Beyond the Sea (2004)
Starring: Kevin Spacey, Kate Bosworth, John Goodman
Director: Kevin Spacey
Plot: The life and achievements of singer / movie actor Bobby Darin, how he met his wife Sandra Dee, and how his ambition helped him cheat death until the age of 37.
Review: Following the example of many an actor, Spacey tries his hand at what would normally have amounted as a perfect example of hubris - acting, writing, producing and directing the biopic Beyond the Sea. Though he shouldn't be quitting his acting stint, it's a surprisingly decent effort, a heartfelt, sweet homage to a not-quite-iconic crooner of the 50's, 60's and 70's from his rise from teen idol status to lounge singer. As a musical it's a success, full of color, dancing, and high-energy: The soundtrack including Spacey's rendition of Mack the Knife, among other era hits, is bubbly, the musical numbers are nicely choreographed and aptly shot giving them a nice '50s retro feel - and Spacey isn't too shabby in the singing department either. As a biography, however, it doesn't delve nearly enough into character to make us understand the man, or understand the real tragedy of his life and his ambitions, despite some nice narrative touches (such as Darin's internal monologue with his younger self) and some near-misses into melodrama and cliché. As his long-suffering wife, the sweet Bosworth gives a nice supporting role, as does Goodman. All in all, Beyond the Sea is colorful enough, giving a larger-than-life, rose-colored depiction of its subject, and Spacey is quite likable as Darin. There's just nothing to really make a lasting impression.
Review: 5/10

The Good Shepherd (2006)
Starring: Matt Damon, Angelina Jolie, Robert De Niro
Director: Robert De Niro
Plot: At the dawn of World War II, a privileged Yale graduate starts a career in the US intelligence services and becomes an integral part of the creation and early history of the CIA, to the detriment of his family life.
Review: Forget the action credits of its leads: The Good Shepherd isn't your typical spy thriller. As seen through the eyes of one fictional agent, it's an intelligent, meticulously detailed, surprisingly subdued drama that is an always-intriguing look at the beginnings and early history of the Central Intelligence Agency. It's a film that feels like an adaptation of a complex LeCarré novel put to the screen - and that's a compliment. Set against the backdrop of the 1961 Bay of Pigs fiasco, the agent's tale (played with almost stoic seriousness by Damon) is told in flashback, highlighting his rise in the organization, a rise that is paralleled by his alienation to his trophy wife (a surprisingly demure Jolie) and son, and the personal cost of his own moral degradation for carrying such a heavy burden of secrets. Though this is only his second film behind the camera (his first was the sweet drama A Bronx Tale) DeNiro surprises by capably directing his cast and producing a visually distinctive atmosphere; here he's created a handsome, thoughtful indictment of the agency's WASP culture of self-righteousness and paranoia. At almost three hours it's a stretch for those needing a faster paced effort but for those willing to give in to the deliberate, effective narrative it's a spell-binding, harrowing trip into the dark heart of espionage and counter-intelligence. With all its twists, double-crosses, complex plots and conspiracies, there's the inevitable sale of one honorable man's soul. Much of the script by Eric Roth gives tidbits of impeccably researched information, mixed in with news footage, historical evidence and fabricated scenes and personalities to give a sweeping view of the first 20 years of the agency. The film is also crammed with interesting characters, played with panache by such actors as Alec Baldwin, Billy Crudup, Michael Gambon, William Hurt, Timothy Hutton, John Turturro and Joe Pesci, among others. Unfortunately, if all of them make do admirably, none of them really get a chance to make much of an impression, relegated to moving the epic story along. Not only an ambitious, well-executed film that manages to bring the enthralling real-life spy-game to the big screen, The Good Shepherd also provides a political message that is still relevant today.
Drama: 8/10

The Lion King (1994)
Starring: James Earl Jones, Jeremy Irons
Directors: Roger Allers, Rob Minkoff
Plot: Blaming himself for the death of his father, the king of the animals, a young cub flees to a carefree life in the jungle but his responsibilities eventually force him to face his wicked uncle for the throne.
Review: One of the highlights of Disney's long animation career and a huge box-office hit at the time of its release, The Lion King has something for everyone. Following in the footsteps of previous critical successes like Aladdin and Beauty and the Beast, this coming-of-age tale has all the expected Disney trademarks, yet seems to have been aimed more at adults than at kids. With events like fratricide, conspiracy for the throne and revenge, the tale is downright Shakespearean involving some darker scenes, such as a stylishly-presented, fascist-like military march of the hyenas or the death of the King, to name but two. Thankfully a prevalent sense of humor balances out the occasional "heavy" moments where the drama may be a little tough on younger kids. For the most part the hand-drawn (and occasionally computer-assisted) animation looks quite cinematic and in some instances rises to being quite impressive, none more so than in the opening sequence, as all the animals pay tribute to the new born lion cub. The dynamic narrative drives through the film, and the story is helped by colorful, warm visuals of the savannah. But it's really at its best during the joyous musical numbers that explode in finely choreographed sequences. Here the memorable score shines, filled with punchy, terrific tunes using African influences and mixing in modern pop style; a real coup was getting Sir Elton John to write the stirring opening. There's also a bevy of colorful characters, from Lane as the fast-talking meerkat to Zazou the royal aide, and all the lions and hyenas in between, all enhanced by some solid voice acting by the likes of James Earl Jones, Robert Guillaume and Whoopi Goldberg. But the one of real note must be the turn by Jeremy Irons as the villainous uncle Scar, usurper to the throne. More than most of Disney's offerings 1990's offerings, Lion King is really classic stuff for the whole family that will withstand multiple viewings.
Entertainment: 9/10

The Simpsons Movie (2007)
Starring: Dan Castellaneta, Julie Kavner, Nancy Cartwright
Director: David Silverman
Plot: After Homer over-pollutes the town's river creating an environmental catastrophe, the EPA encases Springfield in a giant glass dome and pursues the fugitive Simpsons.
Review: Creator Matt Groening may not have expected the success and longevity of his adult-oriented series when it first aired on Fox TV, but almost 20 years since its first episode aired The Simpsons Movie is finally a reality. For long-time fans, and even for those who only caught short stints of the show during its long network run, there's a nice sense of familiarity to the proceedings, and that charm (if the word can be used) stays throughout. First, the good stuff: it all starts off with a insanely violent, Itchy & Scratchy skit; the classic animation has been bumped up a notch in terms of detail and computer modeling; there's some clever visual gags and plenty of jokes, and who can help but laugh at the hapless often clueless Homer trying to escape from his mistakes; and just about every (if not all) the supporting characters make an appearance, a fun way for fans to spend oodles of hours to count them all. Unfortunately, despite the years in development and the half-dozen writers who worked on the script, the film could never really live up to our high expectations and rarely rises above some of the better episodes of the series, a statement, perhaps, to the show's greatness than to the movie's quality. And while there's still some satirical bite left, it's clearly not to the level of its heyday. Still, if it's not the holy grail some expected, just for being "The Simpsons" and keeping the jabs and silliness we've come to expect, the movie automatically gets an easy recommendation as an above-average comedy that has more smarts than most of its peers.
Entertainment: 7/10

The Game (1997)
Starring: Michael Douglas, Deborah Unger, Sean Penn
Director: David Fincher
Plot: A wealthy but cold-hearted businessman accepts a gift from his brother for a live-action game, but things go awry when the game becomes a little too real and too dangerous.
Review: The apt thriller The Game has lots more going for it than what one would have expected from the premise. The main reason for this isn't the capable if only average script, but it's choice of helmer: At the hands of sophomore feature director Fincher (fresh off the disastrous Alien 3), the film exudes style and slick production values, showing a great visual flair and narrative pacing. Sure it's still Hollywood fluff that never quite reaches the expectations posed half-way through, but it does show those elements that made Fincher's future works like Seven and Panic Room such engrossing thrillers. The action scenes are ably executed, as is the suspense and growing feeling of paranoia. The mystery and the thrill of its premise, of course, is not knowing what is part of this dangerous "game" and what is reality, and just where the conspiracy ends. If the logic of the proceedings and actual workings of the game aren't fool-proof, especially during the disappointing "not-so-surprise" ending, the script does give some good twists and turns, and works just fine as a well-executed thriller. Perfectly suited for its off-again-on-again leading man, Douglas fits into the role like a glove as a man used to being in control breaking under the pressure of events outside his reckoning. Unger is an always-interesting choice as the troubled romantic interest who's more than what she seems, and a mousy Penn as his always-in-trouble younger brother is an added bonus. Sure, The Game is a slice of Hollywood hokum, but at least it's well-done hokum that's sure to please fans of the genre and fans of Douglas.
Entertainment: 7/10

Dune (1984)
Starring: Kyle MacLachlan, Patrick Stewart, Jose Ferrer
Director: David Lynch
Plot: After seeing his family slaughtered, the heir to a noble house becomes a messiah to the nomadic inhabitants of a desert world whose spice trade is at the center of a universe-spanning empire.
Review: Considered far and wide as an ambitious failure, Dune is ambitious, epic, stylish to a fault, and a convoluted mess that bordered on the hubris. Frank Herbert's classic, influential 1965 SF novel of the same name - considered one of the greatest science fiction novels of all time - is a complex story involving politics, religion, ecology and many other heady themes. While still in keeping with the bizarre vision of Lynch's other works (Eraserhead, Blue Velvet), the film has an impressive flair for show and grandiose epic adventure all its own, with its violent, disturbing world of tyrants, psychics, cults and drug fiends, showing certainly more courage than many of its Hollywood ilk. There's no denying that his was a grandiose, opulent vision helped by superb production values, lavish sets and costumes, solid SFX (for the time, at least - the giant sand worms are spectacular) and a serious approach to the dense material, even if there's some intentional and unintentional camp to be had. The film's emphasis is as much on the adventure as it was on the politics, the complex social interactions, the almost Shakespearian drama and conspiracies, with the obvious religious overtones and controversial drug use kept intact from the book. Alas, trying so hard to be a literate translation of the book meant losing many of the intricacies of the novel along the way, a detriment to having a cohesive film for the mainstream audience. Though the characters themselves are sometimes lost in the pageantry and events, it's important to note the international ensemble cast: Apart from earnest first-timer MacLachlan as the Messiah, there are well-known actors in supporting parts, such as Jose Ferrer, Patrick Stewart, Max von Sydow and Sting in a minor role as a vicious killer. A notorious, resounding critical and box-office flop on its release, the film has since gained cult status, and for good reason: after all is said and done, Dune is an ambitious failure, a SF film with its own sensibilities and particular look, and a valiant attempt at capturing a difficult book for a wider audience. (See extended review)
Entertainment: 7/10

