politician who fall in love; only, the poltician thinks the maid is a rich socialite.  Typical romcom drama ensues.  This was a by-the-numbers romantic comedy, elevated by good performances (it's bizarre seeing Ralph Fiennes in a romantic comedy, but he does quite well and has definite chemistry with an equally good J-Lo) and solid direction from Wayne Wang.  ***

Whip It

WHIP IT (2009) - Jan. 28, 2011
A basically entertaining film about a girl from a small Texas town who discovers her love for roller derby.  The film was well made and well acted, but it definitely drags in parts; it's 111 minutes and it probably shouldn't have been much longer than 90.  Drew Barrymore does fine in her first directorial effort, and all the performances were good (and it was a treat to see Daniel Stern again, even in a small part -- the man definitely needs to act more).  **1/2

Down by Law

DOWN BY LAW (1986) - Jan. 27, 2011
I have a few issues with Down by Law. My main issue is that the two main characters, played by Tom Waits (in a fairly mediocre performance) and John Lurie (in a performance that isn’t exactly great, but which looks pretty good next to Waits) are not particularly compelling at all. Neither is particularly likable or interesting, so spending 107 minutes with them becomes a bit of a chore. This is exacerbated by the total absence of a plot, which makes the shoddiness of the characters all the more apparent. Then there’s the boisterous Roberto Benigni, who seems to be playing a variation on himself (complete with the name Roberto). He’s a much more interesting figure than the other two, though he does kind of seem out of place, like he randomly wandered onto the set and was inserted into the movie on a whim.  The movie also really takes its time, with long stretches in which not all that much happens.  I did like Robby Müller’s black and white cinematography. Aside from that? The film wasn’t terrible, I suppose. I’ve certainly seen worse. But considering its stature as an American independent classic, I was disappointed.  *1/2

The King's Speech

THE KING'S SPEECH (2010) - Jan. 26, 2011
An enjoyable crowd-pleaser about King George VI's struggles to lose his stutter, and the friendship that blossoms between him and his doctor.  A solid film, though perhaps a tad overrated (I mean, I certainly enjoyed it, but I'm not sure if it would even be in my top 20 of the year, let alone my top 10).  Colin Firth was definitely really good though, as were all of the performances.  Tom Hooper's direction was good, though his pervasive use of ultra-wide angle lenses was a bit odd.  ***

Me and You and Everyone We Know

ME AND YOU AND EVERYONE WE KNOW (2005) - Jan. 25, 2011
An enjoyably odd film about a recently divorced father of two, and a quirky performance artist.  The film really isn't about much -- there's the father, the artist, and some of the people surrounding them (the father's kids, his friend, the artist's older friend, a woman she submitted her art to, etc.) and we just sort of see them go about their lives, and the effect they have on each other.  It works, partially because director/star Miranda July never allows the film to become overwhelmed by the quirk (as tends to happen in indie films of this ilk); there is an endearing earnestness here that keeps the film likable and relatable despite its stylization.  It's also really well acted, both by July herself, John Hawkes (who I am just now starting to really appreciate, after being marginally aware of him for several years), and the supporting cast.  ***1/2

Inhale

INHALE (2010) - Jan. 23, 2011
A gritty drama/thriller about a father who travels to the seedy underbelly of Mexico in an attempt to secure an organ transplant for his dying daughter.  Featuring an above average performance from Dermot Mulroney, the film is quite engaging throughout, and pretty tense in parts.  It feels sort of familiar, but it's well directed by Baltasar Kormákur and overall very well made.  ***1/2

The Green Hornet

THE GREEN HORNET (2011) - Jan. 22, 2011
A fun, if somewhat slight superhero film about a party-animal millionaire whose dad dies, and who then decides to take on a crime-fighting persona.  Stylishly directed by Michel Gondry, the film was not without its problems -- Christoph Waltz made for a completely ineffectual villain, as seemingly all of his scenes were played for laughs; the lengthy fake break-up between Seth Rogen and Jay Chou seemed completely unneccessary (and certainly didn't need to go on for as long as it did); the final action sequence overstayed its welcome a bit -- but Rogen and Chou had good chemistry, and the film was entertaining throughout, even if it played out more like an Apatowian bromance than a typical superhero film.  ***

The Open Road

THE OPEN ROAD (2008) - Jan. 21, 2011
Meh.  Not nearly as compelling as the premise/cast would lead you to believe, this was a decent film about a guy who, at the behest of his ailing mother, goes on a road trip with his estranged father.  The film was decently made, but it was never particularly involving.  Jeff Bridges was expectly good as the reluctant father; Justin Timberlake was fine as the son, though his character was fairly one-note.  **1/2

Love and Other Drugs

LOVE AND OTHER DRUGS (2010) - Jan. 10, 2011
An enjoyable dramedy about a slick pharmaceutical salesman who winds up falling in love with a Parkinsons patient.  Though the lighter first half probably worked better than the more melodramatic latter half, the whole thing was well made and entertaining enough.  Jake Gyllenhal and Ann Hathaway were both very good, though oddly enough, I'm not sure how great their chemistry was -- it occured to me towards the end that while I liked both characters and cared about both of them, I wasn't necessarily rooting for them to be together like I should have been.  ***

Season of the Witch

SEASON OF THE WITCH (2011) - Jan. 7, 2011
A fairly mediocre though basically entertaining film about a couple of Crusades-era soldiers who wind up getting recruited to trasport a witch across the country.  The film was almost absurdly low-rent, and looked pretty cheesy, though I'm not sure if it's the all-out disaster everyone is making it out to be.  I don't know -- I was super tired when I watched it, so it's hard to say.  **1/2

