Leatherheads (2008)
Starring: George Clooney, Renée Zellweger, John Krasinski
Director: George Clooney
Plot: Set in the world of 1920's football, an aging player in the second-rate pro league tries to imbue the sport with the college circuit popularity by recruiting on of its stars only to find himself at odds with him over the affection of a sharp-nosed female reporter.
Review: Leatherheads is a delightful throwback to the screwball comedies of the first half of the 20th century, all brought together with modern sensibilities and production values. The script by Sports Illustrated journalists Duncan Brantley and Rick Reilly is a well-balanced mix of romantic triangle, slapstick and well-researched (and well-intended) period sports flick. Ably maneuvering between the comic bits - along with some sharp dialogue and terrific repartee - and the rousing clashes on the field, the film also squeezes in a commentary on the coming of age of the present-day NFL, one that clearly feels that the endorsements and money killed the fun of the sport. If the pacing isn't always energetic throughout, the film knows enough to sprinkle the proceedings with a variety of old-time pleasers, from a Keystone Cops-type chase to a bar brawl, to liven things up. The third feature helmed by actor / director Clooney (following the acclaimed Confessions of a Dangerous Mind and Good Night, and Good Luck) shows off the qualities that made him such a star: irreverent, charming, likeable and self-depreciating. Here, he's doing something he likes and cares for, and it shows in every scene and none more so than during the final game, played in the mud with new, stifling rules under the watchful eye of the new government football baron. It's here that Clooney's personal stand becomes clear: money can't replace heart. If Clooney is the heart and soul of the film, the usually overrated Zellweger is perfectly cast as his foil, and the two have some great chemistry together, especially in scenes (like a happenstance in a overnight train cabin) that retread such classics as It Happened One Night. And they're readily aided by the supporting cast including Krasinski as the college all-star vying for Zellewegger's affections, Jonathan Pryce as the shady sports promoter, Stephen Root as a drunken reporter, and more. Witty, charming, lightweight and thoroughly enjoyable, Leatherheads is quite simply a fine ol' time, and it's nice to see at least one filmmaker has the courage to give adult audiences something that's smart and funny on its own terms.
Entertainment: 7/10

10,000 B.C. (2008)
Starring: Steven Strait, Camilla Belle
Director: Roland Emmerich
Plot: After the men in his tribe are enslaved to help build the pyramids, a young mammoth hunter journeys across continents from the glacial lamdscapes to the African desert to free them.
Review: 10,000 B.C. is a throwback to the Hollywood epic productions like Ben Hur, Quest for Fire... and the campy, low-budget affairs of the 50's and 60's like 10,000,000 B.C. Combining the two seems to be quite a feat, but that's exactly what we get from this big-budget CGI extravaganza that ends up being pure drivel: the revisionist history is simply ludicrous, the characters are banal and played as such, the attitudes way too modern and the love story too bland. Thankfully, no one's expecting Oscar bait, and there's some grand adventure to be had for undemanding viewers. From the director of such silly, entertaining disaster fare as Independence Day and The Day After Tomorrow, Emmerich knows what's supposed to go into these larger-than-life productions and in the large scale action sequences he excels (a mammoth hunt in the beginning is pretty thrilling) but he isn't in his element when he attempts more intimate character moments. The smaller action pieces as Man faces pre-historic animals (including, yes, giant-sized turkeys) are also not quite as effective. If there are shades of Gibson's superior Apocalypto to be had - and there does seem to be a concentrated effort to imitate it - in the end it has more to do with Emmerich's own sci-fi trappings of Stargate than reality. The film's saving grace is the final act, a slave uprising against their masters (The Ten Commandments as portrayed for an action crowd, with a mammoth stampede to add to the chaos and destruction) with a setting that is as grandiose and fabulously detailed as its rendition of Ancient Egypt is ridiculous. For those that can swallow heavy amounts of cheese with their mainstream dose adventure, 10,000 B.C. may be just the thing for those slow days - it has more than its share of events that will have audiences rolling of their eyes, but there's also enough to keep our interest.
