Valkyrie

This Movie Made Me: Sufficiently Anxious

As the age-old saying goes: actions speak louder than words. That is particularly the case with Valkryie, Bryan Singer’s new thriller depicting the true story of a failed assassination attempt on Adolf Hitler. Perhaps it’s all for the best, since the actors spew out a hodgepodge of accents that hinder the film. And despite genuine thrills, a stiff Tom Cruise performance makes Valkyrie just another run-of-the-mill thriller.

Colonel Claus von Stauffenberg (Cruise) is stationed in Africa during the latter years of WWII. After an attack leaves him wounded and blind in one eye, von Stauffenberg returns to Germany. His animosity towards Hitler lands him in a group of high-ranking officials plotting to overthrow Hitler and start a new government. Von Stauffenberg presents Operation Valkyrie, meant to be used in case of a SS revolt, as the perfect means to assassinate Hitler and end his reign of terror.

Singer’s talent for making unbearably tense sequences is on full display here. Even though the ultimate end of the plot is obvious, the assassination attempt is an expertly crafted nail biter. Intricately detailed and as drawn out as possible, it is impossible not to be spellbound by the time von Stauffenberg has Hitler in his sights. This is filmmaking much more focused than his work in the X-Men series and in Superman Returns.

If only the rest of the film kept up with him. Cruise seems to be unable to emote properly with only one eye. Having the only American accent doesn’t help either. There are accents abound in Valkyrie – mostly British, and most of the actual German accents are reserved for the bad guys. While it may have saved Cruise the embarrassment of ridiculous accents, the eclectic mix takes away more from the film than it adds to it. It is a particular travesty that Carice van Houten (mesmerizing in Paul Verhoeven’s Black Book) has only a few precious minutes of screen time. As von Stauffenberg’s wife, her character seems almost an afterthought as written. But van Houten speaks volumes without saying a word. And in the end, it’s her we remember.

Valkyrie is a solid thriller – an accomplishment enough, given how obvious its ending will be. The detail constructed in the suspenseful sequences is top-notch and not to be missed. Whether or not it returns Tom Cruise to box office glory remains to be seen. But if Valkyrie does, it will be because of film power – not star power.

The Day the Earth Stood Still

This Movie Made Me: Bored

Keanu Reeves is learning. Not learning how to act, but learning how to use his lack of expressions effectively. His latest inexpressive character is Klaatu, the foreboding alien at the center of The Day the Earth Stood Still. This effects-laden remake is about as exciting as listening to Reeves reading a senate environmental bill.

A mysterious space object lands in Central Park. (Because anybody who’s anybody attacks New York first). But instead of an asteroid, scientists find a large glowing orb. Two beings emerge from it: a surprisingly retro robot/alien hybrid named Gort and an alien life form quickly reborn as Keanu Reeves. When the alien’s intentions become clear, the government tries to strengthen its hold on him and he takes off with a sympathetic scientist (Jennifer Connelly) and her son (Jaden Smith).

Sounds exciting, right? Not really. Aside from a few scenes that can best be described as “creepy,” the film is all talk. The scientists wonder what the alien could want, a government bigwig (in this case, Kathy Bates) feeling threatened, the alien escapes and then… they talk some more! It’s not that the film suffers from too much set-up and too little pay-off. The talking just moves around in circle and, despite all the talk of impending doom, no one ever actually seems worried. And when the apocalypse finally arrives, it can best be described as mind-numbing. Never before has the destruction of mankind been so boring.

And it’s not as if the film suffers from a lack of ambience. Director Scott Derrickson (The Exorcism of Emily Rose) fills the film with appropriately eerie scenes of misty forests and sparse landscapes, all of which tie into the film’s unabashed green sensibilities. If only the script gave the filmmakers some thrills to work with. Reeves’ lack of versatility actually serves him well – let’s face it, no one seems more natural at being flat than him. Connelly, Jon Hamm and Kyle Chandler provide sufficient support, even if they all looks the same. It’s almost as if mankind already suffered an alien attack that obliterated everyone with brightly-colored hair.

Whether or not The Day the Earth Stood Still warranted a remake is beside the point. When the results are this mediocre, there’s no point in arguing for or against. It shows that the director can make pretty pictures, but not much else. And it shows that Keanu Reeves can convincingly play an unemotional alien. But we already knew that.

Australia

This movie made me: Entertained and Affected

If nothing else, Baz Luhrmann’s Australia will make you reminiscent of the films of yesteryear. Old-fashioned epic-ness is everywhere in Australia. The film never reaches these heights, of course, but it’s nice to get swept away by its unabashed romanticism and scope.

The film is a fairy tale that takes place in a faraway land called Oz. Just as WWII breaks out, Lady Sarah Ashley (Nicole Kidman) finds herself transported from England to the outback when she inherits her husband’s sprawling ranch. It is not a match made in heaven; Sarah is so stiff and British she carries a riding crop with her most of the time. And the natives aren’t exactly welcoming – ranch hand Fletcher (David Wenham) is working with the major Australian power in cattle herding to force Sarah out of business, and the drover she hires to help her (Hugh Jackman) can’t stand the sight of her. But as they work together to save the ranch and its inhabitants and as the Japanese begin to invade, Sarah and the drover must fight to prove that love can conqueror all.

Like Luhrmann’s other films, Australia starts at a breakneck pace – but without the flashing lights. It’s an odd absence, but it works. The film is definitely epic – the sets, costumes and cinematography are not to be beat. But despite valiant efforts, Luhrmann cannot muster the same devastating resonance that made Moulin Rouge! so effective. The audience knows Sarah and the drover are meant for each other, so it’s almost as if the filmmakers figured there’s no point in creating truly compelling characters.

But thanks to strong performances, the film is deeply emotional. The Drover is an Australian Rhett Butler, and with his rugged adventurous personality and intense emotionality Jackman is more than qualified to fill Clark Gable’s shoes. Kidman moves from side-splittingly funny to desperately earnest with ease. She is never more compelling than in her scenes with newcomer Brandon Walters. As a mixed-blood Aborigine child, Walters gives the film its heart. With his wide, dark eyes and endless enthusiasm, it’s very difficult not to fall in love with him.

There’s an element of magic realism that sets it apart from other epics. Filled with musical references to “Over the Rainbow,” classical and Aboriginal music, the importance of music becomes an active part of the film – bringing this world to something other than reality. There’s no denying its pure entertainment. Australia is an experience unlike any other you’ll see this year.

Let the Right One In

This movie made me: Stunned

Vampire love in cinema is a bit of a hot topic right now… I don’t think I need to say why. But while a certain tween sensation invades movie theaters across the country, another take on the vampire genre is sneaking in. Swedish export Let the Right One In is both a chilling and complex variation of the classic vampire story and a heartbreaking melancholic study of doomed first love.

12-year-old Oskar (Kare Hedebrant) is a shy, bullied kid in a small snowy Swedish town. Unable to stand up to the bullies in school, Oskar takes a knife to trees outside his apartment at night. It is here he meets Eli (Lina Leandersson), who’s just moved into the apartment next door. She tells him she can’t be his friend, but Oskar cannot stay away. As their friendship blossoms bodies begin to pile up around the town – all of them drained of blood. Eli is clearly not what she seems, but she and Oskar continue to watch their friendship grow.

Perhaps the most shocking thing about Let the Right One In is how much of it is grounded in reality. For once, it’s actually plausible that the townspeople never guess there’s a vampire in their midst. Every bit of Eli’s story that stretches into mythic regions feels new. New questions are raised about vampires – their gender, the relationships they have with normal people. Young Leandersson is truly remarkable, showing more depth and subtleties in her film debut than many actors ever manage. She shows an astonishing understanding of Eli’s complexities – the extent of her relationship with Oskar, and whether it is one of benefit or of love.

Director Thomas Alfredson’s stark and unwavering style supports the film’s moments of horror and tenderness without changing anything. Alfredson doesn’t throw any tricks or gimmicks – everything is presented as straightforward and clearly as possible. He has the power to make an audience squirm or break their hearts on the turn of a dime. Each sequence rises to a new level of mastery of suspense and emotionality, culminating in a finale so shocking it’s bound to be left out of the inevitable American remake.

In the end, Let the Right One In is hardly just a vampire film. It’s a coming-of-age story, a story about first love, about the loneliness of a broken childhood and an examination of the positive and negatives of friendship. Emotionally devastating and chilling, Let the Right One In is a film that seeks to reinvent the vampire and actually succeeds in doing so.

Quantum of Solace

This movie made me: Moderately Excited

“Bond is running wild.” These four words, spoken midway through Quantum of Solace, perfectly describe the 22nd Bond adventure. Daniel Craig continues to reinvent Bond in new and thrilling ways, even if the film can’t keep up with him. Filled with frenetic action but not much else, Quantum of Solace is far from the greatest Bond adventure. But fans have suffered through much worse.

The action picks up only minutes after the conclusion of Casino Royale. In his effort to seek revenge against those responsible for the death of his love Vesper, Bond begins to uncover information about Quantum – a group so secret no one knows about it. His leads send him around the world and eventually into the presence of Dominic Greene (Matthieu Amalric), one of those sinister businessmen seeking to control the world. Bond soon crosses paths with Camille (Olga Kurylenko), a brazen beauty with her own revenge mission. It’s all very Licence to Kill, but leaner, meaner and without the Wayne Newton cameo.

Craig’s Bond has never been so determined, vicious and downright frightening – just as he should be. Anyone who still doubts him as Bond is in severe denial. But it suffers from the second-movie syndrome. At the film’s conclusion, there are more questions than answers – Quantum is just a name and a few faces. Instead we watch Bond tracking a Peter Lorre-esque middle man the entire time – the type of figure that would get killed off halfway through a typical Bond picture.

But it’s not that important, since what director Marc Forster (Finding Neverland, Stranger Than Fiction) clearly wants us to notice how cool the actions scenes are. And there are plenty of them: Bond gets chased in a car, in a boat, on foot, in a plane, etc. Sometimes, he even does the chasing! The first meeting between hero and villain at an outdoor may is the most artistically ambitious set piece in the series. And the (literally) explosive finale in a desert hotel showcases some of the coolest Bond sets in 40 years.