American Pie 2 (2001)
Starring: Jason Biggs, Shannon Elizabeth, Alyson Hannigan
Director: J.B. Rogers
Plot: After their freshman year at different colleges, five high school friends reunite during the summer holidays and rent a beach house hoping to throw wild parties only to realize that their relationship problems are just starting.
Review: As comedy sequels go, American Pie 2 is the best kind of follow-up - for those who liked the shameless and downright embarrassing sex-based shenanigans of its endearing teenage cast, what you get is more of the same... and that's a good thing. The story starts off with our hapless hero's parents bursting in his dorm room to surprise him naked in bed with a girl, and then being forced to make introductions while her parents come in - and it goes downhill from there, proving that they may be older, but not so much wiser. The reason the film works is that the script doesn't make fun of its characters but really believes in them, in all their geeky ways and slights, despite all the harrowing (and often just as touching) moments; the fun is in putting them in bad situations (scenes involving superglue and a camp band are highlights) and letting the cards fall in the most inopportune way. What follows is lots of goofy, slapstick-level bumbling about, but the characters do grow on you and the returning cast (led by a goofy Biggs trying to get into the pants of a very hot Elizabeth, and supported by the likes of Eugene Levy as his dad and Scott Thomas' Stifler) is earnest enough to win almost anyone over. If the surprise of the original is gone, the laughs and heart are still aplenty in the good-natured American Pie 2, and fans of the first will surely dig the sequel.
Comedy / Entertainment: 7/10

Justice League - The New Frontier (2008)
Starring: Phil Morris, Neil Patrick Harris, Lucy Lawless, Miguel Ferrer, David Boreanaz 
Directors: Dave Bullock
Plot: The world's greatest super-heroes must overcome their differences and combine their efforts to defeat a gargantuan alien entity bent on cleansing the world of humanity.
Review: Based on the best-selling, critically-acclaimed graphic novel by Darwyn Cooke, The New Frontier is a '50's era re-invention of the founding of the Justice League of America - the stalwart team of DC Comics super-heroes including Superman, Batman, Wonder Woman, The Flash, Green Lantern and others. Cooke's nostalgic, loving homage to the Silver Age of comics didn't so much alter as bring out the iconic images of these heroes and made them face real slice-of-'50s issues, like feeling the weight of McCarthy-spread suspicion, the intolerance and prejudices of the era, the horrors of the Korean war, the Cold War paranoia, the decline of post-War optimism... and society's the fear of their own heroes. The film captures many of these and does many other things right: the style is distinctive, the jet-age retro-look is superb, the animation is at times very slick and cool-looking, the voice acting is top-notch by the likes of Lawless (perfectly cast as Wonder Woman) and Jeremy Sisto as Batman, and the tale retains its very PG-13 attitude - indeed, the violence means it's not recommended for younger kids. Alas, the rich texture of the 400-odd page books gets short-changed due to the limits of similar direct-to-DVD animated features and their short running times (in this case 75 minutes with credits); each one of the large cast of characters are given only a broad treatment (Green Lantern being the unfortunate exception - unfortunate because his origin story bogs everything down) before having to team-up to save the world from a dinosaur-spewing, island-sized monstrosity in an over-long, almost juvenile climax. Still, as a trimmed version of the original material The New Frontier conveys its sentiment of idealism while giving in to the giddy excitement of a fine, mature comic-book, and it does it with style and verve. And for that, it's worthy of attention by super-hero fans everywhere.
Entertainment: 6/10

Casino Royale (1967)
Starring: Peter Sellers, David Niven, Ursula Andress, Orson Welles, Woody Allen, Deborah Kerr, 
Directors: John Huston, Ken Hughes
Plot: The aging secret agent 007, Sir James Bond, comes out of retirement to organize a bevy of Brits to battle an international terrorist organization, hoping to pass on his mantle to a younger man. 
Review: Ian Fleming's original James Bond adventure Casino Royale was one of only two films of the franchise not owned by the Broccolis. Seeing a chance to amke their own mark, the producers decided (perhaps remembering the success of extravaganzas like Around the World in 80 Days) to avoid the more "serious" style of the popular franchise and go for a spoof of the genre... with disastrous results. Fron the get-go it's clear that the biggest problem is that the whole affair is a hodge-podge of badly edited, painfully inconsistent shorts glued together, no surprise considering the various helmers (five of them, at least) for the different segments, all of whom seem to have had a little too much "artistic" liberties. Indeed, everything about it screams "excess!", proving that even with some legendary directors like John Houston on the payroll, a huge budget, lavish productions and an all-star ensemble cast (a veritable who's-who of 60's-era actors from Niven, Sellers, Allen, Andrews and even Orson Welles as Le Chiffre) things can go awry pretty fast. The film delivers its "everything but the kitchen sink" craziness in a shotgun approach, and for the most part misses the mark. There are some clever, sometimes humorous bits of delirious invention to be had on rare occasions - Woody Allen as Bond's hapless nephew and Blofeld-inspired "master" villain is almost worth the admission, and the infiltration of a German school for spies that's shot as an homage to The Cabinet of Dr. Caligari is brilliant - but most of is downright tedious, with each segment over-staying its welcome. For those looking for a more palatable Bond parody, check the recent Austin Powers series, and even the Our Man Flint series of the 60's. For those forewarned, Casino Royale may garner a few giggles all others beware: it's a long, bloated mess that delivers few laughs and limited entertainment.
Entertainment: 4/10

Next (2007)
Starring: Nicolas Cage, Julianne Moore, Jessica Biel
Director: Lee Tamahori
Plot: A second-rate Las Vegas magician who can see a few minutes into the future is pursued by FBI agents who believe he can help them prevent a nuclear terrorist attack.
Review: SF writer Philip K. Dick seems to be cursed when it comes to Hollywood productions: his searing social stories have mostly been relegated to action-prone adaptations (like Total Recall and Paycheck) with little of the actual tale making the transition. The same is true for Next, the latest big budget effort to make the leap from the written page. Oh, there's some potentially intriguing stuff along with a terrific first act, as Cage makes a daring escape from casino security, using his precog powers to check all the future permutations and know where his pursuers will be. But the film only touches the surface of its theme of destiny versus free will, and is only brought up in what amounts to throwaway dialogue. The problem is that the film is schizophrenic: at its heart, it's a low-key boy-meets-girl film with a small-time loser trying to make ends meet, but thrown in is a parallel tale of Euro-trash terrorists, a race to stop a nuclear bomb, and some Fugitive-like chases. In fact the two major action set-pieces - one, a thrilling escape in an avalanche of logs and motorized equipment, the other a climactic gun battle to "save the girl" - seem at odds with the slower, more intimate moments. And this dynamic climax is nothing but an overlong, bullet-strewn affair that feels tacked on, with Cage imitating The Matrix's Neo in his super-heroics. Surprisingly, even the money-shots aren't very convincing, mostly due to some iffy CGI. Kiwi director Tamahori (Die Another Day) won't win any fans with this film, but it's really the script that's at fault. Indeed, the story is rife with plot holes, logical gaps and unanswered questions, something that usually happens in a script written by committee. Why do the bad guys want to detonate an A-bomb? why they are so dead-set on killing our hero? how did they even discover fo his existence? Audiences just have to accept all this stuff and go with the flow - sometimes, that's enough especially when sympathetic-loser Cage is trying to use his abilities to woo the beautiful Biel, but at others it's plain frustrating. And the leads - Cage, Moore and Biel - do a good effort to keep the human side of things engaging, but it's not enough. Perhaps the worst fault is the ending, a cheat that doesn't resolve much and makes for a rather unsatisfying end, especially for a mainstream action flick. Taken on its own, Next isn't such a bad piece of entertainment, but one can't avoid feeling that it's another fine concept that lost its direction.
Entertainment: 5/10

The Ring (2002)
Starring: Naomi Watts, Martin Henderson, David Dorfman
Director: Gore Verbinski
Plot: An investigative reporter tries to track down the source of a videotape that seems to kill anyone who watches it.
Review: Based on the modern J-Horror classic Ringu that spawned a new horror genre (and more than a few nightmares), the US remake of The Ring is a rarity, a well-made, big-budget Hollywood affair that actually keeps the original's premise and out-does it for pure chills. Made for TV, the original masterpiece was a ghost story with limited special effects but superbly-maintained tension. With its mainstream US-market intentions, director Verbinski (The Pirates of the Caribbean) has still kept the essence and suspense that made the original so frightening and downright unsettling added his own brand of slick filmmaking to the mix. The eerie, green-tinged visuals add a lot to the constant feeling of dread and allow for some darn effective scenes: victims' faces grotesquely twisted out of shape, the walk of the dark-haired girl (one of modern cinema's scariest inventions), the titular "ring" and the videotape itself, all are well-composed visions of terror. But all this would be moot without an effective script, and here we're in luck; smarter than most, this a serious adaptation of the material (no winks, camp or humor here), relying on the fear of the unknown and unknowable to give it a sense of tension and unease. Even if the story is familiar to those who have seen the Japanese version, the writers have added some background and thrills to make it more palatable to its core audience yet also giving connoisseurs of the genre much to much on such as the age-old genre themes of alienation, the destruction of the family unit, and other fine subtext. Hats off as well to the superb Naomi Watts who, leading a professional cast, is the real heart of the film and really gives it that extra boost of believability. Strong in both substance and production values, The Ring is a top-notch, well-crafted horror tale that's a modern genre highlight and that deserves wide attention on its own merits.
Horror / Entertainment: 8/10