Entertainment: 5/10

Rambo (2008)
Starring: Sylvester Stallone, Julie Benz, Matthew Marsden
Director: Sylvester Stallone
Plot: After American aid workers are captured by Burmese soldiers, a Vietnam veteran living in seclusion in Thailand grudgingly leads a group of mercenaries into Burma to rescue them.
Review: Fair warning: this ain't your Pop's Rambo. Using the Burmese genocide / civil war as a backdrop, this latest installment of the iconic Rambo is much more gritty in tone and execution than the last, mainstream action sequels of the 1980's. Much like last year's Rocky Balboa, co-writer / director / star Stallone revisits another one of his icons and provides some (albeit limited) depth to the character, mostly in the form of flashbacks to previous movies. Stallone plays the older, supposedly wiser Rambo as a stoic, dangerous man who has seen too much, whose eyes reflect the worse of humanity. This persona has always been of a man of few words - and here even that is a challenge - and his steroid-enhanced physique looks scary, but he still has what it takes. Better yet, even if the 61-year old Stallone is in his last legs in terms of heroic performances in front of the camera, there is no doubting the effectiveness of his hammer-to-the-head style of directing - like it or not. The film is grisly in its scenes of flaying bodies, vicious in its violence, but also incredibly efficient as a hard-hitting, straight-forward action flick. The supporting cast made up of Christian do-gooders and hard-nosed mercenaries are just filler, but then they're just a set-up for the main character. And yes, the bad guys are Bad: the soldiers are faceless, depraved young men who rape and pillage villages, then play deadly games with their captives, while their leader is a cigarette-smoking, shade-wearing sadist and pedophile. All the easier to accept Rambo's vicious comeuppance. While such evil seems ready-served to make for great, morally-justified revenge, the truth is that it is just too heavy-handed. Even taking a page from newspaper headlines, and using actual footage of the atrocities of the Burmese-Karen conflict to open the film, the message (if there was one) is somewhat lost in the dizzying orgasm of blood and guts that make up the final act, a sequence where Rambo does literally battle against a battalion - and the body count is the highest it's ever been. Then again, the word "balanced" isn't a word in the Rambo vocabulary and, despite all the deplorable audience manipulation and exploitative blood-letting, the movie delivers on its premise as a kicker of an action flick. Rambo will definitely not be to everyone's taste, but as a trip to nostalgia for those who grew up with the character it's nice to know there's still some fight left in him.
Entertainment: 6/10

Juno (2007)
Starring: Ellen Page, Michael Cera, Jennifer Garner, Jason Bateman, Allison Janney, J.K. Simmons, Olivia Thirlby
Director: Jason Reitman
Plot: Faced with an unplanned pregnancy, a head-strong, quirky 16-year old high-schooler decides to give the baby up for adoption to an over-eager young yuppie couple.
Review: The indie teen drama Juno, a surprise dramatic-comedy hit, is the kind of film that seems to be at odds with box-office success: there's no slapstick, no A-list actors, no gross-outs and no attempt for crowd-pleasing moments that would make a good trailer. What it is, is a sweet, funny, and unpretentious little gem of a film. The story is a different, if not revealing, take on teen pregnancy and one that is refreshing in its honesty and approach; for one it doesn't take sides on the issue, just presents one vivacious, outspoken teenage girl's response to an unfortunate event. It all starts with a terrific script that avoids all the clichés, allows its everyday, non-stereotypical characters to be real creations. Add to that dialogue that is vivacious and engaging, some smart one-liners, and a narrative that just feels organic. Gone is the satire and tongue-in-cheek attitude of director Reitman first film, the superb Thank You For Smoking - here the tone is sincere, sweet and playful, done with such an easygoing manner that never trips into silly emotional territory and comes off as genuine and heartfelt. The cast is admirable, and none more than Page, who has really come into her own here as the wise-cracking, Slurpy-chugging, bad-ass nerd whose snarky attitude hides her vulnerability. She's ably supported by Cera as her nerdy but supportive on-and-off boyfriend, Allison Janney and J.K. Simmons as her supportive - if a tad confused - parents, and Olivia Thirlby as her best friend. But the real surprise is Garner and Jason Bateman, as the future adoptive parents, a couple that has enough problems of their own. Never overly sentimental nor laissez-faire, Juno is at times funny and touching, and completely endearing. A pleasant surprise.