Instead of concocting a two-hour romance between Bond and Kurylenko’s Camille, the filmmakers pair them as something much more complex and rewarding – two desperate people after the same thing. They are able to relate to each other because of the tragedies they’ve faced – they are the ideal match for each other. When Bond and Camille, dirty and exhausted, walk in silence through the Bolivian desert, they are united in their loneliness.

In the years to come, Quantum of Solace will probably be come to known as the arty James Bond movie. Director Forster adds a lot of little moments into the film – fancy fonts, soundless montages, etc. – that are interesting, but only occasionally succeed. Bond is still on a mission that will presumably be continued in the next film. But as far as 106 minute long set-ups go, this ain’t too bad.

Repo! The Genetic Opera

This movie made me: Confused

In the past, the phrase “and it’s a musical!” has often been used to make hypothetically ridiculous movies sound even more absurd. Now, at long last, people can use that phrase with complete honesty. Repo! The Genetic Opera takes place in the not-too-distant future where an epidemic of organ failure led to the creation of an organ lending system. People sign a contract with the all-powerful GeneCo, and are granted a new lease on life. But if any loaners miss a payment, the Repo Man appears and takes the product back in the most gruesome way possible… and it’s a musical!

With a premise such as this, director Darren Lynn Bousman (of Saw fame) should be expected to deliver something on the level of The Rocky Horror Picture Show by forgoing all sense of reason in favor of something bombastically bizarre and entertaining. Unfortunately, his pedestrian approach to the material only forgoes reason, with little of the bizarreness that the film desperately needs. It’s weird, all right, but for most of the film the characters simply sit and sing about their feelings, or about how the world sucks – hardly the kind of material that will make an audience go along with it.

The film follows Shiloh (Alexa Vega), a teenage girl with a blood disease so dangerous that her father Nathan (Anthony Stewart Head) keeps her locked up in her room. This is all the better for him, since it means he can hide his true identity from her – he is the vicious and unforgiving Repo Man, who stalks the streets to reclaim organs from unpaying customers. After a horrible accident that left Shiloh’s mother dead, Nathan found himself in debt to GeneCo’s president, Rotti Largo (a warbling Paul Sorvino), who has his hands full with his own children: dangerously violent Luigi (Bill Moseley), unhinged face-stealer Pavi (Orge), and spoiled surgery and drug-addicted Amber Sweet (Paris Hilton, obviously a stretch for her). But as Shiloh’s desire to know the outside world grows stronger, Nathan’s guilt over his horrendous actions grows with Largo’s need to find the new head of the company keeping the world alive.

To say Repo! isn’t scary is pointless, given the nature of the film. This is straight-up Victorian melodrama, from the complicated bickering families all the way to the blood-soaked finale (set, appropriately, in an opera house). But there must be something said for the lack of suspense the film creates. Most of the film has characters sitting (or occasionally pacing) and singing about what’s troubling them. It’s only a few times where people actually do something. And even when the Repo Man goes out to do his dirty work, the images are surprisingly subdued. Given that the director rose to fame as the helmer of the Saw sequels, one should certainly expect the deaths to be more gruesome than they are. It’s not that the film isn’t violent, but its violence is simple, and the effect watered down by the rambling inner monologues that follow and precede it.

The film actually works only a few times, and it’s probably not a coincidence that classical crossover singer Sarah Brightman (in her film debut) is present in all of them. As Blind Mag, GeneCo’s spokeswoman and opera star, Brightman’s wide eyes, crystal clear voice and Elvira-ish appearance is perfectly suited to what the film should be. Not to mention she is one of the few cast members who can actually sing, though Head displays a fine rock voice as well. Her duet with Vega, “Chase the Morning”, is exactly what the film should have been; it shows Bousman at his most inventive and is one of the few times where we completely understand what’s going on.

Shot in the kind of fuzzy light usually reserved nowadays for flashbacks, it comes as no surprise that when the flashbacks actually show up in Repo!, they’re rendered in comic book-style. We read and see pictures of the characters’ pasts, which is surely a case of the “show, don’t tell” rule that filmmakers are told to avoid in school. But that sums up the entirety of Repo! in a way. It tries to break the rules and redefine what a musical and a horror film can be, but ends up being an unexciting and confusing exercise in monotony. Filled with bland songs blandly performed by the cast (with one or two exceptions) Repo! should only be recommended for the curious who seriously don’t expect anything, because they’ll get exactly that.

Burn After Reading

After NO COUNTRY FOR OLD MEN, I think we’d all appreciate something lighter from the Coen Brothers. Well, relatively speaking. Putting their darkly comic twist on the paranoid thriller, the Coens give us BURN AFTER READING, a film that raises questions and staunchly refuses to answer them. Featuring spirited performances by an energetic ensembles and flashes of genuine Coen genius, BURN AFTER READING may not be the new American classic, but we’re having too much fun to care.

The whole ordeal begins when CIA analyst Osborne Cox (John Malkovich) is unceremoniously dismissed, with his superiors citing his drinking as the problem. In his malaise he decides to write his memoirs, much to the chagrin of his cold and detached wife Katie (Tilda Swinton). Meanwhile, some of Cox’s personal files end up in the possession of two gym workers. One is the dispirited Linda Litzke (Frances McDormand), who is trying to finance some cosmetic surgeries. The other is bright, chipper and mostly clueless trainer Chad (Brad Pitt) who jumps at the sign of excitement. As they begin their mission to blackmail Cox, Linda becomes involved with womanizer Harry Pfaffer (George Clooney) who is also having an affair with Katie. And if you think this sounds convoluted, you’ve only cracked the surface.

The Coens have set out to create the most ridiculously complex plot they could, and they’ve succeeded with flying colors. Late in the film, when two agents muse how pointlessly confusing the whole thing is the audience is right there with them. The entire film is an hour and a half of pointless confusion, but it couldn’t be more hilarious. When events take the trademark dark Coen Brothers twist, the film becomes even more convoluted. It relentlessly parodies the look-over-your-shoulder paranoid thrillers and the every-word-has-a-hidden-meaning spy films that is purposely loses itself as it winds to a ludicrously messy finale.

Part of the reason the mess never gets tiring is because of its top-notch cast. Each gifted with characters a step above reality, the lead actors take their parts and run. Every performance is crafted to perfection. From Swinton’s icy wife who instantly sees the worst in everybody to Clooney’s ultra-paranoid bumbling fella who’s in over his head. But fine as these two actors are, they can’t compare to the film’s three leads. Coen Brothers vet McDormand puts in another classic performance that is a masterpiece of earnest lunacy. The audience simultaneously feels for Linda as she laments over her body image and roars with laughter as she bursts into each new twist with blind confidence and an apparent determination to mispronounce names. Malkovich is sways wildly from screaming matches to complete despair in the most exaggerated way possible. But the life of the film lies with Brad Pitt. Chad is a jock who forgot that he graduated from high school, more dedicated to his job and his bicycle than seems humanly possible. He completely shreds his cool-guy personality and still manages to be cool. With his almost giggly outbursts and his pumped dances, he may be the coolest idiot around.

Even if it’s relatively free of the visual inventiveness seen in their other films, BURN AFTER READING packs a punch with its smart script and freewheeling performances. Its jokes are sharp enough to forgive INTOLERABLE CRUELTY and reteaming with a few familiar faces has done wonders for the brothers’ sense of humor. It may not be the most thought-provoking film out there and you’d be hard-pressed to justify why it all happened. But when the results are this fun, who cares?

***/****

The Mummy: Tomb of the Dragon Emperor

When Rick O’Connell and his beloved Evie sailed off in a ramshackle dirigible at the end of 2001’s THE MUMMY RETURNS, moviegoers everywhere wished and hoped they would see their tomb-raiding, mummy-obliterating friends again. Well, 7 years later their wish has been granted, though its as if Imhotep himself granted the wish. With the painful absence of original costar Rachel Weisz, original mummy Arnold Vosloo and original writer/director Stephen Sommers, THE MUMMY: TOMB OF THE DRAGON EMPEROR will leave audiences shaking their heads sadly, wondering why they even bothered.

The evil Dragon Emperor (a mostly silent Jet Li) is determined to find the secret to immortality so he and his army can rule for all time. But long, long ago a witch (Michelle Yeoh) cursed him by turning him into chocolate and statue-fying him… which apparently makes him a mummy. Flash forward to 1947 and intrepid adventurers Rick (Brendan Fraser) and Evelyn O’Connell (Maria Bello) have hung up their hats to enjoy a quiet married life in England. But a supposedly simple secret mission brings them to Shanghai and throws them into the path of their more adventurous son Alex (Luke Ford), who has just uncovered the remains of the Emperor and his army. Faster than you can say “predictable turn of events”, the Emperor is resurrected and it’s up to the O’Connell clan (with the help of brother/uncle Jonathan) to stop the “mummy” and save the day.

It’s difficult to decide which aspect of the film is most ridiculous. I suppose it could be the title, which is misleading. There isn’t actually a mummy in the film. Sure, there are ancient figures raised from the dead, but they’re more like cursed zombies than mummies. Unless they cut out the actual mummification process, that is. Regardless of the villain’s post-life status, Li pales in comparison with the evil and all-powerful Imhotep. Aside from the desire to rule and control all, there’s really nothing to the Emperor. And how exactly he got all his magical powers is really anybody’s guess.

The other newcomers don’t fare very well either. Although Maria Bello is a fine actress in her own right, she seems next to useless trying to fill Weisz’s shoes. The key ingredient to the success of the first two films was the endearing charisma between Fraser and Weisz – Bello can’t help but fall short. And the last time we saw Alex O’Connell, he was a plucky British schoolboy with a sharp tongue and a taste for trouble. This time around, he’s still got a taste for trouble, but he’s been morphed into an All-American boy (rather odd, since he appears to have been born and raised in England) that’s nothing more than a blander version of Fraser’s character. Yeoh manages to make the most with what’s she given… which is basically nothing. But it’s always nice to see her.

There is none of the excitement, old-fashioned thrills or plain old fun jokiness of the first two films. This is likely due to Stephen Sommers’ absence; while it’s true his style of comedy and filmmaking spelt doom for VAN HELSING, it was perfectly acquitted in the world of THE MUMMY. In his place is Rob Cohen, who recently gave the world XXX and STEALTH. Working from an unexciting, unfunny and basically inept script, Cohen shows none of the visual grandeur or old-fashioned decadence that made the franchise so successful. Instead he employs an overabundance of handheld camera shots, which looks incredibly cheap in an epic such as this.