Despicable Me

DESPICABLE ME (2010) - Jan. 6, 2011 (Second Viewing)
I fell asleep towards the end (it was a long flight), but aside from that this was just as charming as I remember it being.  ***

The Other Guys

THE OTHER GUYS (2010) - Jan. 6, 2011 (Second Viewing)
Perhaps not quite as funny/entertaining as I remembered, but still enjoyable enough.  ***

Days of Heaven

DAYS OF HEAVEN - Dec. 30, 2010
Terrence Malick is best known for making some seriously beautiful looking movies, and on that level Days of Heaven  does not disappoint. Seemingly filmed entirely at either dawn or dusk, the film has a strikingly ethereal look, with almost every frame suitable to be enlarged and framed on your wall. It is a very good looking movie.  As for the straightforward plot; it’s fine. It gets the job done, but it’s fairly clear that had this film been directed by a middle-of-the-road director with no flair for visuals, it would have been immediately forgotten. There’s really nothing about the story or about the characters that particularly stays with you for very long after the credits have rolled. It’s really more the mood and tone that Malick manages to sustain that gives this film its power.  I liked this movie, but I can’t help but think that I would have absolutely loved it had the story been even close to being on the same level as the direction/cinematography.  ***

Tron: Legacy

TRON: LEGACY (2010) - Dec. 29, 2010
Not a masterpiece by any stretch of the imagination, but certainly a fairly sizable step up from the original, this was a decent enough film.  About the son of the protagonist from the first film, who gets sucked into the computer world and must find his way out, along with his father who has been trapped in there for years.  Though none of the characters are particularly compelling, director Joseph Kosinski obviously has an eye for visuals, and along with Daft Punk's memorable score, creates a film which is generally interesting to watch.  ***

Somewhere

SOMEWHERE (2010) - Dec. 28, 2010
Almost absurdly low-key, I enjoyed this film, though I do feel like it's Sophia Coppola's weakest effort.  About a disaffected playboy movie star who spends a couple of weeks with his daughter, the film was certainly well made and well acted, if a bit disappointing given Coppola's previous work.  I liked and felt for Stephen Dorff's Johnny Marco (and Dorff is probably better here than I've ever seen him), but the film did feel a bit aloof.  I'd definitely like to see it at least one more time before I fully pass judgment on it, but it does feel kind of like lesser Sophia Coppola.  ***

Winter's Bone

WINTER'S BONE (2010) - Dec. 27, 2010
About a determined young girl who decides to track down her father after she finds out that she'll lose her home if he doesn't show up in court.  The film unfolds at a fairly meticulous pace, but it remains compelling throughout -- there's something kind of fascinating about the insular, forested community in which everyone seems to be distantly related.  The performances are uniformly pretty great, particularly Jennifer Lawrence and John Hawkes.  I also really liked the sparse, almost hard-boiled dialogue.  Good stuff.  ***1/2

Scott Pilgrim Vs. The World

SCOTT PILGRIM VS. THE WORLD (2010) - Dec. 26, 2010 (Second Viewing)
Visually stunning and directed with a ridiculously kinetic style by Edgar Wright (who always manages to make sure that the style never overwhelms the viewer or overtakes the story), this was definitely a very good film, though I still don't think it's on the level of Wright's last two movies (particularly Shaun of the Dead).  I never quite had the emotional attachment to Scott Pilgrim and his chums that I did to Shaun and Ed, but this is still definitely a primo film, and more proof (in case anyone still needed it) that Wright is a serious talent.  ***1/2

Futurama: Into the Wide Green Yonder

FUTURAMA: INTO THE WIDE GREEN YONDER (2009) - Dec. 25, 2010
The last film in the four-film Futurama series, this continues the general descent in quality from the other films.  But still, it's Futurama, and even subpar Futurama is pretty sweet.  **1/2

True Grit (2010)

TRUE GRIT (2010) - Dec. 23, 2010
About a young girl who hires a surly gunslinger to catch the man responsible for killing her father, I think it's almost redundant at this point to say that this was masterfully directed, considering that this is a Coen brothers film.  It's also very well acted, with Hailee Steinfeld easily holding her own against Jeff Bridges and Matt Damon (who gives a scene-stealing performance as a conceited Texas Ranger).  I wasn't sure if this was a very good film or a great one when I first watched it, but the more I think about it the more I'm leaning towards the latter.  ***1/2

And Soon the Darkness

AND SOON THE DARKNESS (2010) - Dec. 22, 2010
An egregiously mediocre film about a couple of girls on vacation in backwater Argentina who find themselves in serious trouble when one of them is mysteriously abducted.  Seemingly cobbled together wholesale from about a dozen other movies, there isn't a single element here that feels original or fresh.  Of course, with a thriller like this, it's definitely possible to take a completely unoriginal premise and still do great things with it -- assuming that the film is well excecuted and exciting.  Alas, this was neither well executed or exciting.  Made without an ounce of originality or intelligence, the film was competently directed by Marcos Efron, who isn't the worst director ever, but who definitely lacks the finese to elevate a lacklustre screenplay such as this to anything particularly watchable.  There is really nothing here that particularly works -- the part establishing the two characters doesn't work, because both characters are empty cliches (the party girl and her uptight friend), the uptight friend's investigation is dull and pointless, because we're always two or three steps ahead of her, and the more action-heavy final fifteen minutes or so just feels perfunctory and anti-climactic.  Plus, all of the "twists" are almost laughably predictable (what?  That shady small-town cop was in on it all along?  NO WAY!).  It probably doesn't help that Efron is unwilling (or unable) to establish any kind of tension or suspense.   Blech.  *1/2