DOA: Dead or Alive (2006)
Starring: Natassia Malthe, Jaime Pressly, Eric Roberts
Director: Corey Yuen
Plot: After being invited to a tropical island to fight against the most fearsome martial artists in the world, four beautiful, but deadly, women find out that there's a nefarious plot behind the competition.
Review: Based on the popular video game of the same name, the film DOA: Dead or Alive is anchored by a critic-friendly moniker, but won't stop fans of inane plots, bad acting, silly (but energetic) action and generally major cheese from gobbling this up. Think of it as Charlie's Angels Light, just without the laughs. This is a pedestrian effort from Hong Kong director Yuen, who had much better success in the kick-ass-women genre with So Close, without mentioning his other successes like The Transporter, Enter the Eagles, and a series of solid Jet Li associations (The Enforcer, The Bodyguard from Beijing, etc). The plot is vague and video-game worthy (i.e. nil), and it's clearly made for pubescent Gen Y gamers in mind what with all the nubile flesh at hand and the many gratuitous ass shots. Still, even if he's not in top form (it's clear this was made for a fat paycheck) and there's an obvious silliness, childishness in the character interactions and keen lack of originality, there's still enough spunk, hard-hitting (and utterly bloodless) wire-fu and scantily clad babes to make up for its other shortcomings. And to be fair the gals are pretty darn good fighters (or at least they fake it real well). DOA is not a good film by any means (and it's impossible to resist calling it "Dead On Arrival") but it's one that delivers on its premise - just don't expect any more than that.
Entertainment: 4/10

*Classic* The 36th Chamber of Shaolin (Shaolin Master Killer) (1978)
Starring: Gordon Liu, Wilson Tong
Director: Chia-Liang Liu
Plot: Escaping the ruthless warlord who killed his parents and keeps his village under iron rule, a young student enters a Shaolin Temple and spends years training to be a kung-fu master, all to return home to seek revenge.
Review: One of the handful of true classic old-school martial arts films, The 36th Chamber of Shaolin is a rousing, oft-repeated tale of real-life kung-fu master San Te who opened China's first public Shaolin-style school. Surprisingly action-packed and well-paced, the film belies its more popular peers and the humor, thankfully, stays good-natured and never campy (also unlike many popular features of the era) keeping a strong tone throughout. Even if the actual fighting comes off more as an intricate dance than violent battles, the choreography is superb, making it a fine example of kung-fu-era style without the use of wires or effects. The real appeal of the film, however - and the main reason it hasd been given such elevated status - is the hour-long training sequence as our hero learns the secrets and skills required to pass the torturous, inventive 35 chambers, challenges that teach him the agility, skills and patience required to become a Master. Despite the cinematic flourishes, zooms and slow-mo's, director Chia-Liang Liu, himself a performer prior to being behind the camera, knows to focus the attention on his cast's ample martial arts skills. As his leading man, 70's action star Liu gets many a chance to exercise his abilities and this may well be his ultimate showcase. Entertaining, classic fare for old-style kung fu fans, and a good primer for everyone else.
Entertainment: 8/10

Blades of Glory (2007)
Starring: Will Ferrell, Jon Heder
Directors: Josh Gordon, Will Speck
Plot: After being barred from men's skating for fighting on the medals podium, two fierce rivals team up to enter the Olympic competition together in the pairs category as a male-male team.
Review: Like many of its ilk, the high-concept skating spoof Blades of Glory isn't going to win gold, but it sure is an amusing contender. Anyone who has watched skating competitions knows its just ripe for satire, and the film offers up some good ribbing at the sport without being (too) crass or (too) stupid. Ludicrous, far-fetched, and sometime plain dumb, Will Ferrell comedies manage to provoke laughter thanks to (and often despite) its tried-and-true formula and this one is no different. As expected, the "male-on-male" jokes are a-plenty, but the film doesn't spend its time reflecting on that, diving right into making its concept work. And it's the zany, energetic, wire-and-CGI enhanced dance routines that are the key moments of the film - you're sure never to see any of these at the Olympics! But much of the premise relies on the two leads making a go at it (and each other) and, as the two rivals try to set aside their many differences, the results make for some predictable, and funny, moments. First and foremost, of course, is Ferrell himself who plays a pretentious, obnoxious, womanizing moron who somehow is the idol of millions (see Taladega Nights, Semi-Pro, etc) - he may have become stereotyped in the role, but he still manages to make it funny. Heder makes for a great "straight-man" to Ferrell's dim-wit, and manages to keep his own - the role is very much a stereotyped version of his own Napoleon Dynamite, perhaps, but he's note perfect. Their comic chemistry is surprisingly good, and helps make the film more palatable than it has a right to be. And check out the cameo appearances by real-life skating champs like Scott Hamilton, Brian Boitano, Dorothy Hamill and Nancy Kerrigan - all of whom must have a good sense of humor to participate in this affair. Poking broad fun at the skating world and keeping the gags coming at a decent pace, Blades of Glory is one of the better Will Ferrell vehicles; a fun - if forgettable - comedy.
Comedy: 7/10

Hollywoodland (2006)
Starring: Adrien Brody, Diane Lane, Ben Affleck
Director: Allen Coulter
Plot: A small-time Hollywood private detective gets in over his head when he gets hired by a distraught mother to investigate the mysterious death of actor George Reeves, TV's first Superman.
Review: The '50s-era Hollywoodland is an intriguing, low-key affair that combines true-crime drama, biopic and a look at the not-so-glittering golden-age of Hollywood, and for the most part comes off rather well. Though police on the scene deemed his death a suicide when they found him dead from a gunshot wound to the head on June 16, 1959, Reeve's death remains one of those infamous inconclusive Hollywood deaths. From that starting point, the film retraces Reeves' life and career in flashbacks, from the late 1930s, starting with a small role in Gone with the Wind his most famous (and career-ending) role in television's Adventures of Superman. The story does take some liberties with actual historical events to enhance the drama, all the more to allow the fictitious down-on-his-luck private eye's own story to intertwine and parallel his subject's as the detective (and the audience) gets deeper into the sad realities of Reeve's off-stage life. The film presents several possible scenarios for Reeves' death - there were opportunities for murder as well as suicide - without actually focusing on any single one or, thankfully, trying to resolve it. With winks to such films as Chinatown and Sunset Boulevard, TV alumni Allen Coulter directs his first feature film with an eye to uncovering the dark side of Hollywood, showing that Tinseltown itself has all the elements for a film noir. He also brings a good feel for the era and the characters, especially when it comes to the two leads, both searching for that unattainable Hollywood glory in their own way. Affleck, putting on some weight for the occasion, impresses in the role of Reeve's and plays him with the gumption and charm that he lends most of his roles but allows a melancholy to seep in - it's easily his most successful, dramatic role to date. Brody, as the low-rent gumshoe looking for "an angle" to raise his own status - his character is a composite of real-life journalists, cops, and detectives who worked on the case - has the right wherewithal to be both sleazy manipulator and pitiful victim depending on the occasion, though his ultimate "moral awakening" seems rather forced. Reeve's story is a descent into a Hollywood nightmare - typecast as a children's TV show hero, relying on his rich mistress to keep his status and hating himself for it, the film evokes how the studios and their moguls controlled their actors' private lives. The whole thing may not be as cohesive as it could have been, but Hollywoodland has the right elements to be both tragic cautionary and effective film noir.
Drama: 6/10

Brother (Russia - 1997)
Starring: Sergei Bodrov, Jr., Victor Sukhorukov
Director: Alexei Balabanov
Plot: A young man fresh from the army travels to St Petersburg to visit his older brother, a local gangster working as a contract killer, and easily slips into the criminal life.
Review: A sensation when it was released in its native Russia, it's clear why the crime drama Brother made such an impression. At times gritty, violent, and unforgiving and at others sad, melancholic and tender (most often during the most unlikely of times) it represented the reality of post-perestroika Soviet society. As such, it is very much a product of the new, anarchic Russia and provides North Americans with an eye-opening view of its disaffected youth, one that - in many ways - is uncannily similar to its American counterpart in attitude, contempt at the status quo and general aimlessness. The film plays out more like a tough-minded drama at first, with its rough, nonchalant "hero" - played by a stoic, brooding Brodov in a career-making role - making his way through the world as best he can, ending with a brazen bloodbath of retribution. This is a place where money, casual violence and despair meet. Bellying its low budget and amateur production values, first time writer / director Balabanov puts his characters into morally ambiguous situations amongst the ruined and dangerous streets of St-Petersburg, taking just the right elements of the Hollywood films to make it work as mainstream fare. And he's created a crime drama with balls that's just plain angry, angry to be part of a broken system, angry at the lack of opportunities, angry at the lost hopes and failed promises of a worn-out society. Helped by a hard-core soundtrack by local bands, Brother provides a surprising, violent portrait of early 90's Russia.
Drama: 7/10

M. Butterfly (1993)
Starring: Jeremy Irons, John Lone
Director: David Cronenberg
Plot: In 1960's China, a French diplomat carries on a scandalous affair with a Chinese with someone he believes is the female star in the Beijing Opera but actually is a male spy.
Review: Based on the true story of French diplomat Rene Gallimard and the Tony Award-winning play inspired by these events, M. Butterfly is a sumptuous-looking but ultimately disappointing drama. Director Cronenberg (A History of Violence, The Fly) knows how to bring out the weirdness out of any text, and his pet themes of sexual confusion and mental delusion are very much present here; add to that his grasp of the medium (the scenes of Chinese Opera are beautifully staged) and we get a visually stylish, and often affecting effort that captures the real sexual tension of its leads. Though there isn't any of the truly bizarre and disturbing imagery that Cronenberg is so famous for, it remains a disconcerting drama and a successful, if not masterful, interpretation of the story that more often than not lures us into this strange tale. The real mystery is if this is a game from the beginning, or a sinister spy plot, or a true romance, elements of which are only slowly revealed among the commentary of Western "imperialism" and its naiveté of Eastern culture. Unfortunately, though the material is perfectly suited for Cronenberg's touch, the film moves too slowly, Iron's is a wholly unsympathetic character, and the suspense - and romance - aren't given the necessary energy. Even the "surprise" revelation just isn't, especially to anyone who's seen The Crying Game. There's no faulting the performances, however: Irons is at his acting peak here, and is perfectly suited in the role of the diplomat seduced by the exotic persona of the Opera star, and Lone makes that character completely convincing as the target of affection. And, indeed, a lot of the screen time is spent on peeling away Iron's character and revealing the man he is, obsessed with his new acquaintance, all the while setting him for the inevitable fall. In the end, M. Butterfly is an elegant but perhaps too deliberate an examination of love and self-deception to truly be revealing or engaging.
Drama: 5/10