The final moments seem to promise yet another addition to the franchise (in the worst possible way, of course), but since the filmmakers have forgotten nearly everything the first film was about, they would be better off not wasting the time. One could assume, should another film come to pass, that it can’t possibly get any worse. But I have a sneaking feeling that, should the present team reunite, they would finally manage to surprise us.

*/****

The X-Files: I Want to Believe

It’s been a few years since we last saw our favorite alienated (bad um chik) FBI agents, and much has changed. But with THE X-FILES: I WANT TO BELIEVE, the world learns that we can still get the same old Mulder and Scully we’ve always loved. Built on a much smaller scale than its 1998 theatrical predecessor, the film’s strong and weak points rely on its similarity to the hit television show. Fans of the show will be more than happy to see some familiar characters, but this film will not show outsiders what the big deal was.

It’s been several years since the X-Files unit was shut down and the FBI finds another case with possible paranormal ties. Several young girls have disappeared and a local holy man (Billy Connolly) claims to be having psychic visions that relate to the case. Unable to find a connection, Agent Dakota Whitney (Amanda Peet) turns to the only two people she can think of for help – Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson). As the two are driven further into the case, they must both decide what they really believe and whether they want to return to the work they abandoned all those years ago.

One of the biggest problems with the original film was its lack of individuality. It didn’t serve as an introduction at all; if you weren’t an avid follower of the series, you likely wouldn’t have a clue what was happening. The film was designed as a stand-alone adventure and it certainly is that. There are only a few references to the series in the film, and none that will detract from the actual film. But unfortunately, there isn’t enough to set it apart from a standard cop thriller. The supernatural quotient is second to the recovery of the missing girls. The film is basically an extended episode of the television show. A strong episode to be sure, but nothing that really takes advantage of the filmic format.

Where the film really succeeds are in the scenes with Mulder and Scully. The performers fit back into their characters as if they had never left, and the insatiable charisma and sexual tension remains entirely intact. Anderson is particularly spectacular; her always-compelling Scully kicks up a notch as she balances the case with her day job in a hospital. Anderson could always be relied on to give the series enough pathos and emotion to make it something more; she delivers magnificently here. With each performance, she proves that she is one of the best actresses working today, able to lift any material she’s given. It’s a shame she isn’t seen more often, and the makers of the film should be lauded simply for giving her a vehicle to demonstrate her tremendous abilities.

While the film may not be a major step in the X-Files canon, it’s a more than welcome return. The lack of an ultimately compelling plot, no matter how suspenseful, is more than made up for by Duchovny and Anderson’s memorable performances. The filmmakers have crafted something that relies much more on dramatics than thrills to deliver the final product, and to be even moderately successful is a big achievement. THE X-FILES: I WANT TO BELIEVE is an exciting and entertaining piece of nostalgia, and most fans will be itching to see their favorite agents again.

**1/2/****

The Dark Knight

Having vividly revitalized arguably the most successful comic book franchise in film history with 2005’s BATMAN BEGINS, director Christopher Nolan now gives us the full extent of his abilities with THE DARK KNIGHT, a thrilling and momentous achievement that takes succeeds in taking itself seriously and becoming something much more than a mere superhero movie.

The mysterious Batman (Christian Bale) has been guarding the streets of Gotham City for some time now. Combined with his efforts and a new sense of hope, courtesy of charismatic District Attorney Harvey Dent (Aaron Eckhart), the city is far from the crime-infested cesspool it once was. Gangsters and criminals are now afraid to go out at night, instead holding their meetings in the safety of broad daylight. But for some people, such cowardice is unforgivable. Enter The Joker (Heath Ledger), a maniac for whom crime is fun regardless of the financial possibilities. As he begins his reign of terror on Gotham, Batman/Bruce Wayne must decide how far he must take his quest and what he must do to protect Gotham and its newfound sense of hope.

Nolan has set the film in a world that seems almost too-real, and therein lies its greatest strengths. Gone is the CGI aboveground subway that pervaded every block of the city in the first film, and the villains with mystical flowers and water vaporizers. In its place is a man who is referred to as a terrorist on more than one occasion. Ledger’s astonishing performance is a testament to this. For once, the villain manages to be truly terrifying. With his cackling giggle and magic disappearing tricks, The Joker is supremely effective because he’s so real. He is the type of madman who could easily be living in any large city around the world, waiting to strike. Ledger completely disappears into the role – unknowing viewers would never have guessed this was the guy from BROKEBACK MOUNTAIN or 10 THINGS I HATE ABOUT YOU. He creates a completely different monster than Jack Nicholson’s iconic Joker in 1989’s BATMAN. With his wild swagger and make-up that appears to have been applied by gunshot, Ledger gives a performance for the ages and gives his life and career a lasting legacy.

While Bale once again proves that he is the first actor to completely pull off both Batman (albeit his Batman voice, which sounds more gravely and incomprehensible than before) and Bruce Wayne, he doesn’t make as much of an impression as in the first film. This isn’t necessarily a deterrent; if anything, this is as close to an ensemble piece that an action film is ever going to get. Everyone gets their time to shine, from Morgan Freeman’s wry Lucius Fox (who gets the biggest laugh in the film) to Gary Oldman’s James Gordon, who continues to prove that he is one of today’s most versatile actors. Maggie Gyllenhaal makes a wonderful replacement for the bland and whiny Katie Holmes, toning down her indie quirkiness for a more serious role without seeming shallow or out of place. Eckhart’s performance, while not nearly as dynamic and mesmerizing as Ledger, is totally compelling; kudos should be given to him and Nolan for masterfully introducing his dual identities without seeming overtly obvious.

Nolan has taken his already-solid directorial skills on BATMAN BEGINS and improved them ten-fold. Where the action was muddled and confusing before, it is now crisp and thrillingly clear. Cinematographer Wally Pfister switches the first film’s black and brown canvas for a bright and cold blue without losing any of the underlying darkness. Hans Zimmer and James Newton Howard’s score has now captured this Gotham City as well as Danny Elfman captured Tim Burton’s Gothic nightmare. All of these elements combine in the film’s breathtaking final moments, where Batman’s mission becomes clear and everything he is about makes sense to him and the world.

Snootier filmgoers will be hesitant to even label THE DARK KNIGHT a comic book movie. Nolan has done what few (if any) other filmmakers have successfully done; take an out-of-this-world premise and make it so totally real. THE DARK KNIGHT is just as much a crime thriller and psychological drama as it is a superhero movie. To say it may be the best superhero movie ever could be an understatement. To say it is one of the best movies of any kind in years? That’s more like it.

****/****

Wall-E

It seems that with every new release from Pixar, critics hail a new breakthrough in the world of animated features. Pixar’s can be called “entertaining” in the least, and in many cases they are truly something special. But from time to time, the endless admiration can be a bit much. This time around, the praise is completely justified. WALL-E, the story of a brave little robot with a little more personality than intended, is nothing short of a masterpiece. Showing a remarkable display of risk and bravery for a company sitting on top of the world, director Andrew Stanton and the folks at Pixar have ultimately crafted a simple moralistic tale that at its core is one of the most touching love stories seen in years.

Over 700 years from now, mankind has so trashed the Earth that they have left. A small envoy of robots was left behind to clean up and purify the planet while humans are gone. Those robots have all shut down – all save one. Wall-E continues his task day after day, stacking piles of compacted garbage that stretch higher than skyscrapers. And aside from a friendly cockroach and an old VHS copy of his favorite movie, he spends his days in isolation. That is until an aggressive probe robot named EVE (no doubt the newest Apple product) lands on Earth and Wall-E is smitten at first sight. He follows EVE back to the enormous ship holding the rest of mankind to fulfill his quest for love. And in the meantime, he may just save the world.

The film takes a page from the beginning of cinema, emphasizing its visuals over any kind of dialogue. While Wall-E and EVE are constantly making sounds, few words are ever shaped. And the film is all the better for it; the bleeps and squeaks become far more endearing than if Wall-E actually spoke. Extended coherent dialogue isn’t even introduced until well into the film when the humans actually appear, and everything that comes before it is sheer genius. Wall-E wheels across the deserted planet with his cockroach friend and with a single raise of the eyes, we know everything about him. His romance with EVE is the purest film romance since Charlie Chaplin gazed at the blind girl in CITY LIGHTS. The climax of the film (an emotional climax, rather than action-oriented) rightfully deserved such lofty comparisons. Filled with enough honesty and genuine feeling to melt even the hardest of hearts and draw tears from anyone, the filmmakers have accomplished something extraordinary; they’ve made the world fall in love with two of HAL’s cousins.

Not that there aren’t robots closer to our favorite red-eyed villainous PC to be found. The ship’s autopilot is basically HAL 2.0, complete with monotonous voice and unblinking red beam. But instead of being a rip-off, the grandfather of all sci-fis is lovingly paid homage throughout the film, including snippets of the Blue Danube and Also Spach Zarathustra in the soundtrack. But even a menacingly distant autopilot computer cannot be adequately described as a villain, nor can any of the other characters in the film. Like the beloved Wall-E and EVE, everyone has a flaw. From the endearing personality flaws of the main characters to the passivity of the humans to the relentless loyalty of the film’s supposed villains. This is another brave step; though the film is set far in the future, Stanton has crafted a story much more realistic than most narratives. Add in a surprising amount of social commentary (including a shocking inclusion of today’s “stay the course” mantra) and the filmmakers must be saluted for their achievement. Yes, there are environment and anti-corporation themes, but that doesn't make the film political at all. It's a love story, first and foremost.

Rather than churning out an easy fluff exercise, Pixar has made something truly special. Risking a lot in telling a story about a robot who cannot speak and setting it in a serious-minded dystopian future isn’t exactly the key to success in a G-rated family film. But WALL-E is a film that should be ranked alongside SNOW WHITE, FANTASIA, THE LITTLE MERMAID, BEAUTY AND THE BEAST and TOY STORY as a milestone in animation storytelling. And more than that, it deserves to be included among all the other love stories that will last forever.