2001: A Space Odyssey

2001: A SPACE ODYSSEY - Dec. 21, 2010 (Third or Fourth Viewing +3)
It's 2001.  On the big screen.  70mm.  So yes, it was awesome, though it would have been nice if the screen at the Lightbox had been slightly bigger.  ****

I Am Love

I AM LOVE (2009) - Dec. 20, 2010
A meandering and fairly pretentious film that is saved by an amazing visual style.  Impeccably directed by Luca Guadagnino, this is without a doubt a beautiful film.  It's so well directed, but at the same time I was never particularly entertained beyond consistantly being dazzled by the visuals and the direction (including the really effective use of John Adams' music).  It's completely plotless, and Guadagnino always keeps the characters at somewhat of an arm's length, so it's really hard to get particularly involved in the film.  But it looks so good...  **1/2

Tron

TRON (1982) - Dec. 19, 2010
A surprisingly boring film about a programmer who winds up sucked into a strange world run by computers.  The film's special effects, though probably mind-blowing at the time, seem quant and dated by modern standards.  Though the dated effects are actually the least of the film's problems; it just isn't all that entertaining.  It's kind of sluggish, and it never really felt like there was all that much at stake.  The whole thing felt like an excuse for the elaborate effects; the story and the characters were pretty weak.  **

The Fighter

THE FIGHTER (2010) - Dec. 18, 2010
Well directed by David O. Russell, this was an enjoyable and well made film about a mid-level boxer who has to deal with his overbearing family while trying to re-launch his boxing career.  Under a lesser director this story easily could have made yet another generic feel-good sports movie, but Russell and the screenwriters ensure that the movie is always a bit more interesting than that.  Featuring really impressive performances all around, this wasn't quite on the level of some of Russell's previous films, but it was still a really solid drama.  ***

The Rocker

THE ROCKER (2008) - Dec. 17, 2010
Well, I was tired and looking for a movie that I wouldn't have to think about too much, and this fit the bill perfectly.  About an aging drummer who is still having a tough time getting over being kicked out of a band (who went on to be superstars) twenty years earlier, and who then has a second chance at being a rock star.  Featuring a fun, earnest performance from Rainn Wilson (between this and Super, it's definitely clear that the man can do more than just Dwight) and a whole bunch of funny supporting roles (including people like Jason Sudekis and Jeff Garlin), I'm a bit baffled as to why this flopped so hard.  I mean, there's absolutely nothing here that feels particularly fresh (you know where the film is going every step of the way) but it was an enjoyable enough way to spend 100 minutes.  ***

Monsters

MONSTERS (2010) - Dec. 14, 2010
Well made and fairly impressive, given the budget, this was about a couple of Americans traveling through a Mexico in which, a few years earlier, aliens arrived and are now a part of the habitat (in "infected zones").  Writer/director Gareth Edwards does a really great job of making this seem like a real, lived-in world, and I was completely sold on the whole premise.  His direction, too, was quite good.  Not-so-good was his writing; Edwards does a fairly poor job of getting us to care about the two protagonists, though it probably doesn't help that neither of the two leads are particularly good, and lack chemistry.  Scoot McNairy, in particular, doesn't have the requisite charisma to make us care about his character, and comes off as more of a jerk than anything else (I could see someone like Ryan Reynolds making the part work).  Despite that I think the film generally works if only for the direction and the atmosphere that it manages to create; if the script and performances were a bit better, it could have been great, but as it is it's pretty good.  ***

The Fast Runner

THE FAST RUNNER - Dec. 14, 2010 (Second Viewing)
Yep, not so good.  I definitely did not need to revist this film, whose almost universal praise is nothing short of baffling.  Overlong, with amateurish visuals which do very little to capture the majesty of the Inuit landscape (in fact, in many scenes it's obvious that the filmmakers just left their camcorder on automatic; the exposure changes in particular make this fairly obvious) and mediocre performances, not to mention a storyline that is far from fresh (love triangles, power struggles, etc.).  If it weren't for the unique setting, this film would have almost certainly been forgotten almost instantly.  *1/2

Black Swan

BLACK SWAN (2010) - Dec. 11, 2010 (Second Viewing)
Yep, this is a great film, and though I wasn't sure on my first viewing, I'm now fairly confident that this was just as good as (if not better than) the Wrestler.  It's interesting watching this for a second time -- on the first viewing, a lot of the focus is on the mystery of it all, and trying to figure out what is real versus what is imagined.  The second time, knowing that the film is ultimately a portrait of someone who is slowly losing her mind to the immense pressure that she is under, the film feels pretty different.  This is definitely a movie that demands and rewards repeat viewings.  There are so many great things about this film, from Natalie Portman's astounding performance to Aronofsky's direction to Clint Mansell's memorable score -- a flat-out brilliant reworking of Tchaikovsky's Swan Lake.  I kind of want to see this again.  Right now.  ****

Polytechnique

POLYTECHNIQUE - Dec. 10, 2010
Though this has obviously taken more than a little inspiration from Elephant (much like 2:37, another school shooting movie), this was still a fairly powerful and very well made film about the 1989 school shooting in Montreal -- though like 2:37, it's not quite in the same league as the powerful Elephant.  Featuring impressive black and white cinematography, as well as effectively austere direction from Denis Villeneuve, the film is quite well made though it never really raises to the level of the aforementioned film.  ***