Interview with the Vampire (1994)
Starring: Tom Cruise, Brad Pitt, Kirsten Dunst
Director: Neil Jordan
Plot: Having a hard time dealing with being a vampire, an 18-th century plantation owner who has lost the will to live tries to escape his more-experienced progenitor by fleeing to Paris.
Review: Based on the huge horror bestseller by Anne Rice, Interview with a Vampire is a magnificent, bold and splendid film that brings horror and vampirism into the level of true cinematic art. In the capable hands of director Jordan (The Crying Game), the film is a stylish, efficient and wholly accomplished affair that provokes a strong emotional response, be it dread or awe, as well as the pathos, the drama, the sadness that teems in Rice's work. With his cinematographer, he also brings the intoxicating night world to vivid life, a world that always provides further curiosities and terrors around every corner (a sequence of the Parisian Theatre des Vampyres is a standout). The magnificent, gorgeous production and lavish art direction provide the required visual splendor. With never a whiff of camp (or, admittedly, almost never), the film delivers a good amount of thrills, chills and bloodletting as well, while keeping a focus on the philosophical implications of their fate, the longings and lost humanity of its main protagonist. And, indeed, the most important aspect is that the characters from Anne Rice's novel jump off the page - no surprise, perhaps, as Rice wrote the script herself. As the vampire "couple" Pitt and Cruise are at the top of their game and play their parts with the perfect amount of seriousness and "vamp", insinuating a homoerotic sexual tension; but while Pitt is the soul and conscience of the film, Cruise is given free reign to create a deliciously evil Lestat, giving one of his best performances. It's also a stunning debut for a very young Dunst who is darn impressive as the at-first-innocent, then-vicious vampire stuck in the seemingly-precocious body of a girl forever. Add a sublime Banderas, as an enigmatic older vampire, to the mix and you've got a tour-de-force cast. A classic tale simply brilliantly realized, the seductive Interview with the Vampire is another cornerstone for the horror genre, one that has rightfully garnered both critical and mainstream success.
Entertainment: 8/10

13 Tzameti (2005)
Starring: George Babluani, Philippe Passon
Director: Gela Babluani
Plot: A young roofer trying to make ends meet stumbles on an opportunity to make a lot of quick cash, realizing too late that the anonymous instructions lead to a game that will put his life on the line.
Review: 13 Tzameti is one of those nice little genre surprises: what starts off as a seemingly caricature of a typical artsy French flick, stylized even more by the use of stark B&W photography, slowly becomes an intriguing mystery, and then switches to a nerve wracking game of Russian roulette - with a twist. The French have long forgotten how to do tightly-knit, small-scale suspense thrillers even if some, like Caché, have re-awaken the genre, but this film puts all doubts aside: a new breed of European filmmakers have definitely not lost the touch. Helmer Babluani, directing his brother, shows a surprisingly masterful display of direction and effective story-telling, considering this is his first feature. There's a calculating manner in the deliberate pacing, even a sense of neo-realism in its casual set-up and slow turn into nightmare, as our protagonist finds himself in unfamiliar territory and forced to play a game for his very survival. There are no chases, no good guys, nor is this a crime drama; it's a Hitchcock-like suspense film, and it's clear that the director has taken notes on what really works. The tension is palpable, the violence so sudden and matter-of-fact that it makes the sequences all the more harrowing. For an hour, as the savage, cold-blooded game unfolds, your eyes will stay glued to the screen and your palms will sweat. And the cast of unknowns, and especially its hero, makes this feel all the more believable. Indeed, the thin, naive-looking Babluani turns a deceptively impressive performance as a young man who has gotten in way over his head, and his gradual (but quick) loss of innocence, as so verily shown on his face, is terrifying. The film finishes in a way that is totally appropriate, a manner that Hollywood wouldn't dare even consider, making it all the more refreshing. A psychological thriller that really lives up to expectations and critical hype, 13 Tzameti is an unfortunately still undiscovered gem that's well worth seeking out.
Suspense: 8/10

Bobby (2006)
Starring: Anthony Hopkins, Demi Moore
Director: Emilio Estevez
Plot: A day in the lives of a large cast of different characters interesects at the Ambassador Hotel in Los Angeles, in the hours before U.S. Senator Robert F. Kennedy is assassinated on June 5, 1968.
Review: Though it carries his name, Bobby isn't so much a film on Bob Kennedy as it is a film on how his ideas affected America. Focusing on a single defining moment - and the 24 hour that precedes it - the film valiantly attempts to capture the essence of the '60s era, the hopes, the aspirations, the issues, and the social context surrounding the decisions to elect the next president, and the dashed hopes of a country for a better future. It's a very complex film, in terms of the logistics, what with so many things, events and characters going on at the same time, and actor / director Estevez pulls it off. From the young friends willing to get married to avoid having him go off to Vietnam, to the old concierge seeing his life fly by, to the drunk has-been singer, and many more, we get a glimpse of varied life. And what a surprisingly diverse, and impressive, ensemble cast he's managed to come up with including Laurence Fishburne, Heather Graham, Anthony Hopkins, William H. Macy, Elijah Wood and some familiar faces we haven't seen in a while like Helen Hunt, Sharon Stone and Demi Moore. That Estevez gets some of their best performances out of this is proof he's also a very capable actor's director. Unfortunately the drama itself can really only be pretty shallow because the script and film's length (no matter how long it could be) doesn't allow much time to delve into any one of its dozens of characters. The quality of the writing isn't always on the same level, either: while some moments are well captured and examined, other seem thrown in, creating too vast a canvas to conveniently bring to a close. Of course, all the characters and events are wholly fabricated - save for the assassination itself. Still, in broad strokes he recreates the semblance of the social conscience in the late '60's with fine aplomb. At its worse Bobby is a well conceived if failed experiment; at its best it's a solid ensemble drama - either way, it's worthy of note.
Drama: 6/10

Renaissance (France - 2006)
Starring: Daniel Craig, Catherine McCormack, Jonathan Pryce
Director: Christian Volckman
Plot: In a Paris of the future where youth and beauty are prized above all, a maverick detective tries to find a kidnapped scientist who has uncovered a terrible secret which the state's largest corporation - a power unto itself - is desperately trying to uncover.
Review: A superbly represented future dystopia, replete with retro-future cars and lots of smoky visuals, Renaissance will be remembered for its arresting visuals, if not for its insubstantial plot. A film noir in every sense - the perpetual rain and darkness make for a constantly shadowy atmosphere - the tale and visuals owe as much to Blade Runner (a movie it won't escape being compared to) as it does to thrillers like The Third Man, European comics and Miller's Sin City graphic novels. The film boldly uses stark contrasts to give it its individuality, making a superb use of black & white computer animation (there are no grays) that feels fresh and startling. Indeed, the stylish animation actually looks and feels more impressive than some of the latest CGI blockbusters thanks to an appropriate use of motion capture techniques and minimal lines that capture the essence of characters and locations while limiting actual details. The mentioned influences also make for a very slick, well conceived sci-fi thriller. Alas, the story and characters aren't quite up to par with the execution. Oh, here's some interesting stuff, to be sure - and a nice array of effective action sequences, including a handful of shoot outs and a car chase - but the theme of the villainous Big Corporation, of the on-the-run scientists, of the honorable cop, all seem derivative and for the most part quite predictable. As for the voice acting by the likes of Craig and McCormack, it's solid if unimpressive. Despite some failings in the narrative department, the amazing visuals and solid pacing of Renaissance will keep one absorbed throughout the proceedings. And sometimes, that's enough for a recommendation.
Entertainment: 7/10

Dick Tracy (1990)
Starring: Warren Beatty, Al Pacino, Madonna
Director: Warren Beatty
Plot: Super-detective Dick Tracy finds his hands are full when he must battle a ruthless mob boss who has manages to unite the cities worst criminals while splitting his affections between his loyal girl-Friday and a sultry cabaret star.
Review: Based on the popular comic-strip detective created by Chester Gould back in in the 1930's, who was as famous for his radio watch as he was for the colorful denizens / criminals inhabiting his city, Dick Tracy is un unfortunate example of style over substance. As director, Beatty hits all the right notes in the visual department, capturing the cool factor of the classic strip to a T. Using a Sunday newspaper-strip styled 4-color palette, there's a wonderful art direction that's present in every aspect of the film from the vibrant cinematography, to the boldly stylized sets, the square shouldered costumes and the dollops of character makeup effects, all of which make the 2-D world of Dick Tracy come to brilliant life. If the ineffectual-seeming Beatty can't quite do justice to the forceful, square-jawed title character as an actor, the rest of the supporting cast is bang-on, and it's a joy to see them interpret some of Tracy's most notorious / infamous villains. Of prime note is main bad guy de Niro who is in fine over-the-top form as Big Boy Caprice and Madonna (in her best film performance to date), perfectly cast as the sultry femme fatale. Add to these a bevy of other denizens including the superbly-realized The Rodent, The Brow, Flattop, and Mumbles (a perfectly understated Dustin Hoffman) played by a great ensemble cast with the likes of Kathy Bates, Colm Meaney, James Caan, Dick Van Dyke and Paul Sorvino and its clear that no expense or effort was spared. Add to this a strong score, some song-and-dance routines (including the Oscar-winning Sooner or Later), and a good dose of comic-book humor - how can it go wrong? Unfortunately, despite all these efforts, and despite getting all the right elements in place, the end product just isn't up to the sum of its well-executed parts. Sure, there are some terrific set pieces, with shootouts, cliff-hangers, et al as Tracy battles it out on the streets but as a whole the film fails to generate any real excitement, and the pacing alters from action-packed to slow-as-molasses. At least the story, while minimal, is for the most part above-average for the course, especially in the hit-and-miss era of 1990's comic adaptations. As a stylish, beautiful-looking adaptation, Dick Tracy wins big. Too bad it's not consistent enough to warrant repeat viewings.
Entertainment: 6/10

My Architect (2003)
Director: Nathaniel Kahn
Plot: The life and work of famed Philadelphia architect Louis I. Kahn, who died penniless and alone in a Penn Station bathroom in 1974, is reviewed from the perspective of his illegitimate son who takes a journey to understand his father.
Review: A tale of a son's affection for a father he never knew, My Architect is both and exploration of modern architecture and a personal globe-trotting journey to seek answers to one's own identity. What follows for two hours is an intriguing - if long-winded - series of observations on art, family and spirituality. The late, celebrated Louis I. Kahn is considered to have been one of the most important architects of the twentieth century. His works, visited and explored in more or less chronological order and expertly reviewed by various professionals for the camera, are studies in clarity. His personal life, however - leaving behind three families following his mysterious death - was a far cry from his professional one. Kahn's illegitimate son's personal journey to meet his father's "extended" family - not an easy, or often comfortable task - and attempts at better understanding a father he saw only part-time until the age of 11, at discovering part of his own identity, touches a universal chord. How many of us have wanted, as adults, to really understand our parents and who they are / were? Can a man's life be explained by his personal struggles, his artistic legacy? Though the conversations often seem to surround the seemingly self-centered son more than his father, a fascinating portrait of Kahn does coalesce through the various interviews of family members and professional peers, a portrait of a passionate, caring man who seeked truth in steel and concrete but who was so obsessed with leaving a mark that he did not have time for any of his families - or that he could not find a way to combine the two. The film ends with keen observations on his final, massive project, the Capital Complex at Dhaka, Bangladesh, a sprawling series of monumental buildings. As My Architect finally meanders to a close, there is a sense that one will never really know Kohn, but that for now at least, he is less of a mystery.
Documentary: 7/10