****/****

Wanted

It will probably be proclaimed as the coolest thing since THE MATRIX. With a visual style and kinetic energy never before seen, WANTED is one of the few films nowadays that can truly be called an experience. Tense and violent enough to make almost anyone squeamish, the film’s unflinching nature will repulse as many as it will impress. But for those willing to go along, they’re in for one hell of a ride.

Wesley Gibson (James McAvoy) is a small, anxiety-ridden accountant going nowhere in life. When an alluring and mysterious woman (Angelina Jolie) appears beside him one night, telling him that his father was an assassin murdered by the man now hunting him, Wesley is literally thrown into the world of The Fraternity – an age-old organization of assassins driven by fate to their hits. Wesley immerses himself into intense training to transform him into the kind of assassin needed to avenge his father’s death.

The entire film can be summed up in two words: sheer insanity. How insane are we talking? Think exploding rats and looms of fate. Director Timur Bekmambetov has taken a breath – albeit a very short one – between now and in 2004 when his too-frenetic-to-comprehend NIGHT WATCH was unleashed on the world. The film features some of the most mind-bending action seen on screen in years; people are thrust inside moving cars and bullets bend around obtrusive objects, but Bekmambetov is quite successful in taking all these wild elements and combining them into something even vaguely understandable. Even the most ridiculous occurrences – say, a person jumping out a skyscraper window and making it to the building opposite – are acceptable in Bekmambetov’s abnormal vision of Chicago.

Wesley is an unusual hero, and so it only makes sense for an unusual action star to appear. Coming off his acclaimed turn in last year’s ATONMENT, McAvoy adds another diverse credit to his resume. Just as Wesley molds himself, McAvoy molds himself into a small bottle of fury, dorky and passive at first but intimidating when he unleashes himself. The amount of pain Wesley goes through during training is so extensive and genuine that even the hardest of viewers cannot help but cringe. McAvoy keeps the film grounded; without such an atypical performer coming into his prime, WANTED would become too ridiculous and far-fetched to be a success.

WANTED is definitely unlike anything we’ve seen before. The exhilaration and suspense is such that cannot be adequately described. Walking the fine line between frenetic and nonsensical, the film is a roller coaster ride from start to finish with little time to let up or take a breath. Without a doubt, some will find it too much; too violent, too ridiculous and over-the-top, too nonsensical. But this exercise in over-the-top filmmaking is not without merit. It’s insane, yes. But it’s damn fun.

***/****

The Incredible Hulk

In Ang Lee’s 2003 comic book adaptation THE HULK, the titular character was much more likely to grunt “Hulk thinking pensively!” than any of his more well-known sayings. Audiences disagreed with that more internal visioning of the green antihero, and they demanded a change. Well, five years have passed and we’ve gotten something different. THE INCREDIBLE HULK, which may hold the record for fastest franchise reboot in film history, certainly delivers on the action so many missed in the first film. Unfortunately, it doesn’t offer much else.

The film takes place a few years after the first Hulk incidents (though one can safely assume this includes none of the events in the first film). Scientist-turned-anger-management-case Bruce Banner (Edward Norton) as fled to Brazil to try and keep his emotions in check. Unfortunately, the military officials who created the monster (led by a particularly blue-eyed William Hurt) haven’t forgotten about him. After recruiting a small envoy of specialists to track down Banner, he realizes that the only way to get rid of his problem is to find a cure. Tracked by a violent man (Tim Roth) with a desire to capture Banner’s power himself, Banner must travel back to the U.S. and find his old flame Betty Ross (Liv Tyler) and end his rages once and for all.

Since the filmmakers assumed that most audiences will be familiar with the character, they decided to get rid of most of the more psychological problems Banner experiences. Even with Norton as the lead, Banner himself is rather bland. Despite casting a highly respected dramatic actor (and rather unexpected choice) as a superhero, the film is not set apart from your average B-action movie. Couple this in with some poor special effects, especially during Banner’s transformation, and you’ve got a film that plays it too safe in comparison to the first movie. Lee’s film, whose riskiness was flawed but underappreciated, tried to make something more than a guy turning into the Jolly Green Giant. No such explorations are made here. At least they’ve finally realized that pants don’t grow and shrink as one’s body does.

This film was made purely for the fans. It’s chock full of cheeky references to the original comic and the 1970s television show. Yes, the purple pants make an appearance. Yes, there’s a Lou Ferrigno cameo. And yes, that sad walking away music even makes an appearance (although no one’s walking away when its heard). But for those not avid readers/watchers of its previous incarnations, the whole affair is a little boring. Aside from the requisite Stan Lee cameo that makes good on his proclamations during his appearance on THE SIMPSONS, nearly every attempt at humor falls flat. Most of the action sequences are standard chases until the finale, when the subpar CGI work becomes most obvious. And aside from Norton, no one in the cast really registers.

At least the film doesn’t take itself too seriously. It’s an entertaining enough film, though one would wish they would try to improve on the intriguing storytelling methods introduced in the first film. But instead of learning from their mistakes, the filmmakers decided to scrap all they had before and start again in a safe-as-safe-can-be style. However, the film is likely to be successful enough to merit sequels, as most potential franchises seem to do nowadays. Maybe the third time will be the charm.

**/****

Kung Fu Panda

It seemed like animated films were mostly being relegated to one-joke exercises in banality based entirely off of cute animals doing unusual things. Dancing penguins, neurotic zoo animals, etc. The list seemingly goes on and on. For a while, it seemed like any animated film without the Pixar stamp were being churned out solely for the purpose of making money. But with KUNG FU PANDA, DreamWorks has found a perfect balance of cutesiness and genuine artistry. Developing a sharp and funny script alongside an extensive and detailed style, it is set apart from the lame one-joke nature that so many films have become victims of.

Portly panda Po (voiced by Jack Black) is a lowly assistant in his father’s noodle restaurant in a small Chinese village, dreaming of something more. Specifically, to be a kung fu master and be counted among the Furious Five – the masters and defenders of their world. When the ancient turtle Oogway declares that the Dragon Master (the one who will have limitless power and be able to restore peace to the land) will be unveiled soon, the entire village gathers for a demonstration of the Furious Five’s powers. But much to their surprise Oogway declares that Po is the destined warrior, and it is now up to Master Shifu (Dustin Hoffman) to train him. Meanwhile, crazed warrior Tai Lung (Ian McShane) learns of the events and breaks free to track down Po and claim the title that was denied him many years ago.

If the plot is just a slight variation on the hero’s journey, it more than makes up for it with its inventive and fresh humor. Lovingly paying tribute to countless martial arts films while remaining broad enough to attract a wide audience, KUNG FU PANDA is one of those films that have something to offer everyone. There are surprisingly little of the typical martial arts jokes; the quick camera zooms are few and far between and there isn’t any mismatched dialogue in sight. Instead, the most successful gags in the film come from Po’s exaggerated physical comedic style and lovably geeky personality. Po is perfectly brought to life by Black, who proves once again that he deserves to be at the front of the comedy film world, going the lengths and stretching himself in ways that most other comedy actors avoid.

If KUNG FU PANDA were to be seriously faulted, it would be the filmmaker’s reliance on Black to deliver all of the jokes. Every member of the Furious Five – which includes the voices of Angelina Jolie, Jackie Chan, Seth Rogen, Lucy Liu and David Cross – are tragically wasted. Chan in particular is left with only a few lines of throwaway dialogue. Hoffman and McShane make an impression, but mostly to provide a skeptical foil to Black’s excited enthusiasm. With the kind of voice cast that was assembled for the film (one that had the potential to be very funny), it’s a bit of a disappointment to see that it’s such a one-man show, no matter how hilarious that one man is.

But the film’s most important achievement is its impeccable design. Detailed to a point that put most other animated films to shame, KUNG FU PANDA is a pure joy to watch. Every image is beautifully rendered with a clear sense of style in mind. It’s been quite a while since the word “art” could be thrown at a non-Pixar, non-Ghibli film, but KUNG FU PANDA’s art is undeniable.

KUNG FU PANDA is a pure joy to watch for nearly every kind of viewer, children and adults alike. It accomplishes a rare feat in actually delivering on its amusing, if gimmicky premise. In a summer that’s relying on darker action epics, parents will be grateful for KUNG FU PANDA – something that will not only enthrall their children, but entertain themselves as well.

***/****

Indiana Jones and the Kingdom of the Crystal Skull

After 19 long years, Indiana Jones is back and better than ever. Well, maybe not. But he’s in a much better shape than pretty much everyone expected in INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL. Creative forces George Lucas and Steven Spielberg reunite with star Harrison Ford and other familiar faces and images to bring Indy into the Cold War years and the 21st century world of filmmaking. While the adjustment is not an easy one to make, all the old-fashioned action and humor that made the old films so enduring is still mostly intact.

The year is 1957, and Indy finds himself caught up with the Soviets. They are led by ruthless Communist Irina Spalko (Cate Blanchett), who demands that Indiana help them locate an artifact known as a crystal skull- a mythic object that holds unknown powers. To say more about the plot would ruin the film’s many twist and turns. Suffice it to say has enough moments of humor, action and suspense to appease all of Indy’s loyal followers with a decidedly 1950s and early Spielberg mixed into the proceedings.

Thanks to the change in setting, the film contains quite a bit more apparent CGI work than the earlier films. It examines multiple forms of American culture in the 1950s, most notably the Red Scare and the weapons being developed to fight it. But Spielberg wisely balances the fake stuff with exhilaratingly real action that reminds us of what good movies used to be. A chase sequence featuring Ford and co-star Shia LaBoeuf on motorcycle outrunning a car of KGB agents is a particular standout, as is a fencing match between LaBoeuf and Blanchett across two speeding cars in the jungle. Spielberg once again proves that he is the master of action set pieces, eschewing modern trends and returning to what worked so well for him in the 1970s and 80s. And surprise, surprise- it’s just as exciting now as it was back then. As expected, every inch of the film is expertly constructed. This is Spielberg’s brightest and purely exhilarating film in at least ten years. The final moments of the climax are particularly stunning – it’s an ending only Spielberg could pull off. It’s his entire career come full circle.