The Fast Runner

THE FAST RUNNER - Dec. 9, 2010
Well, I can't really say much about this film since I spent at least a quarter of it asleep (and as punishment, I have to watch it again in the next few days, a horrifying prospect).  Exceptionally dull and ridiculously uncinematic, I guess I'll find out soon enough if this is really as bad as I think it is, or if I'm being too harsh.  NO RATING

Yella

YELLA - Dec. 7, 2010
A well made if somewhat odd film about a woman who leaves home for a job, only to find that the job no longer exists.  Features a strange, dream-like tone and a twist ending that kind of invalidates the entire film, but it was basically well made, well acted and I wasn't bored.  **1/2

Lola

LOLA (1981) - Dec. 3, 2010
Featuring a an above-average early performance from Armin Mueller-Stahl, this was an otherwise fairly dull film about a by-the-book government official who is ultimately corrupted after falling in love with a prostitute.  Though Rainer Werner Fassbinder's colourful, technicolor-esque direction was decent enough, the film just moves too slowly to ever be particularly engaging.  *1/2

Veronika Voss

VERONIKA VOSS (1982) - Dec. 3, 2010
A flawed but interesting film about a washed-up actress who is manipulated by shady doctors who keep her addicted to pain-killers to drain her dry.  Featuring some really nice looking high-contrast black and white cinematography, the film is decent but kind of overwrought.  I was entertained enough for the first little while, but the film ultimately lost me.  **

Ali: Fear Eats the Soul

ALI: FEAR EATS THE SOUL - Dec. 2, 2010
This film owes a great debt to All That Heaven Allows. In fact, in many ways it plays like a loose remake of that film; both films have roughly the same plot, and Rainer Werner Fassbinder was certainly never shy about his admiration for Douglas Sirk.  It’s not a bad film. I’m not entirely sure it deserves a spot on the list, but Fassbinder was obviously an important director, and this is one of his most accessible films. It’s well directed and (for the most part) well acted.  My biggest problem with this movie is that there just isn’t all that much chemistry between the older woman and her young lover. There are a couple of reasons for this:
1) Brigitte Mira is just too old — she was 64 when the movie was made, and she looks more like 74. In contrast, Jane Wyman was 38 when she made All That Heaven Allows, and I had no problem believing that Rock Hudson could be sexually attracted to her. That definitely wasn’t the case here.
2) El Hedi ben Salem gives an exceptionally wooden performance, and lacks anything even remotely resembling charisma. This meant that not only was I having a hard time believing that he could be attracted to her; I was having a hard time believing that she could be attracted to him, with his robot-like personality. Apparently Salem was one of Fassbinder’s lovers, which does explain things somewhat. There’s clearly a reason why the man never acted in any films that weren’t directed by Fassbinder himself.
All in all, they’re not a particularly compelling or believable couple, which is kind of an issue when the film is essentially a love story. I can see why the movie is on the list, I guess — it’s definitely well made, and it’s entertaining throughout. If you can buy into the romance, you’ll probably enjoy it more than I did. Oh well.  **1/2

Summer in Berlin

SUMMER IN BERLIN - Nov. 30, 2010
A decent film about a single mother in Berlin and what happens to her over the course of a summer.  The film was well made an enjoyable enough, but nothing particularly memorable (it's a few months later -- I'm lazy -- and it's already pretty much exited my brain entirely).  **1/2

Faster

FASTER (2010) - Nov. 27, 2010
Though the marketing would lead you to believe that the film consists entirely of the Rock kickin' ass and takin' names, a couple of subplots get as much time as he does (and one of them, featuring a hitman on the Rock's tail, never really goes anywhere, and could have easily been lifted right out of the film).  Decently directed and basically enjoyable, the film feels a bit leaden and not nearly as much fun as it should be (e.g. the long, effective build-up to an anticlimactic bathroom brawl that lasts about two seconds, the fact that both the Rock and his hitman antagonist drive badass cars and never get into a car chase, etc.).  **1/2

Naked Lunch

NAKED LUNCH (1991) - Nov. 27, 2010
See Videodrome entry.  **

Videodrome

VIDEODROME (1983) - Nov. 26, 2010
Both movies center around men who begin to hallucinate and perceive the world in increasingly strange ways. I found that this worked very well in Videodrome, and not-so-well in Naked Lunch. Videodrome, for all its weirdness, always maintains some semblance of reality amidst the chaos; there is an intriguing element of trying to discern between what is real and what is imagined. Naked Lunch, on the other hand, almost immediately disposes of reality altogether, plunging head-first into a bizarre, dream-like (or nightmare-like) world in which pretty much anything goes (such as the famous image of a typewriter turning into a giant cockroach). Because of this complete disconnect from reality, I found it hard to ever get particularly involved in the film (beyond, at least, marveling at the ingenuity of Cronenberg’s visuals). The movie feels more like a series of loosely connected set-pieces than a cohesive story.   Videodrome, on the other hand, always manages to strike a good balance between the off-the-wall stuff and the real world. There’s also an interesting undercurrent of mystery (what is Videodrome? Who’s behind it?) that helps to keep the viewer interested. There’s no such through-line in Naked Lunch, which basically feels like an excuse for Cronenberg to indulge his penchant for the bizarre, without much pulling it together in any meaningful way. I also thought that James Woods gave a pretty fantastic performance in Videodrome, which is definitely a reason why the movie works as well as it does (Peter Weller is fine in Naked Lunch, but he just doesn’t have all that much to work with).  ***