C.R.A.Z.Y. (Quebec - 2006)
Starring: Michel Cote, Marc-Andre Grondin, Danielle Proulx
Director: Jean-Marc Vallee
Plot: Smothered by his older brothers and by his stern father, a young man tries to come to terms with his sexual persuasion in 1970's and '80s Quebec.
Review: Spanning three decades in the life of a troubled young Montreal man and his quasi-dysfunctional French Canadian family, C.R.A.Z.Y. is both a coming-of-age and a coming-out drama that's light on its feet, and inventively realized. First through the 70's and 80's, his "euphoric" music experience are metaphorically equaled to a religious one, highlighting the idea that, for many of the younger generation, pop culture took over the vacuum created by the weakening of the Church's influence on Quebec society. Later, he struggles with sexual confusion, something that adds even more strain on the family relationship, and particularly with his struggling Catholic father and rebellious, drug-dealing older brother, whom he idolizes. It may all sound heavy and clichéd, but that couldn't be further from the truth. Based largely on the actual experiences of co-writer François Boulay, director Vallee avoids the usual melodramatic pitfalls of this type of story. Some of that comes from a script that concentrates the different eras into well-defined moments and crystallizes the narrative to extract the essence of the character and his social surroundings; some from the telling, humorous details; some from the able direction and editing that makes it all seem fresh and light-footed; some from the richly textured, well-shot visuals; and some from the excellent cast, from Grondin as the teen / young-adult protagonist to Côté as his limited but well-meaning father, and to all the characters in between. Just like a visit to family, C.R.A.Z.Y. is filled with instances of warmth and of cruelty, making for a well-conceived and entertaining drama that lingers in the heart.
Drama: 8/10

Bridge to Terabithia (2007)
Starring: Annasophia Robb, Josh Hutcherson, Zooey Deschanel, Robert Patrick
Director: Gabor Csupo
Plot: A shy fifth grader befriends a new girl in his class and together they create a fantasy world in the woods where creatures and adventures await at every turn.
Review: Previously adapted as a made-for-TV movie in 1985, Bridge to Terabithia is the latest adaptation of Katherine Paterson's beloved young-adult novel about the pains of growing up, and fans of the original material are bound to be pleased. Though marketed as a fantasy film akin to The Chronicles of Narnia, this is really more of a children's drama than an adventure / fantasy film, so parents beware. Once the disappointment of this being a "standard" drama is passed, pre-teens will probably get into the film while adults will appreciate, if not quite enjoy, this story of friendship, a tale that supposes that things are always better when imagination can takes flight, and where fantasy makes even the most difficult aspects of real life better by the sharing of it. Think of this as an after-school TV special, but with better production values. Kudos also for keeping the more difficult aspects of the book: An unexpected, tragic twist towards the end may make this one a bit of a downer for younger audiences, but it's an important aspect of the story, and it's a situation that's well handled. Bringing the setting from the 70's to the present, helmer Csupo (better known for the animated Rugrats) capably directs his child actors, has a good sensibility to the pressures of childhood and school life, keeps the right tone throughout (neither light nor heavy handed), and knows to keep his real focus on the friendship between Robb and Hutcherson. It helps that the two leads are sympathetic, and the adult cast do good supporting turns. The few special effects sequences are ably handled, especially its parting shot, adding just the right amount of the fantastic during the few adventure-like sequences of the film. An ode to creativity and imagination, Bridge to Terabithia is a capable, honest look at grief and friendship, one that parents will be pleased to share with their kids.
Drama: 6/10

*Classic* The Godfather (1972)
Starring: Marlon Brando, Al Pacino, James Caan
Director: Francis Ford Coppola
Plot: After his father is critically wounded by a rival Mafia Don vying for power, a decorated war hero is sucked into the violent world of organized crime and forced to do his part in the family business.
Review: The American crime drama of the decade - if not of all time - and the precursor to a slew of similar crime epics, The Godfather one of the high marks of American cinema. Winner of numerous awards (including an Oscar for Best Picture), as well as garnering critical acclaim and popularity, the film opened up a hidden world, a little-known underworld society called the Mafia, and brought it to mainstream attention. At the outset, the story follows the lives of a crime family as it attempts to maintain its empire despite the violent, treacherous competition from other mobs and betrayals from within and without. But what really elevates the film to classic status is that it is also a superb, epic ensemble drama that explores such universal themes as the immigrant experience, generational strife, filial loyalty and more. All these themes coalesce into a seamless whole that climaxes into a devastating conclusion, as new values replace that of the old. Director Coppola (who went on to direct Apocalypse Now, among others) shot to legendary status with his brilliant, almost Shakespearen take on the American Mafia. From the tight, far reaching script by writer Mario Puzo, to the lavish production values, to the masterful pacing, and down to the memorable score from Marricone, everything clicks perfectly into place. The operatic violence is extreme but appropriate, a necessary view into this ruthless "business" that destroyed lives and split families apart. The film is also characterized by the strong character development, especially in the unwanted rise of the ambitious, youngest Corleone brother to head of the family. Even the cast is sublime, including a young Pacino, Diane Keaton, Robert Duvall, the mousy John Cazale and the volatile James Caan, each out-doing their previous performances. But the most memorable part, of course, rests on Brando's excellent portrayal of the aging Don Corleone ("I'm gonna make him an offer he can't refuse"). Dramatic, elegant, well-produced, lavish, and epic in scope The Godfather is an engrossing tale of a crime family bound by loyalty, fear, and love. A tour de force.
Drama: 10/10

Chak De! India (India - 2007)
Starring: Shahrukh Khan, Vidya Malvade, Chitrashi Rawat
Director: Shimit Amin
Plot: A disgraced Indian hockey player finds one last chance to redeem himself in the eyes of the people around him by coaching a woman's hockey team and bringing them to the World Championship in Australia.
Review: It was only a matter of time before the story of women's hockey would make it to the screen, and the shamelessly mainstream Chak De! India seems just the vehicle to do it. The script is made up of a series of mainstream clichés, as if it was checking them off a list: Strife between teammates from different classes? Check. Coach with checkered past trying to redeem himself? Check. An untrained team going against world champions and winning? Check. Like in all its brethren, the key to victory is in finding team spirit; and how does it come about? Why, by beating up on a bunch of boys of course! Add a few well chosen words by their coach, and some only-in-movies moments, and the undisciplined team turns into a winning one. Easy! The core subject is the second-rate status of women in Indian sports and in society. We've seen these same ideas in Bend it Like Beckham, that also dealt with Indian social mores or, in a different way, with A League of Their Own, but here it's given an Indian perspective. When they eventually win, it's not just a victory but a blow for acceptance and independence, proving to the world - and themselves - that they are just as good as any athlete, male or female. Yet, though the story is eminently predictable to anyone who's seen any sports movies of the last 30 years, the young cast is earnest enough, and the film single-minded enough, that it passes quickly by. The real attraction may well be Khan, one of India's most popular and long-standing stars, who adds the required male anchor and star-power, breezing through a surprisingly low-key role with his eyes closed. The direction by sophomore helmer Shimit Amin is pedestrian perhaps but the story doesn't call for visual flourishes, just straightforward storytelling. Not surprisingly, there's a lot of hockey playing to be seen, especially in the second half of the film, and though the young cast went through a few months training to ensure they looked the part and the editing does its best to make it all exciting, the actual game isn't quite an adrenaline rush as it would like to believe. Finally, don't expect any musical numbers here, and at barely 2.5 hours it's a short film by Bollywood standards. Still, with its solid cast and efficient reveling in meeting its audience's expectations, chalk up Chak De! India to another decent, uplifting - if unrevealing - sports flick.
Entertainment: 6/10

The Last King of Scotland (2006)
Starring: Forest Whitaker, James McAvoy, Gillian Anderson
Director: Kevin Macdonald
Plot: A young Scottish doctor accepts the position of personal physician to the Ugandan dictator Idi Amin, slowly becoming his confidant and advisor, and getting more and more involved in the brutal regime.
Review: Based on actual events during the brutal tenure of Ugandan president / general Idi Amin, The Last King of Scotland is an unwavering, well-conceived historical and political thriller, as well as a powerful portrait of a barbarous man. Like the acclaimed book by journalist Giles Foden, the film interweaves fact and fiction to give an imaginary first-person account of Idi Amin's reign as dictator from 1971 to 1979, as seen by its fabricated character, a Scottish doctor in Amin's employ. But more than just the relaying of historical facts and impressions of the man, it's this relationship between dictator and physician - even if created in all parts - that makes for an intriguing, tension-filled tale as the ill-informed Scotsman gets deeper into morally and physically dangerous ground, slowly realizing the perils facing him and the atrocities being committed in the name of Amin's rule. As played by Whitaker in an Oscar-winning performance, Amin is a charming, impressionable force of nature, a cunning man with a knack for leadership whose paranoia, ego and viciousness made him so much worse than his predecessors. McAvoy, as the impressionable white outsider, carries all the innocence and good intentions of his character with ease, and makes his ensuing realization of being damned all the more vivid. Audiences come to see Uganda through his eyes, and the tone and visuals of the film match the country's descent into Hell, proving that indeed the road to Hell is paved with good intentions... There's never a dull moment in this well-condensed adaptation, and the lush, warm visuals make this an enticing, and finally brutally effective account of another African tragedy. As both an involving portrait of a madman and a dramatized historical documentary, The Last King of Scotland works wonders.
Drama: 8/10