Entertainment / Drama: 8/10

Charlie Wilson's War (2007)
Starring: Tom Hanks, Julia Roberts, Philip Seymour Hoffman
Director: Mike Nichols
Plot: A small-time, skirt-chasing Texas congressman becomes involved in a massive covert operation to arm Afghanistan rebels to fight their Soviet invaders.
Review: Based on actual characters and events, Charlie Wilson's War is a rather tongue-in-cheek dramatization of how a rather ineffectual senator managed to lead the largest covert operation in US history. Though adapted from George Crile's book of the same name, much of the film's punchy attitude and ingenious charm goes to scriptwriter Aaron Sorkin, the creator of The West Wing. Sorkin is no stranger to the intricacies and pratfalls of the American political system, and his knack for depicting the gritty truths of Washington politicking are razor sharp. Here he's given a free hand at telling a story that uses all his skills, from humor to pathos, along with a healthy dose of whip-smart dialogue. Director Nichols (Closer, The Graduate) seems to be just the right kind of filmmaker to bring this script, and this larger-than-life character, to the screen in what first comes off as screwball comedy that turns into a scathing cautionary tale. As depicted here, Wilson is one of those stalwarts who's smart, charming, and completely self-centered, with little care for the world around him, until a passing report on TV turns his attention towards a far-off land. Soon, he consorting with Middle-East politicians and secret agents, buying the right weapons and sneaking them into the country - with a smile and a wink, War isn't Hell, it's fun! Yet, the rah-rah patriotism eventually fades, and the film ends up being a commentary on American politics abroad. The Cold War success story of this, the biggest covert operation in American history, is balanced by the ensuing missteps by the Americans to reconstruct the country and the present-day view that what was once "Russia's Vietnam" is once again our nightmare. It sure helps to get terrific turns by an A-list leading cast: Hanks was made to play this part and he gets into this role like a well-fitting glove, making the flamboyant Wilson a charming, well meaning cad; Roberts suprises in a role that's not all wholesome; and Hoffman is just a delight as the uncouth, undiplomatic CIA operative whose utter contempt for his superiors gets him in trouble, stealing every scene and proving again he's just stupendous in every type of role he takes. At barely over 90 min, the film zips by and still manages to be a pretty rounded take on American covert involvement in the war, a film with lots of black comic touches that stings with the ring of truth and tragic consequence in the last act. Engaging, fun, and relevant Charlie Wilson's War is another solid (if slight) mainstream political flick that should have people talking.
Drama: 7/10

No Country for Old Men (2007)
Starring: Javier Bardem, Josh Brolin, Tommy Lee Jones
Directors: Ethan Coen, Joel Coen
Plot: After stumbling upon some dead drug runners and $2M in cash in the Rio Grande desert, a hunter goes on the run from an implacably violent killer and a West Texas sheriff, both tracking him across the state.