Returning as the titular hero, Harrison Ford gives a more invigorated performance than he has in years. It’s peculiar that Ford’s freshest performance this decade comes from a character he created over 25 years ago, but here he proves once again why he is who he is. Balancing the heroic action with a surprisingly sharp sense of humor and some good-natured ribbing at his age, Ford is just as capable if not more so than he was in the first film. Karen Allen makes a delightful return as Marion after a four-year absence from the screen, even if she is a bit more wishy-washy than we remember. The supporting cast, including John Hurt, Ray Winstone and Jim Broadbent, are all in fine form as well.

As with the technology, the film is just as much about the new as the old. This is most clearly shown with the presence of Shia LaBoeuf. From the moment he rolls on screen (literally) LaBoeuf’s infectiously likable performance as the greaser Mutt further solidifies his position as Hollywood’s new it actor. He proves himself as an able action star, pulling off the film’s most complex stunts and action sequences with charismatic goofiness. Spielberg and Lucas clearly wanted to shape Mutt into the next Indiana Jones – heroic but flawed. And they mostly succeeded.

There are only a few setbacks in the film; remarkable, considering how wrong things could have gone after nearly two decades of waiting. And aside from a CGI overload in the film’s finale, it superbly reconstructs the realistic, B-movie serial feeling that the original three films excelled at. In some cases, it even surpasses the other two sequels in its ability to create suspense through action and humor. In INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL, Spielberg, Lucas and Ford prove they haven’t lost any of their magic and could easily continue the series without ruining a thing. Let’s just hope is doesn’t take 19 years next time.

***1/2/****

Prince Caspian

“You may find Narnia a more savage place than you remember.” Never have truer words been spoken. Fans of the 2005 blockbuster hit THE LION, THE WITCH AND THE WARDROBE will doubtlessly be surprised if they come into PRINCE CASPIAN expecting the same kind of fun and wonder that enchanted millions three years ago. Incessantly dark and serious, the film is a worthy successor even if it ultimately proves too downtrodden and frightening for its audiences.

Hundreds of years have passed since viewers last saw Narnia, and much has changed. The familiar Narnians have been pushed into the woods and the vicious Itali- er, the Telmarines- have taken control. When the self-proclaimed King Miraz (Sergio Castellito) discovers his wife has given birth to a son and heir, he realizes that the only thing that stands in the way of unending power is his young nephew Caspian (Ben Barnes). Caspian escapes into the vast woods with a magic horn in his possession. Suddenly, the four Pevensie children (Georgie Henley, Skandar Keynes, William Moseley and Anna Popplewell) find themselves transported back to Narnia. They soon realize that they must help Caspian rally the Narnians to fight for their very survival.

Where the first film was concerned mainly with the tight bonds the siblings felt for each other, PRINCE CASPIAN is concerned with battles. Much of the first film’s humor is gone; this sequel is a mostly serious affair. The lighter moments are only passing, quickly taken up by scenes of the oncoming enemy or questions about mortality that are surprisingly earnest for a family film. The sense of wonder has also been replaced by a large amount of violence. It is rather disconcerting to see the young stars of the film kill so many people without a second thought, especially when it is presented in such a straightforward manner. It is quite surprising that the film was only given a PG rating; it’s easily the most violent PG-rated film in decades.

There is also a lack of magic in the characters. While they are actually supporting characters, the Pevensie children are not nearly as compelling as they were before. While Peter (Moseley) and Susan (Popplewell) are given interesting subplots, Edmund (Keynes) and Lucy (Henley) are left to lurk more or less in the background. Lucy still is the series’ most likeable and innocent face, thanks to Henley’s easygoing charm; unfortunately, this means she is entirely absent for long portions of the film when the other characters go off to battle. As Caspian, newcomer Barnes makes a fitting and sympathetic hero. The film also suffers in its lack of a strong villain. Miraz is nothing more than a stereotypical evil warrior king – a far cry from the spellbinding figure Tilda Swinton crafted in the first film. When she appears midway through the film, it suddenly kicks into high-gear; her all too short appearance gives the film the edge it was trying to get at all the while.

Still, the film is more than a worthy successor. While lacking in magic, it reflects the maturation of its characters and audiences. It may have taken a step too far and become too serious and frightening to recapture moviegoers as the filmmakers did three years ago, but those that follow it adamantly will likely appreciate the higher stakes and wider scope. While solid, the film takes another step towards LORD OF THE RINGS rather than attempting to create its own style and voice.

**1/2/****

Speed Racer

Perennially popular anime SPEED RACER makes the jump from cartoon to live action, courtesy of the Wachowski Brothers. Unfortunately, these once-heralded directors showed signs of being a one-hit wonder with their preposterous MATRIX sequels, and this film pushes even further towards that description. Using a dizzying visual style that can only be compared to exploding paint cans, the film vainly tries to revolutionize “cool.” And in doing this, they forgot to add in the fun that would seem obvious when adapting a kid’s cartoon show.

Speed Racer (Emile Hirsch) is a young hot-rod making history on the racetrack. Driven to succeed by the memory of his dead brother Rex, Speed only knows how to race and he does it well. But when he refuses a deal from a monopolistic CEO (Roger Allam), he finds himself and his entire family (including father John Goodman and mother Susan Sarandon) in the mercy of the powerful company. Determined to destroy the corporations’ hold on the world of racing, Speed teams with the mysterious Racer X (Matthew Fox) and girlfriend Trixie (Christina Ricci) to defeat the corporate-sponsored drivers race by race, starting with the same treacherous rally that took the life of his brother.

There’s a lot of drama in a movie supposedly aimed toward children; hardly surprising, looking at who’s responsible for the film. The Wachowskis seem to forget they were making a fun action movie; most of the film is spent on long dramatic scenes surrounding each member of the Racer family that slows momentum to a complete standstill. There is so much time spent on studying the inner working of Mom and Pops Racer that Speed seems a mere afterthought until well into the film. As a result, the film is easily a half hour too long and the action sequences never quite rouse the viewer out of the distant stupor the rest of the film puts them into.

Not that any inkling of sense or understanding can be gotten from the action sequences. The film’s color scheme, obviously the filmmakers’ attempt to create a real-life anime is even more dizzying and headache-inducing than their 2D counterpart. The editing is so fast and the movement so mind-boggling (in the worst way possible) that we are forced to wait until the race ends to get a semblance of what happened. The only sequence that elicits any real excitement is one of the few hand-to-hand combat scenes in the film, and also one of the few that are devoid of extensive special effects. Even if that sequence does start off with an act that is either a strangely-placed homage to James Bond or evidence that the Wachowskis have simply run out of ideas.

The cast certainly doesn’t do any favors, though they aren’t given much to begin with. As Speed, Hirsch clearly looks the part but looks and sounds awkward when forced to deliver the stereotypical “let’s see what I can do” lines to his competing racers. Sarandon and Goodman invest into their characters far too much, with their teary-eyed performances out of place in the bright colors and flashing lights. And as Speed’s younger brother Spritle, Paul Litowsky finds himself stuck with some of the least funny comedic relief dialogue seen in quite some time and gives the worst child performance this side of Spencer Breslin. Only Ricci makes a positive impression, mostly due to the fact that she is the only element of the movie that looks like an anime convincingly brought to life.

If the Wachowskis wanted to make a serious action drama about racing, they shouldn’t have chosen SPEED RACER as their inspiration. Their heavy melodramatics conflict wildly with the Candyland/Japanese infused world they set the film in. While some will likely see this film as the next phase in the evolution of cool, thanks to its bloated script and completely incorrect sense of self importance, there’s only one thing to say: SPEED RACER drags.

*1/2/****

Iron Man

The summer season starts off with a bang as IRON MAN explodes into theatres everywhere. Thanks in no small part to an invigorated and energetic leading man in Robert Downey, Jr., the film is fast, fun and smart – everything that a successful superhero film should be. Balancing Batman-style dramatics with the sense of humor that made the first Spider-Man films so popular, IRON MAN proves to be a film that comic book haters can enjoy.

Billionaire weapons manufacturer Tony Stark (Downey Jr.) is on a business trip to Afghanistan when he is attacked and kidnapped by a terrorist organization. After installing an arc reactor in his chest to keep shrapnel from entering his heart, the terrorists demand that Stark build them an all-powerful rocket that will wreck havoc all over the country. Stark uses the pretense of working on the rocket to build a seemingly indestructible suit to craft his escape. After witnessing the widespread damage his products are inflicting on both sides of war, Stark uses his newfound technology to transform him into an indestructible flying weapon on legs. All the while, he juggles intrusions from his business partner Obadiah Stone (Jeff Bridges) and the military, embodied by Air Force officer Jim Rhodes (Terrence Howard) and an increasingly personal relationship with his ever-capable assistant Pepper Potts (Gwyneth Paltrow).

Superhero movies have never been more grounded in real life than here. The film’s entire set-up, a weapons manufacturer captured by terrorists in the Middle East to build their weapons, seems like a situation that could easily be seen on the news. Combined with the military presence and the ever-popular “how corrupt are major businesses?” scenario and you’ve got one realistic comic book movie. But thanks to Jon Favreau’s tasteful direction and the smart script, the film is topical without seeming preachy or drawn-out; when a script has two co-writers of Alfonso Cuaron’s CHILDREN OF MEN, it’s a safe assumption that the film is going to be deftly topical. But this doesn’t mean there isn’t plenty of fun to be had. The action scenes, while rather small in number, are intense, exciting and spectacular. And thanks to the strength of Downey’s performance, there’s always fun to be had.

It’s unusual that a big-budget summer action film these days would star Robert Downey, Jr. and Gwyneth Paltrow, but each prove more than able in their roles. While Pepper doesn’t do much more than the standard superhero love interest, Paltrow successfully sheds the alienating snootiness that’s affected her in the past. And as Stark, Downey may have found his signature role. Tony Stark isn’t merely a character Downey is playing; it’s an extension of the man himself. Imbuing every line with his trademark humor, Downey channels his public perception into Stark’s womanizing and careless lifestyle, making the transformation into Iron Man an examination of what the public doesn’t see. Downey completely embodies the role, finally giving the world a superhero that can truly balance the lightness and darkness of his personality with superb skill.

IRON MAN is a rip-roaring start to the summer. It doesn’t rely on in-jokes that would only be understood by fans, nor is it too broad in a vain attempt to appeal to everyone. Instead, it tells a solid story with a surprising injection of real-world drama and finely-tuned comedy. The film is a thrill ride from beginning to end, never letting up or losing steam. In a day where only bleak action films can be called smart and only dumb action films can be called fun, it’s a breath of fresh air to see something that excels so easily at combining the two.