Shooter (2007)
Starring: Mark Wahlberg, Michael Peña, Kate Mara, Danny Glover
Director: Antoine Fuqua
Plot: On the run after being framed for an attempted assassination on the president, a retired expert marksman plots revenge on those who set him up.
Review: Though it may not quite be classic stuff, Shooter is a an efficient Hollywood action-thriller that delivers in all the places that count: a twisted conspiracy plot involving cynical politicians and black ops agents, a wronged patriotic hero out for justice, a self-important social conscience, and lots and lots of firepower. In fact, based on the novel Point Of Impact by film critic Stephen Hunter, the plot feels like it would be right at home in the paranoia-filled thrillers of the 70's like The Parallax View - just with a lot more adrenaline-filled pyrotechnics and gun-play. After an Oscar-worthy crime drama (Training Day) and some not-so-impressive follow-up vehicles (Tears of the Sun, King Arthur) director Fuqua is back in the game here, showing a good sense of narrative pacing and offering up quite a bit of effectively executed action sequences. Not to be seconded, the productions values are also quite good, as is the cinematography, making for a visually pleasing affair. However, what sets it apart from the average action vehicle is its occasional attention to realism, especially when taking into account the training and mechanics of sharp-shooting - this adds a grittiness that makes the violence all the more visceral. Too bad, then, that following a slick double-cross and a suspenseful escape, the film turns our hero into a modern-day Schwarzenegger, straight out of Commando - gunning down dozens of well-trained opponents and an attack helicopter with nary a scratch. It's fun stuff to watch, but it spoils the realism that the film was first striving for. The film also can't leave its villains alone - they can't be just bad guys using the system for their own gains, they have to be Bad Guys who also like torturing and killing women and children. Wahlberg has the modern-day action hero bit down pat, playing the role with little humor, lots of angry energy and not just a little bit of swagger (funnily enough that's even his character's name: Bob Lee Swagger). He's helped along with solid support from Pena as a rookie FBI agent and Mara (who's easy on the eyes) as his ex-partner's widow. As for the villains, a creepy Glover hams it up terribly as the plot's mastermind as does Ned Beatty as his Senatorial ally. To be fair, the filmmakers know what they're doing and how to press all the right buttons to get an audience reaction - it was just supposed to be smarter than this. Still, for the most part Shooter is engaging action fare that has more brains than most of its fellows - and for that alone it's worthy of attention.
Entertainment: 7/10

Night at the Museum (2006)
Starring: Ben Stiller, Carla Gugino, Robin Williams
Director: Shawn Levy
Plot: Hoping for some job stability, a newly-recruited night watchman at the Museum of Natural History soon discovers that an ancient Egyptian relic is bringing the displays and specimens back to life every single night.
Review: Based on Milan Trenc's illustrated children's book, the high-concept adventure-comedy Night at the Museum works wonders when it sticks to its premise. So while the adaptation can't help stumble when it's looking for pathos in its father-son relationship or romantic sub-plot, director Shawn Levy (The Pink Panther) keeps things moving and really hits his stride when everything goes haywire for our hapless hero on that first night. More often than not the film excels at bringing a giddy child's excitement when it brings to life characters like Roosevelt, Attila the Hun, a Pharaoh, cowboys, roman soldiers and excitable cavemen, throwing savage animals and even a bone-fetching T-Rex skeleton into the fray. With all that, it's no surprise that there's a lot of running around and screaming, all of which only helps make for a fast-paced, entertaining affair. Of course, even with the well-conceived CGI special effects and neat visuals, none of this would be half as much fun without the great supporting cast that includes Williams, Owen Wilson and Peter Coogan. Plus, seeing old Disney stalwarts like Dick Van Dyke, Mickey Rooney and Bill Cobbs back in action is always refreshing. Oh, and let's not forget our star: Stiller keeps to his stereotyped shtick but he's got the funny-man routine down pat, and his performance here is proof of that. The script itself squeezes what slapstick humor it can from the situations and, despite some requisite pandering or juvenile bits (mostly involving Stiller's confrontations with a monkey), keeps things for the most part amusing and light. Anything that will help pique a general interest in history is a worthwhile effort, and it sure helps that Night at the Museum is nice, mostly clean fun for the entire family.
Entertainment: 6/10

Breach (2007)
Starring: Chris Cooper, Ryan Phillippe, Laura Linney
Director: Billy Ray
Plot: A young FBI agent-in-training is given the task to shadow his new boss, a highly regarded, high-ranked company man who has been selling sensitive security information to the Soviet Union for over 20 years.
Review: Based on true events of the greatest security breach in U.S. history and the capture of Robert Hanssen, the worst spy in American history, Breach is a very linear, decently executed little thriller. Director Ray takes the same no-nonsense approach that made his previous portrait of a fractured man, Shattered Glass, so remarkable, keeping the movie's focus not on the production values or stylistic flourishes, but on its main subject. As an exploration of what makes a traitor, however, it's still missing something to make it truly memorable; the script provides many the pieces of a rather strange puzzle - a devout Catholic and churchgoer, a paranoid ego-maniac, and a sexual deviant - yet never quite delves enough into making it a whole picture. Also, though a cold, calculating and creepy Cooper makes a fine foil to the young, sly Phillippe and both are good in their respective roles, the script doesn't quite allow for a comprehensive understanding of their relationship, or why the older man would trust so implicitly a complete stranger - as presented here, the bond of trust seems too convenient. Perhaps one of the failings is that most of the focus is kept on the 26-year-old Eric O'Neill, the undercover agent, his admiration for the older mentor, his moral dilemma of having to keep tabs on him, and the impact it has on his family life. It's a well presented portrait of the hardships of being an FBI agent, but his character isn't as interesting as his boss. Still, despite its muted tone and lack of real suspense, Breach is an effective, small-scale drama that attempts to bring a milestone in American spy history to light. 
Drama: 6/10

Ghost Rider (2006)
Starring: Nicolas Cage, Eva Mendes, Peter Fonda
Director: Mark Steven Johnson
Plot: Twenty years after selling his soul to save his father's life, a motorcycle stunt man is forced into service as Satan's bounty hunter to fight the Devil's rebellious son.
Review: Adapting a minor Marvel comic-book character, a very Christian-themed one born from the 1970's fascination with motorcycles and Evel Knievel-like stunts, allowed the filmmakers to do just about anything, an opportunity to really go "out of the box". Add an A-list actor Cage to the mix (a guy who's been trying to make a super-hero film for ages) and you could have had a winner. Unfortunately, Ghost Rider is another opportunity squandered, a film that's too cheesy to be taken seriously and not thrilling enough to be entertaining. Too much time and effort is taken into the mechanics of the Origin Story, leaving little time to face the real demonic threats. When our Hell-spawn hero does, he manages to dispose of his opponents with nary a thought, limiting whatever tension might have been. The biggest miss is the acting, which is pretty horrid from all involved, even Cage who does try to infuse his bland performance with a bit of humor. Fonda, as the Devil himself, is an interesting bit of casting, but he's completely wooden - much like everyone else. At least the always-hot Mendes makes up for some of the drab exposition and romantic bits, and the always-dependable Sam Elliott makes an appearance as the wise mentor. The real culprit, however, is co-writer / director Johnson who barely made it through his previous comic-book adaptation of Daredevil - here, he's forgotten all the lessons learnt and dawdles through some banal melodrama, tired characters, and a rather un-involving story. Not to say there aren't some very "cool" stuff: the Ghost Rider persona is well captured, the ghost-bike is a beautiful machine, the special effects work pretty good (if not always believable) during the supernatural confrontations, there are some memorable visuals (like the two Ghost Riders of different eras speeding across the desert nightscape) and even some decent cinematography. It's just that the parts just don't add up to something audiences can care about. In the end, this would probably have worked better as a static set of pictures (just add word balloons!) than as a movie. And yet despite its bad acting, predictable plot and sub-par directing Ghost Rider still somehow provides some amusing bits and will keep mainstream thrill-seekers engaged for the duration.
Entertainment: 4/10

Ratatouille (2007)
Starring: Patton Oswalt, Ian Holm, Lou Romano
Director: Brad Bird
Plot: Dreaming of actually becoming a chef despite his family's objections, a rat finds the opportunity to cook a storm in a once-famous Parisian restaurant by making an unusual alliance with the new garbage boy.
Review: A sort of Cyrano de Bergerac for restaurateurs, Ratatouille is the latest family-friendly computer-animated success from those brilliant folks at Pixar (Toy Story, Finding Nemo), following a somewhat disappointing Cars. Writer / director Bird did some real magic with the super-hero spoof The Incredibles, and here he's switched gears completely, but never loses that sense of humor, pathos and love for detail with a clever, witty script that is a real delight. Younger kids may not "get" the movie's gastronomical eloquence, and some of the kitchen preparations and politics may be slow-going, but they will enjoy the slapstick adventures, the familial struggles for acceptance and the bright, colorful visuals. For adults, however, this is a delectable concoction that will whet appetites and tickle the funny-bone. Not to say there aren't the requisite romantic bits (this is Paris after all) as well as a couple of dynamic chases through some of the more scenic streets to add some spice, but the real kudos go to the team for making high-end cooking an experience that can be savored - and understood - by anyone. Some rat scenes may disturb some - there's a terrific moment when a slew of rats are captured in the moment of preparing a full-course dinner in the restaurant's kitchen that's priceless - but they're all rendered anthropomorphic enough that they look more cuddly than gross. To go with the always exceptional, lively animation, the voice cast is up to the task, with leads Oswalt and Romano, ably helped with such familiar names as Brian Dennehy, Janeane Garofalo and even Peter O'Toole as supporting characters. All told, Ratatouille may not have the re-watch factor that some of the previous entries had, but it's clear that this love letter to food will touch a chord in just about everyone.
Entertainment: 8/10

The Holiday (2006)
Starring: Kate Winslet, Cameron Diaz, Jude Law, Jack Black
Director: Nancy Meyers
Plot: Looking for a change of scenery after their respective guy problems, two women meet over the Web and swap homes for the Christmas holidays - one in rural England, the other in LA - and end up falling for local guys.
Review: The romantic comedy is alive and well in Hollywood, as the better-than-average The Holiday easily proves. There's no startling revelation coming from its love-lorn denizens, nor does it manage to avoid the usual traps and clichés, but it does avail itself rather well with its rich, well-to-do, and mostly real-life-problem-free leads. Beautiful settings? Check. Gorgeous leads? Check. Perfect houses, cottages, and neighbors? Check, check and check. Writer / director Meyers (Something's Gotta Give, the hilarious What Women Want) knows a thing or two of what makes a chick flick tick (now say that 3 times fast!) and here she's playing the Holiday season cards just right, mixing in light humor, romantic gumption and melodrama in just the right amounts. Of course, the film requires everyone to wear their emotions on their sleeves, and thankfully Winslet and Law are simply radiant in just about any performance they take a mind to, even in this romantic trifle. The problem is that they are simply no match for the dreary, dopey-eyed Diaz and the insufferable Black. In fact, through some awkward interactions, it's tough to see what the former see in the latter. The supporting cast, including such solid vets as Eli Wallach, Edward Burns and Rufus Sewell do add a lot of heft to the otherwise bland script. Sure, this is a fluff piece, but in the hands of Meyers - and the help of her charming, A-list cast - The Holiday is a nice little piece of entertainment to cuddle up to.
Entertainment: 6/10