Shivers

SHIVERS (1975) - Nov. 26, 2010
A decent though exceptionally low-budget horror film about a strange parasite that is unleashed in an apartment building that eventually turns its victims into sex-crazed zombies.  The whole thing is basically entertaining and effectively made by David Cronenberg despite the obvious budgetary constraints -- but none of the characters are particularly well developed, making it tough to care too much when they start getting turned into zombies by the crazy parasite.  **1/2

My Winnipeg

MY WINNIPEG (2007) - Nov. 25, 2010
Absurdly pretentious, I really can't say much about this film as I fell asleep pretty much as soon as it began.  NO RATING

Animal Kingdom

ANIMAL KINGDOM (2010) - Nov. 24, 2010 (Second Viewing)
Yep -- this is an exceptional film, and definitely my favourite of the year (so far -- but I can't imagine that anything in the next month or so will top it).  It's just so good on every single level, from the performances to the direction to the cinematography to the haunting and memorable score.  ****

127 Hours

127 HOURS (2010) - Nov. 20, 2010
Well made by Danny Boyle and quite compelling despite its seemingly limited premise, this was about Aron Ralston, the adventurer who famously had to cut his own arm off to free himself from a rock that was pinning him down.  Boyle does a great job of really putting you in Ralston's head, and the now-infamous scene in which he cuts off his arm is quite intense, if not quite as unwatchably gory as many people are making it out to be.  Like pretty much all of Boyle's films, I found this good but not great.  ***

A Little Bit of Freedom

A LITTLE BIT OF FREEDOM (2003) - Nov. 19, 2010
A decent film about a young Turkish immigrant in Germany, and the friendship that develops between him and another immigrant.  Decently made if somewhat forgetable, I really don't have much else to say about this film.  Seriously, it's the next day and I can already barely remember it.  **1/2

Daybreakers

DAYBREAKERS (2009) - Nov. 18, 2010
About a future society in which almost everyone has been turned into a vampire save for a few humans (who are hunted for food).  The somewhat futuristic vampire society was a unique setting for the film, which was well directed by the Spierig brothers.  There were some well-executed action set-pieces, as well as above-average performances (Sam Neill as a smarmy executive was a definite highlight).  ***

Kissed

KISSED (1996) - Nov. 18, 2010
Pretentious and kind of unpleasant, this was a pretty mediocre film about a woman, obsessed with death, who starts doing it with the corpses at the funeral home in which she works.  Molly Parker was quite good, as was Peter Outerbridge, but there was really little else that I liked about this film.  The whole thing feels pretty artificial and inauthentic, from the dialogue to the way people act to just the way the film looks.  You're always aware you're watching a movie (and a bad one at that).  *1/2

2 or 3 Things I Know About Him

2 OR 3 THINGS I KNOW ABOUT HIM (2005) - Nov. 16, 2010
A well made documentary about a guy and his family coming to terms with their father's history (he was a Nazi officer who was ultimated hanged as a war criminal).  The film was fairly interesting, particularly in the way that the various family members deal with what their father does (including one sister's outright denial that he did anything wrong).  The film consists mostly of talking heads and ultimately can't really sustain its feature-length running time, but it was still decent enough.  **1/2

Head-On

HEAD-ON (2004) - Nov. 14, 2010
Well acted and decently made, this was a moderately engaging film about a tumultuous couple who meet in a suicide ward.  Honestly, it's a few months later as I write this, and I'm having a hard time remembering specifically what I thought about this film.  I remember liking but certainly not loving it.  **1/2

Frequently Asked Questions About Time Travel

FREQUENTLY ASKED QUESTIONS ABOUT TIME TRAVEL (2009) - Nov. 13, 2010
A surprisingly enjoyable film about three friends who wind up jumping around in time (all revolving around their local pub).  Sort of like Timecrimes meets Shaun of the Dead (though it's not on the level of either of those movies), this was actually quite time travel-heavy, and is the type of thing that probably rewards repeat viewings (though it is far, far more straightforward than something like Timecrimes).  The film was obviously shot on a low budget and almost entirely revolves around the pub, but it definitely manages to weave an intriguing time travel story.  Though not exactly laugh-out-loud hilarious, the three main characters were all quite affable and had definite chemistry (you buy them as long-time friends) and the film was briskly-paced and entertaining throughout.  ***

Unstoppable

UNSTOPPABLE (2010) - Nov. 12, 2010
Almost absurdly entertaining and relentlessly and admirably single-minded, this was another winner from Tony Scott and Denzel Washinton about the race to stop a runaway train.  Expertly crafted by Scott, the film gets going almost immediately, and pretty much doesn't let up until the end credits roll.  Features a really efficient screenplay which sets up the two leads and gives them personal conflict in the most brisk way possible, the film quickly sets up the whole runaway train dealio and manages to remain engaging for pretty much the whole time.  This is a film that knows exactly what it is, and goes for it with gusto.  ****

Nick and Norah's Infinite Playlist

NICK AND NORAH'S INFINITE PLAYLIST - Nov. 11, 2010
An enjoyable film about the misadventures of guy and a girl (along with their friends) over one long night as they try to find the location of a secret concert.  Featuring charming lead performances from Michael Cera and Kat Dennings (and despite the internet backlash, I still think Cera has great comic timing and makes for an affable and unconventional leading man.  I don't care if his persona is always pretty much the same -- many great actors have a recognizable persona that they bring to each role, so I don't know why it's seemingly such a crime when Cera does it).  Fast-paced and fun, this was yet another winner in this particular genre.  ***