***/****

Forgetting Sarah Marshall

It’s a familiar story: someone spurned by their ex-lover goes abroad to escape, only to find their ex everywhere they go. Yet in FORGETTING SARAH MARSHALL, actor/writer Jason Segel uses the type of R-rated humor that made producer Judd Apatow’s films so popular to amusing effect, even if the film struggles to reach the genuine emotion that made the producer’s works so critically acclaimed.

Composer Peter Bretter (Segel) was just dumped by his longtime girlfriend, television star Sarah Marshall (Kristen Bell). Unable to forget his past girlfriend and unable to attempt a physical relationship without bursting into tears, Bretter goes to a luxury hotel in Hawaii, a place he remembered Sarah talking about. Sure enough, the first people he runs into are his ex-girlfriend and her new beau, British rock star Aldous Snow (Russell Brand). He tries to avoid them, but finds himself near them all the time. The only way he manages to escape from them is to turn to his burgeoning relationship with hotel employee Rachel (Mila Kunis). As he spends more time in the hotel, he begins to know more about himself and about the value of living.

As has been common with recent comedies, Segel and director Nicholas Stoller strive to create a film that’s not just about the laughs. And although it does contain a level of sweetness and sincerity that is still surprising in such a raunchy comedy, it is no more genuine or sweet than an average romantic comedy. Peter is a flawed character, but the negative effect his behavior has on people is touched on all too briefly. And aside from the always affirming “stop worrying and just live life” sentiment, the film is primarily successful in making jokes.

And the film is funny. Very funny. Segel already has gotten notices for his daring full-frontal nudity (which begins mere minutes into the film), but as a leading man he’s a bit on the bland side. He handles the jokes extremely well, but is nothing more than serviceable when trying to be dramatic. He is lucky that the amount of real drama required is rather small, and clearly knows where he excels. Bell and Kunis are pleasant as the women in Peter’s life; they inject their characters with mounds of personality but obviously got the short end of the stick when it comes to the jokes. Cameos from Apatow regulars give the film some of its lightest moments. However, the film truly belongs to Russell Brand. As the philandering and ridiculously spiritual rock star, every line he speaks packs a punch. He steps just across the line of being over-the-top, but does it with enough confidence to keep attention on him at all times.

FORGETTING SARAH MARSHALL will never be the juggernaut that films like KNOCKED UP and SUPERBAD turned into, but that shouldn’t speak for its quality. It is still a tremendously enjoyable film that keeps you laughing throughout. It moves past the shock laughs of the frank nudity and sex jokes typical in a film like this to demonstrate a great deal of thought and wit. Slim but fast-paced, the film is a perfect exercise into escapism.

***/****

Leatherheads

George Clooney has often been called the Cary Grant of our generation, a comparison he clearly hopes to capitalize on in LEATHERHEADS, a true sports story via screwball comedy that makes one long for the cleverness of the old days rather than fondly recall them, as a good homage should do. While the filmmakers mean well, the script is not snappy enough and the stars not as charismatic as their 1930s counterparts to be consistently funny.

The year is 1925, and the Duluth Bulldogs are struggling to survive in the failing world of professional football. Coach Dodge Connelly (Clooney) sticks as many dirty tricks into plays as he can to ensure his team’s success, but they are nearing the end of their rope. Suddenly, Dodge has an idea; recruit a major figure onto the team to get publicity. He sets his sights on Carter Rutherford (John Krasinski) a college football star and decorated war hero. He lures him to the team with a large contract, but finds a snag accompanies it. Newspaper reporter Lexie Littleton (Renee Zellweger) has been sent by her editor to interview Rutherford and expose the truth behind his supposed heroics. Soon, Dodge and Rutherford are fighting for Lexie’s affections as national football, led by the Bulldogs, begins to gain momentum.

Most sports movies deal almost exclusively with the bond between the players, but this film has almost none of that. In fact, Rutherford is rarely seen speaking to the other players, since most of his scenes are either tender interviews with Lexie or jealous bantering with Dodge. This is one of the film’s main faults; the story is set around a very significant time in the world of sports, but it is rarely touched upon. Aside from a few montages and the obligatory Big Game climax, actual scenes of playing are rare. Instead, Clooney focuses on the romantic triangle of the film and the screwball nature of their relationships. Here again is another one of its faults. The lines are meant to be delivered fast, a la HIS GIRL FRIDAY, but they have little of the zip or wit of its inspiration.

The cast is likable enough, even if they are underserved by their roles. Clooney puts himself in full Cary Grant comedy mode, all extorted facial expressions and one-step-ahead delivery. Krasinski charms throughout, even if his actual comic abilities are only allowed to show in a few scenes; a drunken argument between the three main characters is the highlight of the film, thanks to Krainski. Zellweger proves a decent match for both men, though she is far too sweet and demure to convincingly fill the Rosalind Russell-esque role of ruthless newspaper gal.

Clooney seems far less adept at directing comedy than performing it. While the production values are spectacular and the film is beautifully shot, there is little excitement in the comedic sequences. Any laughs gotten from the film come exclusively from the actors, and while Clooney does inspire humor from his co-stars as an actor, he does them no favors stylistically. So while the film offers fantastic production values and a rousing score from Randy Newman, it never manages to be anything more than cute. And considering the talent involved, cute is a major disappointment.

*1/2/****

Stop-Loss

Acclaimed director Kimberly Peirce’s second feature length film (after 1999’s BOYS DON’T CRY) is the latest entry in the recent wave of war-themed films that appear to be anti-war while never really pushing the envelope. STOP-LOSS could best be described as “VARSITY BLUES Goes to War” – a rather unsurprising connection, since both were produced by MTV Films. A melodrama that targets twentysomethings instead of the generation that made this war, it gives a few poignant glimpses of the devastating affects war has on soldiers while never being brave enough to show the outrage it feels.

The film centers on a small group of Texas All-Americans (friends since elementary school, all championship football players in high school, etc.) returning home after fighting in Iraq. The troop was recently caught in an ambush that left two of their friends dead, one seriously wounded and their leader, Sgt. Brandon King (Ryan Phillippe) a decorated hero. It is the last deployment for Brandon and his best friend Steve (Channing Tatum), until he discovers that the army has stop-lossed him; he is to report for duty to serve another tour in Iraq. Infuriated, Brandon and Steve’s fiancée Michelle (Abbie Cornish) flee their small town to try and find a way out. In the process, he will challenge everything he knows about patriotism, friendship, family and honor.

The film does well on examining the humanity of war and the devastating after-effects it has on its soldiers. Unfortunately, the film is plagued with wooden or over-the-top performances that never fully translate the impact of the characters’ actions. As Steve, Tatum remains expressionless most of the time, marginally summoning actual emotion only when it is absolutely essential. Joseph Gordon-Levitt, who delivered a fantastically nuanced performance in last year’s THE LOOKOUT, rants and raves here. He fills the typical role of dark, moody wild child but adds no further dimension to it between his manic ups and downs. Couple that in with spotty southern accents from most of the cast and you’ve got what this film offers; a bunch of attractive, marketable faces with no real substance underneath.

However, any success the film has must be credited to Phillippe and Cornish. The real impact of the film rests on Brandon’s journey, and Phillippe does not disappoint. He gives the most layered and focused performance of his career; showing genuine emotion in spades when the others cannot. The film teeters on near-ridiculous melodrama as it is, but Phillippe remains genuine throughout. In the hands of a more bombastic actor, the film would have veered into soap opera-like dramatics with no chance of recovering. Cornish acquits herself too in a rather limited role; when faced with the possibility of being stuck between friend Brandon and fiancée Steve, she sidesteps being the wishy-washy girl who can only watch, as the script points her to.

Director and co-writer Peirce clearly set out to make an anti-war film; the only character in the film who doesn’t find the stop-loss procedure completely repulsive is the army general. But she never drives the film to a point of ending as anti-war, seemingly for fear of offending anyone. It may be because the focus was meant to be aimed at the characters rather than the war itself, but when every person in the film is negatively affected by the war (whether they are stop-lossed, wounded, killed, experience violent flashbacks or return to a destroyed home life), the viewer doesn’t really come out of the film feeling that these people were glad for their experiences.

The filmmakers make it clear that the act of stop-loss is a terrible thing, but focuses its argument almost exclusively on that. The affects of war are touched on explicitly, but no statement is ever really defined, leading the film to an ending that feels incomplete. While it does raise questions for the viewer to contemplate themselves, they will inevitably be influenced by the anti-war track followed throughout most of the film. And despite the strong presence of Phillippe and Cornish, add in the mixed message with the unconvincing performances and you’ve got STOP-LOSS. It is a film that has all the makings for greatness but settles for mediocrity, so as not to offend anyone.

**/****

Funny Games

Acclaimed German filmmaker Michael Haneke makes his English language debut with FUNNY GAMES, a remake of his 1997 film. Unlike most American remakes of foreign films, FUNNY GAMES manages to retain the same visceral impact of its source, especially to those who have never seen it before. For those who have, there are no surprises (it is, after all, a shot-for-shot remake) save for the uniformly spectacular performances and the sadistic joy of watching the uninitiated become more and more disturbed.

The premise is simple. A small family of well-to-do vacationers (Naomi Watts, Tim Roth and Devon Gearhart) is settling down in their blindingly white home-away-from-home when two strange faces (Michael Pitt, Brady Corbet) come to the door. After a small number of decidedly eerie encounters, the two young men reveal the real reason for their presence; they are sadistic killers who throw the family into a series of violent and degrading “games” to make the whole process entertaining. Who is being entertained, however, is the question.

The film is made with no intent to be liked by anyone. In fact, anyone who says they love it should be ready for all sorts of strange looks from the others who’ve seen it. The family makes all the wrong decisions when attempting to escape, and Haneke relishes devilishly in what we expect from it. The film is alienating and accusatory in the same way it was before. Unfortunately, Haneke takes a slightly subtler approach to the film’s meaning and it loses some of its bite. It will still shock and offend many, even if it isn’t as wicked or biting as before.