Rocky Balboa (2006)
Starring: Sylvester Stallone, Burt Young
Director: Sylvester Stallone
Plot: After media attention is sparked by a boxing simulation pitting one of the sport's stalwarts and the current heavyweight champion, an aging, nostalgic boxer agrees to go back in the ring for one final exhibition match.
Review: 30 years after the first Rocky won Oscar for Best Picture, and after many tepid sequels, Rocky Balboa promises a return to the the iconic character that made Stallone a household name. Surprisingly enough, though it's not classic material, it is a fine swan song to the franchise and it's also the most affecting and dramatic Rocky installment since the first one explored the downtrodden Philly streets. For one, this one doesn't go mainstream, taking its time to set up the character, a man who's best years are behind him, living on past glories and much nostalgia. It's as much an exploration of the Rocky character as it is, perhaps, of Stallone himself who never quite managed to live up to the expectations following Rocky and Rambo. If this film is any indication, writer / director / star Stallone isn't down for the count quite yet. Much like the Rocky character in his final fight, Stallone surprises by bringing an affecting, return to his roots, if not his box-office success. Those expecting lots of boxing action will be disappointed, as this is a much more reflexive, melancholy Rocky than we've come to expect. The climactic fight is more of a conclusion to the dramatic events rather than the entertaining, adrenaline-pumping exploitation affair of the earlier sequels. As expected after such a big set-up the bout goes for all 10 rounds, and Stallone looks amazing for his age - you believe he can take on just about anybody. If there's one minor disappointment, it's the lack of real tension because his adversary really doesn't look like a fighter, or at least not one of "Rocky" caliber. Still, Rocky stories have always been about Heart as much as they've been of a simple man being able to take an amazing amount of beating, and the film ends on just the right note. proving that, at any age, one can still fight for what one believes in. A nice way to close off the inspirational series.
Drama: 6/10

*Classic* Police Story (Hong Kong - 1985)
Starring: Jackie Chan, Brigitte Lin, Maggie Cheung
Director: Jackie Chan
Plot: After single-handedly capturing a drug lord, a Hong Kong cop is assigned to protect the female witness who could clinch the case but soon finds himself on the run when he's framed for a partner's murder.
Review: The action thriller Police Story is the film that really swung Jackie Chan into international super-stardom, and rightly so. Trying to showcase the talents that made him a household name, Chan produced, directed and starred in an affair that really couldn't be done in the States, replete with fabulous action set-pieces, death-defying stunts, great chases, and impeccably choreographed fighting sequences that would put most big-budget Hollywood productions to shame. And it's no wonder, after you see the outtakes and injuries incurred in the filmmaking. A few highlights: the opening sequence, with cars diving straight through a hillside shantytown is simply amazing; a superb chase as Chan runs after a double-decker bus that's straight out of Charlie Chaplin; the climactic act as Chan takes on dozens of bad guys in a bone-crunching, window-shattering fist-fight inside a shopping mall. Of course, Chan's trademark slapstick humor also makes an appearance and, if some of the plot and comedy is a little much to bear for an otherwise serious and violent affair, it's still a fun time. Sure, there's relatively minimal story and a lot of it is familiar, but it's the action that really makes Police Story the great, classic stuff it is, marking the new benchmark for which all contemporary HK films were measured.
Entertainment: 8/10

The Chorus (Les Choristes) (France - 2004)
Starring: Gerard Jugnot, Francois Berleand
Director: Christophe Barratier
Plot: Hired to teach music at a school for troubled boys in the years after the War, a teacher becomes determined to use unconventional methods to overcome both disciplinarian peers and his class' contempt to change his student's outlook.
Review: An inspirational tale that treads familiar ground, The Chorus is a warm-hearted, witty tale of one man bucking the strict school system. As previously explored in such movies as Stand and Deliver and Mr. Holland's Opus, the script is predictable - a well-meaning teacher faces ridicule and hardships, using music and understanding to win over his students and lift up the school's morale - but director Barratier uses the clichés of peer pressure and school rivalries, and all the usual character stereotypes, to perfection. And the film definitely has all the right elements, from solid production values that recreate an atmosphere of a bygone era, to poignant drama, to a touch of light-hearted humor. Barratier also has a knack for making the French location seem more exotic than it should, as well as an ability to use his cast to help move the story along in a way that feels completely natural. And there's some good solid acting from the kids and adults alike, but in the portly, balding Jugnot they've really found a perfect, likable underdog to play the mentor, the lone guy against the establishment who's trying to prove to himself and others that he's not a failure. But the real saving grace is the blend of cute, effective and sometime poignant musical arrangements; as sung by the Saint-Marc choir it elevates even the film beyond its humble nature. Though nominated for an Oscar for Foreign Language Film, The Chorus isn't an exceptional piece of filmmaking, but with its capable execution and uplifting vocals its an easy, winning formula for escapist fare. 
Entertainment / Drama: 7/10

Fantastic Four: Rise of the Silver Surfer (2007)
Starring: Ioan Gruffudd, Jessica Alba, Chris Evans
Director: Tim Story
Plot: Four super-powered heroes face both unwanted media attention and the threat of a planet-eating entity when its harbinger, the cosmic-power-endowed Silver Surfer, comes to town.
Review: Mixing various stories from the comic books, Fantastic Four: Rise of the Silver Surfer continues the family-friendly adventure approach to the Marvel characters. Your enjoyment of the film will be based on what you thought of the first one, but while there's nothing terribly new here, the film isn't anchored by an origin story and is able to get into the action right away. The action, this time around, is more effects laden and more "epic" in scale (the Earth is in peril!), and there's even greater emphasis on the growing pains of the super-group facing unwanted media attention. This was one of the most important themes (that of dealing with "real life") that set apart the 1960's Marvel heroes from their counterparts, and there's a worthy attempt at capturing that here - the most agonizing moment is knowing if Reed and Sue will ever get through their wedding. Director Story may still not be the right guy to helm the franchise, but he manages to keep that sense of fun of the first installment, blending the first-rate visual effects and a plentiful supply of energetic super heroics with a good dose of humor and melodrama. At barely 90 min he manages to keep up the pace, keeping things fun and always moving along through some iffy plotting. The rest of the cast seems to be more comfortable in their respective roles, allowing for the right adversarial / camaraderie to show, while hothead Evans gets much more screen time. Only Julian McMahon, playing the returning Dr Doom, doesn't feel right for the part and works better when he's been digitized. Also, the comic version of Galactus has been turned into a faceless entity (not a bad thing, considering), but the Silver Surfer, voiced by Fishburne, is pretty accurate and pretty cool. For real fans of the FF, everything will be a disappointment, and the none-too-serious tone will annoy those seeking an X-Men or Batman Begins-like sense of reality. That said, most mainstream audiences will enjoy these further adventures of the World's Greatest Super-Heroes, one that's right for the whole family.
Entertainment: 7/10

Seraphim Falls (2007)
Starring: Liam Neeson, Pierce Brosnan, Michael Wincott
Director: David Von Ancken
Plot: Three years after the end of the Civil War, a brutal ex-Confederate soldier out for revenge hires a posse to go after a Union captain who has retired as a trapper in the mountains.
Review: Taking some inspiration from Eastwood's The Outlaw Josey Wales, Seraphim Falls is a Western of strong visual presence and minimal dialogue. The opening sequence is a 20 minute-long, almost wordless chase through a winter landscape, as five gunmen chase down their wounded prey, a prey that has a few tricks up its sleeves. The on-going chase goes through fits and starts, moving from the mountains to the desert, as the two Civil War adversaries encounter the usual eccentric and dangerous characters in the Western landscape, including bible-thumping Christians, wanted thieves, and even a wise old Indian, the cameos taken by a string of familiar supporting actors. Making his feature-film debut, TV-director Ancken shows a good storytelling sense, allowing the pretty vistas by Oscar-winning cinematographer John Toll to seep in, yet keeping the pace moving along at a good rhythm. Unfortunately, the should-have-been-made-for-TV script isn't up to par, never managing to be quite dramatically effective, with an ending that reeks of pretentious mysticism, even as Anjelica Huston - playing the Devil, perhaps - appears out of nowhere to sell the exhausted adversaries bullets for their final showdown. No faulting the leads, however: A grizzled, bearded Brosnan does a fine job wincing his way to relative safety, while Neeson, as the man out for revenge, is an effective foil even if the role isn't much of a stretch. Seraphim Falls doesn't bring anything new to the genre, but it is ably executed and will win over audiences with the solid performances of its two leads.
Entertainment / Drama: 6/10

Dragonheart (1996)
Starring: Dennis Quaid, David Thewlis, Pete Postlethwaite
Director: Rob Cohen
Plot: The last of the dragon slayers and the last of the great dragons join forces, aiding the peasants to overthrow the ruthless, evil king that has violated the "Old Code" of honor they both abide to.
Review: A second-rate Hollywood fantasy affair that disappointed in the box-office, Dragonheart has breathed new life on cable and video. In an otherwise intriguing twist, the film plays out more like an odd buddy-cop movie than a fantasy film, with the camaraderie and taunting between Hero and Beast making up for the lack of story. Unfortunately, there's no hiding the fact that the plot is tired and clichéd and the production values unimpressive, while the action and battle scenes are pretty tame for anyone over 10 years of age, and even kids will get antsy at the amount of tiring exposition. It's soon clear that the target audience will prefer things kept as linear and predictable as possible, with an easy humor that makes for decent family fare that won't surprise anyone. Director Cohen, prior to doing some of his better-known works like The Fast and the Furious and xXx, cut his teeth on minor fare like this and he's great at getting the money shots - some of the ones with the dragon are pretty nice - but not so talented when it comes to the drama. It doesn't help that the character motivations never really ring true - why do the two join forces to con money from gullible peasants? - and Quaid never convincingly shows us why he's such a "great" warrior. To be fair, Quaid does his best as the fearless dragon slayer who has seen better times, and Thewlis and Postlethwaite make fine, over-the-top villains. The real redeeming point of the film, however, is the great casting of Sean Connery as the voice of the Last Dragon. Also of note, the CGI effects (limited to the dragon himself) are pretty good for a mid-90's affair, even if it now looks too cartoonish for modern audiences. For those in need of a fantasy fix filled with gallant heroes and fire-spewing dragons, there are worse movies than Dragonheart - too bad the film's enjoyment will be mostly limited to youngsters.
Entertainment: 4/10