Review: From a very standard crime thriller premise, No Country for Old Men quickly dismisses any doubts as to its true colors, that of bringing in a fresh take to the genre. The tone is as bleak and arid as the Rio Grande landscape, as are the characters, but the execution's the thing and this is indeed a film to remember. Though deliberately paced it's also quite efficient in its storytelling. Sure, the quiet moments are often interrupted by lots of violence, deaths and mayhem but what's stunning is the seething rage, impending violence and clear tension that's impeccably sustained throughout. There's little humor to be had in this dark exploration of Men, with the exception being Harrelson as the squeaky-clean hit man who gets his due. Surprisingly enough, there's also no musical score something that only increases the tension during the many silent - but terrifyingly intense - moments. Adapting to perfection Cormac McCarthy's novel, writers / producers/ directors Ethan and Joel Coen make a film that remains faithful to the book and also ably captures its very essence, making it as much McCarthy's as their own. This is their best crime drama since Fargo and perhaps even Blood Simple and, if it's not quite a masterpiece, it's understandable that some critics refer to it as such: the dialogue is scintillating, the script terrific, and every moment is calculated for its impact yet feels (and is) completely unpredictable. For some, the tangent the story takes towards the end will leave them feeling cheated, as the final confrontation never makes it to the screen. But it's this ability to take such major chances with its audiences and their expectations that makes this film worthy of attention. The three tough male characters are very much archetypes of the American crime film landscape, and they're written - and acted - exceptionally well. Brolin - who's career is surely on the rise - does a good turn as a Coen hero, and Jones hits just the right note as the reasonable but aging sheriff, the conscience of the film, lost in a world that has clearly forgotten his ilk. With Vietnam still fresh in the social conscience of 1980, the older characters (as embodied by Jones) carry a nostalgia for an era that was, perhaps, easier to understand. But it is Bardem - sporting a weird haircut - who will get the most notice: he is simply stunning as the relentless, psychotic killer who likes to play mind games with his prey, a bad guy that would give anybody nightmares; it's an Award-winning, controlled performance, and he plays it like a true force of nature. With all the depth and skill brought to play, the film manages to work as well at being a thriller, a drama and a social commentary. In fact, No Country for Old Men is so well executed that it begs for an Oscar for its directors. Whether that happens or not, this remains simply brilliant filmmaking.
Drama: 8/10

National Treasure: Book of Secrets (2007)
Starring: Nicolas Cage, Diane Kruger
Director: Jon Turteltaub
Plot: An esteemed historical expert and treasure hunter races through famous settings to clear his ancestor's name after a mysterious man uncovers one of the lost pages of Abraham Lincoln's assassin's diary. 
Review: Yup, just about everyone's back in National Treasure: Book of Secrets, the inescapable sequel to the hit historical adventure that brought The Da Vinci Code-like shenanigans to American history. Only this time everyone's clearly in it for the dough and all pretense of making an original, entertaining product is gone. In fact, the script seems to have used the exact same plot template of the first and that sense of dejà vu makes it awkward. To be fair, this is a Walt Disney-produced thriller, and as such made for family consumption - how intellectual, violent, witty or realistic can any of this be? Sure other films brought us ridiculous situations, logic be damned. This worked fine for the Indiana Jones series it so tries to emulate, and somewhat in the more juvenile first installment, but it's clear from the forced deliveries, dumbed-down script and predictable events that everyone's lost all steam here. Not to say it doesn't have its moments of gleeful silliness, with its mockery of security measures (a highlight is the kidnapping of the US president) and its attempts at ridiculously convoluted historical puzzles. Indeed, when it sticks to the amusing, if absurd, international trail of historical clues like breadcrumbs to the Lost City it has a definite energy and spunk. Too bad that it's all too often cut short by some bland plot element, familial melodrama done for laughs (most of which don't work), or a car chase through the streets of London that just isn't that exciting. The fact that Cage and Voight are relegated to hamming up cornball dialogue is made even worse this time around with the addition of Oscar-caliber stars like Helen Mirren and Ed Harris who are truly wasted here, making the affair all the more irksome. But perhaps the worst part is the final discovery and predictable Raiders-like struggle to escape some age-old traps - it's a dragged-out, boring climax that sucks all the good will left for the franchise. And yet, despite all its failings, Book of Secrets does offer some popcorn entertainment for undiscriminating adults and pre-teens. Just leave your brain at the door.
Entertainment: 4/10

I Am Legend (2007)
Starring: Will Smith, Salli Richardson
Director: Francis Lawrence
Plot: Three years after a devastating plague has killed most of humanity and turned the rest into savage monsters, the sole survivor left in New York City struggles to survive and find a cure.