Aside from a few entirely plausible cell phone-related additions to the film, it remains entirely the same. The main interest for viewers to revisit the film’s world is the performances, which are very strong. While Roth and Pitt suffer in comparison to their German-language counterparts, they still commit strong, manipulative and gut-wrenching performances. Pitt in particular eschews his typical whiny poutiness and manages to be truly intimidating. However, Watts and the young Gearhart provide the film with the images that will stay in audiences’ minds. Any sympathy that one feels while watching is due largely to them. Their perpetual state of humiliation and terror is exhaustive; the audience often feels just as traumatized as they do. As Ann, Watts has never been better. Her desperation is emotional without ever being melodramatic. Ann walks a fine line between being sympathetic and being cold and unlikable but Watts maneuvers around it perfectly; a feat that Susanne Lothar was not always successful at in the original film.

FUNNY GAMES is essentially an American translation of the original Austrian film. It is a shocking and thrilling experience, daring you to stay and expecting you to leave before the film is over. Those going in having seen the original will know exactly what to expect and will put themselves in for another exercise in hopelessness. Unless they want to see the others squirm.

***/****

The Other Boleyn Girl

There’s nothing more fascinating than royals. When it involves Henry VIII’s relationship not only with Anne Boleyn but her sister as well, it was only a matter of time before Hollywood caught on. Adapted from the trend-setting 2001 bestseller, THE OTHER BOLEYN GIRL is a bodice-ripper of the most melodramatic kind. The whole film is a bit ridiculous, but made manageable by its outstanding production values and a surprising performance from Scarlett Johansson.

Young Anne (Natalie Portman) and Mary (Johansson) are the Boleyn sisters, growing up in the midst of Henry VIII’s (Eric Bana) court. But his marriage with Catharine of Aragon is failing; after the latest failed attempt to give birth to a male heir, the girls’ uncle (David Morrissey) is certain that the king will be looking for a mistress, and believe Anne is the perfect candidate that could catapult the entire Boleyn family into wealth and power. But not all goes as planned; the king turns his eye to the recently-wed Mary, and a bitter rivalry ignites between the sisters. The tryst goes on for years, with both sisters playing for the king’s affections until Anne decides to put herself in the highest place of all; as Henry’s queen.

The film would not be quite so insufferably soap opera-ish were it not for the jealous, seething and ruthless portrayal of Anne Boleyn. Midway through the film, when Anne is called from France to return to court and seduce the king, she is given a montage as if Freddy Kruger or Michael Meyers were being resurrected. What surrounds it is a large quantity of Anne either glaring at people or delivering sexually-tinged comebacks. It is a credit that Portman manages to lose her typical cutesiness and inject a few moments of genuine smolder, but she becomes rather trying and overtly weepy towards the end. It’s understandable that one would be upset when about to be decapitated, but when all she does is cry for the final half-hour of the film, it gets a bit old.

The real (and only) surprise here is Johansson, who gives an impressive performance playing against type. Anne is every bit the demure and innocent girl who finds herself in over her head. As she begins to realize the extent of the relationship between her sister and the man she loves, her emotions are effective without falling into the level of melodrama that everyone else falls victim to. As Henry, Bana is not much more than a thing to be looked at or, more often, talked about.

The production values are understandably impressive, with the exception of the film’s grubby cinematography and curious use of handheld cameras. Director Justin Chadwick tries to inject the film with the same kind of modernity found in the most recent PRIDE AND PREJUDICE, but seems to think that shaking the camera around a bit is the only way to do this. Peter Morgan’s script is a far cry from the sharp wit and affecting nature of his work for THE QUEEN two years earlier.

All in all, the film may be a diversion for those who appreciate a decent period film, especially if they can get past the historical inaccuracies, which are doubtlessly many. The premise has enough potential, but when the entire thing plays like an expensive episode of DAYS OF OUR LIVES, everything comes off a bit forced and fake. Royals are still fascinating, but surely they must have done something other than betray each other, have sex and cry. Supposedly they ran countries as well, but THE OTHER BOLEYN GIRL apparently doesn’t find that worthy of examination.

**/****

Be Kind Rewind

In an age where films like WITLESS PROTECTION even exist, we could use a reminder of why the cinema has become such an important facet of our culture. Leave it to Michel Gondry to show just how affecting the transformative magic of movies can be. BE KIND REWIND is a hilarious and surprisingly touching gift to movie fanatics everywhere. Extending beyond its gimmicky premise, Gondry gets spirited performances from all involved and crafts perhaps the sweetest and most heartfelt film-related finale since CINEMA PARADISO.

Be Kind Rewind is a old-fashioned VHS video store and pawn shop in Passaic, New Jersey, and the birthplace of legendary jazz musician Fats Waller. But the store has fallen on hard times, and owner Mr. Fletcher (Danny Glover) faces pressure from chain DVD rental stores and city zoning commissions to close the place down. He goes away for a weekend, placing the only other employee, adopted son Mike (Mos Def) in charge of the store with one strict rule: he must not let his unhinged, paranoid friend Jerry (Jack Black) in the store. Unfortunately, after being magnetized in a freak accident, Jerry does make his way into the store and, in the process, erases all the video tapes. In order to appease the store’s most frequent customer (Mia Farrow), the two quickly tape themselves acting out the movie GHOSTBUSTERS. Soon the tactic catches on, and the store is more crowded than ever, bursting at the walls with customers demanding to see more cheaply remade films starring the two.

The film is Gondry’s most mainstream production by far. The visual styling that made his previous films, particularly ETERNAL SUNSHINE OF THE SPOTLESS MIND and THE SCIENCE OF SLEEP, so distinctive is relegated to a few brief sections in the middle of the film and the end. But where there is less visual experimentation, there is a greater emphasis on storytelling. The film’s plot, especially in its second half, flirts with clichés but sidesteps them with its honesty and unabashed sentimentalism. It wisely goes beyond the mere premise of two guys remaking famous films, though the recreations are extremely funny. Black and Def’s version of GHOSTBUSTERS and DRIVING MISS DAISY in particular are pitch-perfect homages to everyone who reenacted their favorite films in their basements. But Gondry is smart enough to realize that to really make the film a memorable experience, more is needed. As the film rides into its second half, the laughs are set aside and the core of the film is really examined.

The film is performed with vigor by its cast. Black once again takes on a not-so-expected role in a not-so-expected film. After KING KONG, MARGOT AT THE WEDDING and now BE KIND REWIND, he is establishing himself as one of the riskier comedic actors out there today. He still brings his trademark sense of humor to his role, but he proves to be surprisingly well-fitted for Gondry’s quirkily eccentric voice. Glover gives his most invigorated performance in years. Gone is his usual tendency to deliver lines at just above a whisper, and his aged weariness gives a great deal of heart to the film. Def is appropriately wide-eyed and hopeful, and it’s always nice to see Mia Farrow in a new film.

BE KIND REWIND is made for people who believe in the power movies can hold over a culture. Midway through the film, a discussion between three main characters about THE LION KING soon includes everyone that surrounds them; for a few brief moments, people of all walks of life are united. And as the finale shows, when enough heart is poured into a film, its reach can be endless. BE KIND REWIND has that heart and isn’t afraid to show it.

****/****

The Spiderwick Chronicles

The family-friendly literature-based fantasy film trend continues this weekend with THE SPIDERWICK CHRONICLES, a Nickelodeon-produced adventure based on the bestselling children’s book series. But where most recent films have been underdeveloped and overproduced, director Mark Waters (of MEAN GIRLS) strikes a nice balance between the two. Introducing audiences to a new world without skimping over details or getting too bogged down in plot, the film is an often thrilling and always entertaining diversion for children and audiences alike.

The Grace family has just moved into an old deserted family house in the middle of nowhere. While mother Helen (Mary-Louise Parker) and children Simon (Freddie Highmore) and Mallory (Emma Bolger) remain optimistic, moody and violent Jared (Highmore again) sees the place as a dead-end. That is, until he discovers a dumbwaiter leading into the house’s dusty attic, where he uncovers a major secret; a bound leather book with a warning telling any prospective readers to turn away. Jared, being a typical film hero, naturally breaks the seal and reads the book; Arthur Spiderwick’s guide to every magical creature on Earth. Soon enough, Jared learns that every word Spiderwick wrote was true. When an evil ogre sets his sights on the book, he enlists his siblings to help defeat the monster and save the other creatures that surround them.

The plot is that of your typical children’s fantasy, but it keeps things brisk and doesn’t let its familiarity become a crutch. A lot of explanation is required to explain the various creatures and what they do, but it avoids the faults of other recent fantasy pics by not dropping their name once and then assuming viewers will catch up. The real world is melded with the fantastical elements quite well; the reasoning behind the creatures’ existence and why most people cannot see them is convincingly illustrated, and does lead to some shocking moments late in the film. Waters keeps the film constantly moving; once the action starts, it never really stops. Even the requisite pause for dramatic development just before the finale isn’t as momentum-killing as it could have been.

It is successful, in no small part, to the charisma and likeability of Bolger and Highmore. Highmore in particular continues his streak of being the most sympathetic and emotive of the wide-eyed child actors out there today and injects several noteworthy traits to differentiate his two characters. Truth be told, Simon and Jared are like night and day, but the differences in Highmore’s speech patterns and vocal inflections are something to be admired. Throw in some entertainingly spirited vocal performances from Martin Short and Seth Rogen as two magical allies, and you’ve got a film where the actors are having as much fun as the audience. Some younger viewers may find the tenser moments of the film too scary, but it’s all worth it in the end.

THE SPIDERWICK CHRONICLES is a light, fun introduction to a world not too different from our own. Making sure to develop all possibilities in story, rather than finding the quickest way to the action and throwing caution to the world, it is a genuinely well-plotted and well-made film. With likeable performances and action audiences of all ages can enjoy, the film is a perfect retreat for families; something that will keep kids entertained will keeping adults from rolling their eyes in boredom.

***/****

Jumper

Anywhere is possible in JUMPER, but most people who see the film will wish they were somewhere else. A dismal and disappointing distraction from director Doug Liman, who has taken a step back from his previous action successes (THE BOURNE IDENTITY and MR. AND MRS. SMITH) thanks to a shoddy script, muddled performances and a too-frenetic editing job.