Le Confessionnal

LE CONFESSIONNAL (1995) - Nov. 11, 2010
About a man who returns home when his dad dies, and starts to help his messed-up adopted brother figure out who his real dad is -- there is also the story of the same family a generation ago, which ties in with the contemporary stuff.  Though this was a reasonably well made film (and some of the transitions between the two time periods were particularly inventive), I just did not find it interesting.  At all.  I was quite bored, in fact.  Though they tied in really well plot-wise, the two stories never really gelled from a narrative/pacing standpoint, and the whole thing just felt kind of clunky and poorly-paced.  *1/2

One Week

ONE WEEK (2008) - Nov. 10, 2010
Fairly well made and featuring a really compelling performance from Joshua Jackson, this was a decent film about a man who embarks on a cross-country road trip when he finds out that he has terminal cancer.  The whole thing was sort of episodic, with some sections working better than others.  My main beef with the film was its omnipresent narrator, which got to be a bit oppressive after a while.  **1/2

Prison Break: The Final Break

PRISON BREAK: THE FINAL BREAK (2009) - Nov. 9, 2010
Meh.  About Michael and the gang getting back together again to bust Sarah out of jail, this was basically enjoyable if somewhat mediocre -- I'm kind of hesitant to even classify this as a movie, as it essentially just feels like a long episode of the show.  In fact it kind of feels like they took what was supposed to be an entire season's worth of plot and crammed it into two episodes, as quite a lot happens, and the film sort of feels like it's rushing through everything to get to all of the story beats.  I was pretty much always a fan of Prison Break, even in the last couple of seasons, so it's kind of sad to see it end on such a mediocre note (and the decision to kill of the protagonist of the show still feels unsatisfying and cheap).  **1/2

The Tin Drum

THE TIN DRUM (1979) - Nov. 8, 2010
Off-putting and kind of unpleasant, I didn’t much care for this the first time I watched it, and watching it again, I still don’t particularly care for it. I don’t hate this film; it’s decently made, the performances are fine, and it’s reasonably well acted. But its status as a classic does somewhat confuse me, as I just don’t find it to be particularly compelling.  As with some of the other films on the list whose appeal goes right over my head, I decided to check the book to see what’s (supposedly) so great about this movie. Even the book can’t really explain it, as the entry for this film simply summarizes the plot and states that the film “shocks and confuses.” And that’s a good thing… how? Yes, the film is different, I will give it that, but I’m not sure if that alone should automatically make it a must-see. I think that the authors of the book realized that they had to include this film (like it or not, it is a classic), but they didn’t necessarily like it themselves (and thus seem to be unable to really explain its appeal).  The film is, in parts, somewhat Fellini-esque, so perhaps the appeal of this movie is just going over my head the way that Fellini seems to go over my head. Who knows. I will say this: if you’re going to watch this movie, I wouldn’t plan on eating any sardines for at least a few days afterward. I won’t spoil anything, but I will say that a can of sardines get eaten in the most off-putting way imaginable. You’ve been warned.  *1/2

Aimee and Jaguar

AIMEE AND JAGUAR (1999) - Nov. 7, 2010
A somewhat slow-paced but well made and well acted film about the affair between two women -- one married, one Jewish -- during the Second World War in Germany.  There's nothing particularly special about it (it's pretty bland), but it was well made and enjoyable enough.  **1/2

Narrow Margin

NARROW MARGIN (1990) - Nov. 6, 2010
A fairly crackerjack thriller about a DA who winds up protecting a witness on a train, with a couple of assassins out to get them.  Though there's nothing particularly special about the film, it features assured direction and moody cinematography from Peter Hyams, as well as an above average performance from Gene Hackman (who seriously needs to start acting again -- he is missed).  ***

Back to the Future

BACK TO THE FUTURE (1985) - Nov. 6, 2010 (Umpteenth Viewing +2)
Good times.  ****

Due Date

DUE DATE (2010) - Nov. 5, 2010
Essentially a loose remake of Planes, Trains and Automobiles, this was an entertaining film about a couple of wackily mismatched guys who go on a road trip across the country when they get placed on a no-fly list.  I was kind of iffy on the film at first, because the two main characters are both kind of unlikable, but eventually the film (and the characters) grew on me.  It's definitely not even in the same league as Automobiles, but it was enjoyable enough, and contained one of the funniest moments I've seen in a while.  ***

Frozen

FROZEN (2010) - Nov. 4, 2010 (Second Viewing)
Though perhaps not quite as electrifying as the first viewing (I think some of what made the film so tense on the first viewing was wondering how/if the characters were going to get out of their situation), this was still a very well made, very enjoyable film.  ***1/2

Water

WATER (2005) - Nov. 4, 2010
Meh.  A decent film about a young girl, arranged to be married, whose husband dies and who then must live in a weird convent with other widows, doomed to never really have a real life.  The film was decently made and well acted, though I was never particularly into it (the film's squashed projection in the class I was in probably didn't help matters).  **1/2