Review: I Am Legend is the third adaptation of Richard Matheson's 1954 sci-fi novel (following 1964's The Last Man on Earth with Vincent Price and 1971's The Omega Man starring Charlton Heston) and is easily the most effective one. Though none have ever been completely faithful to the original source material, this one really hits the spot, capturing the fears and terrors inherent in the best horror films relating to vampires and zombies, and the instinct of survival when faced with a post-Apocalypse world. Director Lawrence has only one other film to his name, the stylish horror flick Constantine, but with this he's really made a name for himself. Though the script sometimes plays like a clash between Cast Away and 28 Days Later (and both themes are very much in evidence), the film manages to set out its own voice. Much of this is due to some phenomenal, detailed special effects, the film turns New York into a convincing devastated, desolate ghost town. The other part is due to leading man Smith, and it's obvious this is his movie: for one, he's the only person who really gets any screen time and he has an undeniable, sometimes self-deprecating charm that's irresistible. Though pigeon-holed into certain roles, he's good in them, and here he gets the added chance to delve into the psychological aspects of being the last man on earth. Unfortunately, it's not perfect: The first two thirds are terrific, setting up a great mood as Smith goes through the routine of surviving, the story leading to the events related in short flashbacks, then adding some tense action set-pieces. The last act, though, smells of forced Hollywood denouement, throwing in coincidence, God and fate to sort it all off, losing much of the power of the film. Another minor complaint is that, as convincing as the world is, the CGI creatures aren't up to par with the rest of the film. That said, I Am Legend is still two-thirds of a great film, working wonders with our fears of genetic mutation and isolation, making for an entertaining, smart, well-made disaster flick.
Entertainment: 8/10

Enchanted (2007)
Starring: Amy Adams, Patrick Dempsey, James Marsden
Director: Kevin Lima
Plot: When an animated fairy-tale character gets thrown into real modern-day New York by her evil step-mother, she becomes caught between her affection for Prince Charming and a more practical, handsome city lawyer.
Review: A spoof of its own 50-year history of Happily-Ever-After tales, Disney's Enchanted doesn't live up to its potential but does manage to be enjoyable fluff for the whole family. Opening up with a throwback to 2D cel-animation, we meet our damsel in a number straight out of Snow White, with all the forest animals helping to clean her abode. Switch to live, grimy, modern-day Big Apple, and you've got our intrepid (and stunningly naive) heroine still singing and getting the animals to help clean up her temporary loft - only the city's denizens - including rats, pigeons and cockroaches - aren't as cute as their cartoon counterparts. There are a lot of other winks at the animated tales, especially during a series of sudden musical numbers, including an exuberant one in the middle of Central Park. Of course, it would have been remiss to not include clear influences from the plethora of the revered animated Disney pantheon from Snow White to Cinderella, poking fun at the well-known Disney archetypes - that might be more fun for adults who grew up on the stuff, but even younger audiences will find much to enjoy in this family flick. Animation veteran Lima (Tarzan, 102 Dalmatians) directs the film pretty much like a cartoon, which works more often than not. Yet there's something missing in both the execution and the humor; the fish-out-of-water jokes are a dime a dozen here, and while some hit the mark others are just too obvious, and the slapstick gets downright iffy after an hour's worth. The character motivation has never a forte in animated flicks, and - being a live-action version of the classic fairy-tales - there's no surprise there's none here, either. Still, the cast do their Disney best: Dempsey does fine as a romantic lead, Marsden as Prince Charming is amusing and naive, and Susan Sarandon as the evil witch is simply an inspired choice of casting. But the real heart of this affair is Adams; she's amazingly earnest and sweet at every moment, but her ditz act feels too forced, ending up more grating than endearing. At its heart, the plot wants to be the reverse of the ironic Shrek, trying to make us believe that this story-book romance can work; that's a hard sell for anyone over 10, and the film doesn't quite make it. In the end Enchanted has an interesting enough twist to fill a feature-length film, it's just too bad it keeps too close to the usual formula, missing the opportunity to be truly special.
Entertainment: 5/10