David Rice (Max Thieriot) is the typical picked-on kid in high school. Broken family, poor social skills, and a crush on the most intriguing girl in school. When a potentially sweet moment becomes a life-threatening trip into an icy lake, David suddenly finds himself transported to the local library. With the revelatory line, “Did I just teleport?” (Which is what I say whenever I can’t remember how I got somewhere), David realizes he has a gift; he is a Jumper. He grows into a wealthy young man (now played by Hayden Christensen), thanks to his ability to jump into banks undetected. But soon he finds a league of deadly stalkers (led by a white-haired Samuel L. Jackson) on his tail, and he must fight to save himself and the one girl for him (Rachel Bilson).

David becomes superhero-like with his ability to instantly appear anywhere, and often makes reference to it (this comes as little surprise, since the film was co-written by one of Hollywood’s resident comic geeks, David S. Goyer). But as the plot develops, viewers are left with a, “yes, and…?” feeling. David’s only real ability is to teleport. Nothing else about him is remarkable; in most cases, he is even unable to make competent decisions. This likely explains the rushed nature of the film; at only 88 minutes, it only barely scratches the surface of its possibilities. The film’s blink-and-miss-it climax is the most criminal act. The final showdown doesn’t last much longer than two minutes. What we see is probably all the filmmakers could think of, and it certainly is disappointing, since David is adamant about not resorting to violence to save himself. One wonders whether he does this out of the goodness of his heart, or if it is completely unbelievable than Christensen could actually defeat Samuel L. Jackson in a fight.

Which brings us to the cast. While the parts aren’t challenging in the least, with every character filling one of the action film archetypes, the performers don’t do any favors. Christensen has improved since his Star Wars days, but he still hasn’t proven himself dynamic enough to secure his spot in stardom. Jackson and Bilson are only serviceable; the former being moderately menacing while the latter is relegated to pouting most of the time. The only bright spot in the cast is Jamie Bell, playing a squirrelly fellow Jumper. Bell, who manages to actually get laughs out of his lines, rises above the material with ease, committing himself to having fun rather than being serious. He has long been touted as one of the next big things, and his performance here is only more evidence for the case.

Liman’s action sequences, which were smooth and thrilling in films past, are jumbled and confusing here. The jumping effects, often occurring several times in a shot, are impressive, but when the editing becomes too frenetic and the camera becomes too shaky to make sense of much, we are left to wait distantly to see how things turn out. The rather short length of these sequences worsens the situation; more often than not, the action is over before the audience is really given a chance to get into it. Though when a person can just teleport away from his attackers instead of risking harm, I suppose it’s justified. But who wants to see a movie about that?

*1/2/****

In Bruges

Renowned playwright and Academy Award-winning filmmaker Martin McDonagh makes his feature film debut with IN BRUGES, a smart and tight thriller that will astound some while irk others. McDonagh’s signature violence and dialogue successfully makes the transition from stage to screen, though those who do not understand his motivations will be left wondering what the big deal is.

After a bungled job in London, Irish hit men Ray (Colin Farrell) and Ken (Brendan Gleeson) are told by their employer (Ralph Fiennes) to wait for further instructions in scenic Bruges. (It’s in Belguim.) While the seasoned veteran Ken distracts himself with sightseeing, Ray begins to realize the extent of his actions. The two connect and share their views about life and the world around them. All the while, they become introduced to the more eclectic side of life in Bruges, including a beautiful Belgian dealer (Clemence Poesy) and a forward American dwarf.

McDonagh is a very self conscious writer and director and immediately adapts to the realm of feature length film, introducing himself with a brash, take-it-or-leave-it style. In one scene, the famous one-shot opening sequence of “Touch of Evil” plays in the background. It is no small coincidence that the scene surrounding it is one extended shot as well. He proves himself more than a capable director; most of the film is dialogue-based, but the action packed finale will have viewers on the edge of their seats. The final sequences themselves are rather simple, yet extremely effectively filmed and edited. The film’s violence is very high, yet McDonagh has a visual mastery for the grotesque, finding a sense of darkly comic beauty in the carnage.

But the film’s main strength, and the thing that will have people talking, is its dialogue. Showing absolutely no restraint, the words the characters say are deliberately designed to shock and certain to offend many groups of people. Yet none of it is meant seriously, and all of it adds expertly to the film’s dark and edgy humor. Obesity, retardation, dwarfism, race and ethnicity are all ruthlessly dragged through the mud. Expletives abound and derogatory terms muttered every minute, yet the film grows funnier every time a new line comes around that tops the others in its lewdness and sheer audacity.

The cast takes what they are given and have a ball, each member of the ensemble relishing in their roles. Of particular note is Farrell, who offers surprising heart and genuine emotion that keeps the film from being completely cynical. Gleeson’s world-weary Ken seems strictly supporting at first but grows into compelling reality as he takes matters into his own hands. Fiennes has the most fun role and knows it; he relishes in each sharp-tongued line he is given, creating a villain that is at once menacing and hilarious. The film’s only major fault is its missed opportunity to develop Poesy’s beauty and charm into a truly substantial character. While she has a few intriguing quirks, she serves the purpose of being supporting love interest and nothing more.

IN BRUGES will introduce the world to McDonagh’s distinctive voice and style. If this film is any indication, he could easily become the next big voice in cinema. The film is brash and forward in a way most filmmakers would be too afraid to even dream of. McDonagh goes the extra mile to say things others refuse to say, but instead of taking himself seriously, he finds a way to laugh about it. The film’s shocking violence and surprising humor make it a must-see, certainly for anyone who want to catch the beginning of a major talent coming into his own.

***1/2/****

The 2007 Newmie Nominations

Well, this year was a great year for films. Actually... it was more like a pretty good 9 months and an astounding final 3 months. So, since I was fortunate enough to see many films (and even more fortunate to see them for free more often than not), I have compiled the nominations for the 2007 NEWMIE AWARDS. It was a very difficult list to create, and I'm still frustrated that I could only use 5 slots in the categories. I still am lost when it comes to deciding the winners as well, so don't expect them any time soon. Well... without further ado...

BEST PICTURE
Atonement
Juno
No Country for Old Men
Sweeney Todd: The Demon Barber of Fleet Street
There Will Be Blood

BEST DIRECTOR
Paul Thomas Anderson, "There Will Be Blood"
Tim Burton, "Sweeney Todd: The Demon Barber of Fleet Street"
Joel Coen & Ethan Coen, "No Country for Old Men"
Sidney Lumet, "Before the Devil Knows You're Dead"
Joe Wright, "Atonement"

BEST ACTOR
Christian Bale, "Rescue Dawn"
Steve Carrell, "Dan in Real Life"
Daniel Day-Lewis, "There Will Be Blood"
Johnny Depp, "Sweeney Todd: The Demon Barber of Fleet Street"
Emile Hirsch, "Into the Wild"

BEST ACTRESS
Helena Bonham Carter, "Sweeney Todd"
Julie Christie, "Away from Her"
Marion Cotillard, "La vie en rose"
Nicole Kidman, "Margot at the Wedding"
Ellen Page, "Juno"

BEST SUPPORTING ACTOR
Casey Affleck, "The Assassination of Jesse James by the Coward Robert Ford"
Javier Bardem, "No Country for Old Men"
Marcus Carl Franklin, "I'm Not There"
Hal Holbrook, "Into the Wild"
Tommy Lee Jones, "No Country for Old Men"

BEST SUPPORTING ACTRESS
Cate Blanchett, "I'm Not There"
Romola Garai, "Atonement"
Jennifer Jason Leigh, "Margot at the Wedding"
Kelly MacDonald, "No Country for Old Men"
Imelda Staunton, "Harry Potter and the Order of the Phoenix"

BEST ORIGINAL SCREENPLAY
Diablo Cody, "Juno"
Tony Gilroy, "Michael Clayton"
Todd Haynes, Oren Moverman, "I'm Not There"
Kelly Masterson, "Before the Devil Knows You're Dead"
Adrienne Shelly, "Waitress"

BEST ADAPTED SCREENPLAY
Paul Thomas Anderson, "There Will Be Blood"
Joel Coen & Ethan Coen, "No Country for Old Men"
Christopher Hampton, "Atonement"
John Logan, "Sweeney Todd: The Demon Barber of Fleet Street"
James Vanderbilt, "Zodiac"

BEST PRODUCTION DESIGN
Atonement
The Golden Compass
Harry Potter and the Order of the Phoenix
Sweeney Todd: The Demon Barber of Fleet Street
There Will Be Blood

BEST COSTUME DESIGN
Atonement
La vie en rose
Lust, Caution
Sweeney Todd: The Demon Barber of Fleet Street
There Will Be Blood

BEST SOUND DESIGN
Atonement
The Diving Bell and the Butterfly
No Country for Old Men
Sweeney Todd: The Demon Barber of Fleet Street
There Will Be Blood

BEST EDITING
Atonement
The Diving Bell and the Butterfly
No Country for Old Men
Sweeney Todd: The Demon Barber of Fleet Street
There Will Be Blood

BEST VISUAL EFFECTS
The Golden Compass
Harry Potter and the Order of the Phoenix
Pirates of the Caribbean: At World's End

BEST MAKE-UP DESIGN
Atonement
La vie en rose
Sweeney Todd: The Demon Barber of Fleet Street

BEST CINEMATOGRAPHY
The Assassination of Jesse James by the Coward Robert Ford
Atonement
The Diving Bell and the Butterfly
Sweeney Todd: The Demon Barber of Fleet Street
There Will Be Blood

BEST ORIGINAL SCORE
The Assassination of Jesse James by the Coward Robert Ford
Atonement
Lust, Caution
Ratatouille
There Will Be Blood

BEST ORIGINAL SONG
Come So Far, "Hairspray"
Falling Slowly, "Once"
Rise, "Into the Wild"
That's How You Know, "Enchanted"
To Be Surprised, "Dan in Real Life"

BEST FOREIGN LANGUAGE FILM
The Diving Bell and the Butterfly
The Lives of Others
Lust, Caution
The Orphanage
Persepolis

BEST ANIMATED FEATURE
Persepolis
Ratatouille
The Simpsons Movie

So there you have it! Sweeney Todd and Atonement lead the pack with 11 nominations, followed by There Will Be Blood with 10 and No Country for Old Men with 8. I still haven't decided the winners, but expect them before the Oscars... just so I can say I picked 'em first.