Fatal Attraction

FATAL ATTRACTION (1987) - Nov. 3, 2010
So why does this movie work as well as it does? For one thing, there is Adrian Lyne’s assured direction, which is stylish without being overly ostentatious, and which keeps things moving at a pretty good pace. The film takes its time setting everything up, and the slow reveal of the frightening extent of Glenn Close’s insanity is pretty much perfect. Of course, Close was nominated for an Oscar for her work here, which is definitely well deserved; it’s a chilling performance, and certainly, quite memorable. Anne Archer was rightfully nominated for an Oscar as well — she probably deserved the nom if only for the powerful scene in which Douglas tells her of his affair, but the rest of her performance was just as good. Douglas himself has a slightly more thankless role than the two women (and he went nomination-free), but he’s easily at their level.  There are a lot of great moments here, but the one that easily stood out for me is the final confrontation between Archer and Close. It’s set in a bathroom, and I’m fairly certain it’s meant to recall the famous shower scene from Psycho (but with a bath filling in for a shower), and it was pretty jaw-dropping. Certainly, Hitchcock would be proud. The direction, editing and score are all pitch-perfect, and the scene is electrifying. Of course, that whole sequence was famously a reshoot (much to Ms. Close’s chagrin); while the original ending may have been more thematically appropriate (I haven’t seen it, but I think that was Close’s objection), cinematically speaking, this one was pretty perfect.  ***1/2

Singin' in the Rain

SINGIN' IN THE RAIN - Nov. 2, 2010 (Fourth Viewing)
I don’t think it’s particularly bold or unexpected for me to say that I love this film; there’s a reason that it’s one of the most beloved musicals of all time. It’s delightful. If you don’t love — or at least like — this film, and if musical numbers like Make ‘Em Laugh, Moses Supposes and, of course, Singin’ in the Rain (among many others), don’t put a smile on your face, then I think you need to do some serious soul-searching and realize that you may just be dead inside.  This is such a great film; it’s cram-packed with delightful, memorable musical numbers, and it’s surprisingly funny — the audience I saw it with laughed throughout. Every role is cast to perfection; aside from the perfectly matched Gene Kelly and Debbie Reynolds, the supporting players (such as Donald O’Connor and the hilariously oafish Jean Hagen) are just as good. The amazingly choreographed dance numbers are perfectly directed by Donen and Kelly, who wisely just pull the camera back and let the dancing unfold in mesmerizing long takes. The film has aged remarkably well, and even for a contemporary audience, it is enthralling throughout.  I know I’m being ridiculously superlative here, but this film is just such a joy to behold. I’m not even a particularly big fan of musicals (I mean, I like them just fine, but I tend not to seek them out), but this movie is just so perfect, and so enjoyable, it’s hard not to love it.  ****

The Edukators

THE EDUKATORS (2004) - Nov. 1, 2010
About a group of self-styled revolutionaries who break into and vandalize the homes of the rich; after a break-in gone bad, they wind up abducting a wealthy businessman and taking him to a secluded cabin.  I really shouldn't have waited so long to write this (it's February at the moment) -- the film was decent but unmemorable, so... yeah.  **1/2

Saw 3D

SAW 3D (2010) - Oct. 29, 2010
Meh.  A decent enough way to conclude the Saw saga, though I'm not convinced that this is actually the end for this series.  Features yet another hapless victim going through a series of elaborate traps while Hoffman's shenanigans unfold in the background.  It was pretty sweet to see Cary Elwes back on the scene, though the revelation that he was working in the background the entire time adds yet another perplexing layer to an already hopelessly convoluted story.  The whole thing was worth it if only for Elwes' entrance, in which he gives one of the better sarcastic slow claps I've seen in a while.  As for the 3D, it was fine I guess, though it really doesn't add much aside from the bits of viscera that occasionally fly at the screen.  **1/2

Super Troopers

SUPER TROOPERS (2001) - Oct. 28, 2010
Though it didn't exactly tickle my funny bone (I don't think I laughed once), this was fairly enjoyable film about a wacky group of highway patrolmen who find themselves in danger of being shut down.  The whole thing was affable enough, if somewhat forgettable.  **1/2

A History of Violence

A HISTORY OF VIOLENCE (2007) - Oct. 28, 2010 (Second Viewing)
Yep, this was just as good as I remembered.  ***1/2

Prince of Darkness

PRINCE OF DARKNESS (1987) - Oct. 26, 2010
Though not exactly up there with John Carpenter's classics, this was a decent film about a bunch of academics who go to an old church to study a strange phenomenon -- sinister stuff ensues.  Well directed by Carpenter (with a classic Carpenter synth score) the film is kind of cheesy in parts, but also quite tense and fairly suspensful at times.  There are a lot of characters here, and none of them are particularly well developed, but the film is enjoyable enough and never overstays its welcome.  ***

The Lives of Others

THE LIVES OF OTHERS (2006) - Oct. 24, 2010 (Second Viewing)
I originally watched this around when it was first released, and I remember liking it quite a lot, but finding it to be a bit more slow-paced than I’d like. This time the pacing seemed just right. It’s not a fast-paced film by any stretch of the imagination, but the pacing does a really great job of setting a certain tone and giving us time to really care about the characters.  I think there are a couple of things that elevate this film from a good one to a great one. There’s Florian Henckel von Donnersmarck’s stellar direction, featuring beautiful, meticulously composed widescreen cinematography. The film is really tense when it needs to be, and Donnersmarck does a great job of keeping things intriguing throughout. The performances, too, go a long way towards cementing this film’s status as a classic. Though all the performances are above average, special notice must go to Ulrich Mühe (who sadly passed away shortly after the film’s release) — he gives a really astonishing performance, and is able to say more with the subtle expressiveness of his face than most actors could say with an entire soliloquy.  The film is at times electrifying, at times moving, and always entertaining. It’s well over two hours long but it never outstays its welcome. It definitely takes its time, but it’s all the richer because of it. ***1/2

My Dog Skip

MY DOG SKIP (2000) - Oct. 23, 2010 (Second Viewing)
A heartwarming coming-of-age film about a young boy in the '40s and his relationship with his dog.  Well acted and well made, the film is kind of hokey and unabashedly sentimental, but it's also quite enjoyable throughout.  ***

Paranormal Activity

PARANORMAL ACTIVITY 2 (2010) - Oct. 22, 2010
An effective sequel (or prequel, in this case).  It plays it pretty safe -- it follows the formula set by the original pretty closely, so it doesn't quite have the same impact of the first one if only because there's kind of a "been there, done that" vibe at play here.  But on the other hand, it's pretty damn effective at building and sustaining tension (there were some scenes towards the end that were amazingly suspenseful).  It also does a pretty good job of actually tying in with the first film, and actually adding to the story rather than feeling like a tacked-on sequel.  It's not just a barely-related haunting story, as I sort of figured it would be.  ***1/2

Hereafter

HEREAFTER (2010) - Oct. 21, 2010
Another expertly crafted film from Clint Eastwood, whose hot streak continues.  About a psychic who can communicate with the dead, a young boy whose twin brother is killed, and a woman who is seriously shaken up when she almost dies in the big tsunami of 2004.  The contemplative film unfolds with Eastwood's usual leisurely pace, which absolutely works here.  The movie just sort of washes over you, and it's definitely never boring.  Eastwood's direction is primo as usual, as is Tom Stern's lush, moody cinematography.  I really can't say enough about the Eastwood/Stern collaboration.  Top-shelf stuff.  Matt Damon was quite good as the psychic; in fact if I had one complaint about this film, it's that the Damon stuff tends to be more compelling than the other two plots, mostly because Damon is so good.  ***1/2

Highway 61

HIGHWAY 61 (1991) - Oct. 21, 2010
Unpleasantly quirky and with a cheap, low-rent vibe permeating pretty much every aspect of the film, this was a fairly mediocre movie about a small town barber who winds up accompanying a free-spirited woman on a cross-country road trip.  One of the main problems is that the two leads are both mediocre actors, and neither have much charisma or chemistry together.  It also has that distinctively Canadian quirk to it, which really doesn't particularly work.  I didn't completely hate this film (I was basically entertained, I guess) but I didn't like it, either.  **

Black God, White Devil

BLACK GOD, WHITE DEVIL (1962) - Oct. 19, 2010
The tape I watched (in class) was completely awful and almost unwatchable, plus I slept through much of it, so... NO RATING

Jackass 3D

JACKASS 3D (2010) - Oct. 16, 2010
Though essentially more of the same, this was still an enjoyably stupid film about a group of guys hurting themselves and generally doing inadvisable things on camera.  The 3D doesn't really add much to the experience, and some of the segments are funnier than others, but all in all this is far more entertaining than it has any right to be (and kind of hilarious in parts).  ***

Teenage Paparazzo

TEENAGE PAPARAZZO (2010) - Oct. 13, 2010
Though not quite as engaging as Adrien Grenier's last documentary, A Shot in the Dark, this was still an enjoyable film about a 14 year old paparazzi, and the paparazzi/celebrity culture in general.  The film definitely has some interesting insights into the relationship between celebrities and paparazzi, and it's quite entertaining throughout, though it does feel a bit scattershot at times.  ***

Buried

BURIED (2010) - Oct. 12, 2010
A really well made, intense film about a driver in Iraq who, after his convoy is abushed, wakes up inside a coffin.  With only a lighter and a cell phone at his disposal, he has to try to figure out how to get out, with the clock working against him.  The film is almost absurdly riveting, considering that it's set entirely within the confines of a wooden box, and Rodrigo Cortes' assured direction makes a seemingly uncinematic premise abundantly so.  Of course, aside from the filmmaking, the movie rests almost entirely on Ryan Reynolds' shoulders, and he more than rises to the occassion, giving what is almost certainly his best performance.  If the Academy didn't have such a bias against genre films, he'd almost certainly be a shoe-in for a nomination.  Good stuff.  ****

The Firm

THE FIRM (1993) - Oct. 11, 2010
Though not quite as consistantly compelling as the recent Sydney Pollack film I watched (Three Days of the Condor), this was still a fairly effective thriller about a young man who gets hired at a seemingly ideal law firm, only to slowly discover that sinister things are afoot.  At over two and a half hours, there is absolutely no doubt that the film is longer than it needs to be, and it drags a bit in its first half.  But it's definitely never boring, and once the thriller elements start really kicking in, it's actually fairly thrilling.  It's also well acted (Tom Cruise was good, as was a very sinister Wilford Brimley) and well directed -- I may have to reconsider my opinion on Pollack.  My biggest complaint (aside from the overlength) is that Dave Grusin's jazzy, piano-heavy score can be a bit overbearing at times.  ***

Candy

CANDY (2006) - Oct. 11, 2010
A well made if somewhat routine drama about a couple of heroin addicts, and the affect their addiction has on their lives.  There really isn't much here we haven't seen before, but the movie is well made and engaging enough.  What really sets it apart from other movies of its ilk is the refreshingly steady camerawork (there's none of the documentary-style jitteriness we've come to expect from this type of film) along with the better-than-average performances (Heath Ledger, in particular, gives a characteristically great performance).  ***