Dreamgirls (2006)
Starring: Beyonce Knowles, Jamie Foxx, Jennifer Hudson, Eddie Murphy
Director: Bill Condon
Plot: From their small-time beginnings, a trio of black female singers rises up the pop charts to stardom in the early 1960's but their success promises to tear them apart.
Review: Based on the hit Broadway musical, Dreamgirls is a pastiche of stories meant to reflect the success, drama and music of such real-life acts as Diana Ross and the Supremes from their budding career to ultimate fame, capturing the essence of the musical and historical era in broad strokes. There's no denying that in general the movie looks terrific, the costumes and huge wigs are great and it's a knowingly slick production. With the Oscar-winning Chicago director Condon's proved he could bring Broadway musicals to the big screen with verve and energy. But while he does a good job during the intermediate dramatic scenes that move the plot along, he doesn't fare as well during the musical numbers, just the moments that are meant to really carry us away: the choreography is limited, the sets uninspiring, the level of energy nowhere near toe-tapping levels, and the R&B and pop songs aren't as moving as they should be. Oh, some numbers (especially those with Murphy letting loose) are entertaining, others do move the story along and show the emotional state of the characters, but many more are just too bland, often appearing for no good reason (a leftover from the original theatrical version, where these things are more excusable). The cast is solid, if not spectacular: headliner Beyonce gets a chance to strut her vocal talents as the group's new lead singer, Foxx does a decent but unimpressive job as the producer / patriarch, and the rest of the supporting cast does a good effort. Two exceptions: Murphy who is actually quite impressive as the James Brown-like singer bursting with soul but stuck crooning to sell records, stealing every scene he's in, in both the singing and non-singing parts, and newcomer Hudson who is the real stand-out as the real force behind the singing trio. As a Motown rags-to-riches story, Dreamgirls rolls out the clichés and the over-bearing heartfelt moments yet still comes off as a decent piece of entertainment. If only the un-memorable musical numbers had been better edited, this would have been a much tighter, more engaging affair. 
Entertainment: 6/10

Master of the Flying Guillotine (Hong Kong - 1974)
Starring: Jimmy Wang Yu, Kam Kang
Director: Jimmy Wang Yu
Plot: Ordered to stop Chinese revolutionaries, a blind master executioner working for the Emperor swears revenge on the one-armed boxer who killed his disciples.
Review: Marketed as director Quentin Tarantino's all-time favorite kung-fu flick, Master of the Flying Guillotine is a deliriously absurd even by Hong Kong's kung-fu standards. In the golden age of kung-fu cinema (the '70s), actor / director / writer Jimmy Wang Yu made some of the genre's classics with the likes of Chinese Boxer and The One-Armed Boxer (of which this is a sort of sequel). Here, he gets a chance to create a pretty over-the-top affair, with lots of crazy fantasy stuff gets thrown in, and lots of video-game worthy fighters - the blind master executioner, the one-armed boxer (our hero, of course), the Thai kick boxer, the killer yogi with stretchable arms (yup), the Japanese ronin, and more. It does take a while to get going, with the first act (the required exposition) barely revealing its action intentions. The second act, an extended sequence of martial arts competition among the various characters, sets up the skills and abilities of each before they tackle their main target in some vicious - and sometimes funny - confrontations. The third act really puts things in gear, with some imaginative fight sequences in a burning hut, a chaotic aviary, all finally climaxing in a coffin-maker's shop as our one-armed hero takes on this strange cast of adversaries, culminating in a fight against the "flying guillotine", a weapon that might well be one of the weirdest put on film. Kudos, though, to the filmmakers for trying something different - from the cinematography, fight choreography and use of music, all building to a very Spaghetti-Western-type of atmosphere. It doesn't always feel right for a period piece, but then nothing else does, really, either. The whole thing might be convoluted and sometimes even silly (what plot! what dialogue!), but aficionados of old-style kung-fu shouldn't pass up the opportunity to see this master at work.
Entertainment: 6/10

Planet Terror (2007)
Starring: Rose McGowan, Freddy Rodriguez, Josh Brolin
Director: Robert Rodriguez
Plot: After an experimental bio-weapon gets loose from a military facility, a rag-tag group of survivors led by a one-legged go-go dancer and her ex-boyfriend tries to escape thousands of zombies and stop the infection from reaching the rest of the world.
Review: The first half of the trail-blazing double homage delivered in North American theatres as Grindhouse (and everywhere else as a stand-alone film), Planet Terror is a fabulously gory, dirty, silly, explosive sci-fi / zombie flick. Created as a gift to genre fans everywhere, it's definitely not for the meek or those uneducated in the sleaze-and-violence era of 70's and 80's exploitation flicks. For those connoisseurs prepared for a wink-filled, outrageous pursuit that embraces every familiar convention seen in movies like Day of the Dead or Assault on Precinct 13 - from the inane character drama and the twisted suspense to the flesh-eating orgies and bullet-ridden retribution - and pushes them all to extremes, writer / director / producer / composer / editor Rodriguez (Sin City, Spy Kids) offers up an energetic, kick-ass affair that's sure to tickle every immature, non-PC bone in your body. From the deliberately scratchy, burnt film stock, exaggerated performances, and even through a missing reel (!), it's all in line with faithfully re-creating the experience of watching a grind house feature. With its dose of T&A, bloody mayhem, obvious camp, and with a tongue-in-cheek script that smartly plays and delivers on our expectations - and always goes for the gross-out (squirting puss and disembowelments, anyone?) - the hyper-kinetic affair ends up being exhausting, if not exhausted, until it ramps up again in an over-the-top finale, with our one-legged go-go dancer heroine mowing down enemies with an automatic rifle attached to her stump, and a helicopter chopping zombie heads with its blades, among others memorable moments. The cast, made up of familiar genre faces from Michael Biehn and Tom Savini to Bruce Willis, are a hoot to watch, and even the unfamiliar leads make do with the over-the-top situations. As a delicious added bonus there's a fake trailer for the - unfortunately non-existent - "Mexploitation" film called Machete starring Danny Trejo and Cheech Marin, also helmed by Rodriguez. Not for the faint of heart or the humorless, Planet Terror is really meant for audiences that already know the drill; those that do will definitely get a rightful kick out of it.
Entertainment: 8/10

The Good German (2006)
Starring: George Clooney, Cate Blanchett, Tobey Maguire
Director: Steven Soderbergh
Plot: Assigned to cover the Allied leader summit in post-war Berlin, an American military journalist becomes entangled in a murder involving his former German mistress and a missing scientist.
Review: A post-war-themed film noir thriller with modern sensibilities, The Good German is a great showcase for its director's technical expertise and passion for classic movies, but one that misses the mark in terms of getting an emotional involvement from its audience. Indeed, director / cinematographer Soderbergh (Traffic, Ocean's Eleven) is no newcomer to experimenting with styles (see Bubble or Schizopolis) and here he affectionately recreates the style of the Hollywood films of old. In fact, knowingly using the style, filmmaking techniques, effects, distinct score and even editing of old he provides a sharply rendered homage that gives all the right impression of a 1940's film noir, one that not only looks the same but also moves along its narrative path in very much the same manner. The script however is much more contemporary in terms of its depiction of sex, violence, and swearing, things that wouldn't have passed censors at the time. If there's a problem, though, it's the aforementioned script that provides all the right elements of a complex mystery and daring intrigue but can't seem to keep its character motivations clear; these soon just become murky and inconsistent with what has come before. The final revelation, as the two leads say goodbye in a moment straight out of Casablanca, isn't that surprising or interesting and the big, "shocking" finale just isn't. One of the main interests, as well, is the A-list cast, forced to emulate the almost-theatrical style of acting of the period: Clooney, playing the patsy who gets constantly beaten up while seeking the truth, is pure Clooney and he doesn't disappoint; Maguire surprises in a very different, unsavory role as the black-market entrepreneur and military driver; and Blanchard gets the femme fatale role down pat, keeping a calculated distance with everyone and everything. In the end though, that's the problem: Soderbergh has created a film that looks great, but is as cold as its characters. Still, if some of these faults can be dismissed, it's easy to get taken in by the B&W intrigue, solid performances and craftsmanship that is evident in every frame. The Good German isn't going to revive the film noir for a new audience, but it's a fine homage to a bygone age.
Entertainment / Drama: 6/10

Eragon (2006)
Starring: Edward Speleers, Jeremy Irons, John Malkovich
Director: Stefan Fangmeier
Plot: After uncovering a dragon egg in the forest, a farm boy becomes magically attached to the last of the dragons and is thrown into an uprising against the evil king.
Review: Following in the footsteps of the success of fantasy novel adaptations like The Chronicles of Narnia, Eragon - the latest attempt at creating a franchise - proves that both source material and execution can fail a film. While there's an obvious attempt to imitate the approach (and appearance) of The Lord of the Rings, the film by first-time director (and ex-SFX guru) Fangmeier actually comes off closer to Dungeons & Dragons in terms of storytelling and production values, albeit slightly less silly. Blame it on the original novel by teenaged writer Christopher Paolini, perhaps, that takes its simplistic, derivative plot from a melting pot of previous fantasy works ranging from McCaffrey's Dragonriders of Pern to Star Wars without really adding anything new to their tales of Good vs. Evil. Or blame it on the script that chokes on numerous sequences of static dialogue, or the amateurish film-making and so-so productions that never gives a sense of time or place. Or wave it all off to the fact this is a Saturday-morning-like effort aimed at 10-year olds. On the other hand, the film is nicely shot with some beautiful vistas, there are some decent dragon effects, there's the occasional impressive scenery, and enough action and fantasy elements - including a well-done final dragon fight - to provide a few hours of family viewing for undemanding audiences. Speleers is appealing enough in the Luke Skywalker-type role, all dowey-eyed and blond top; Irons, as the mentor and ex-rider, actually comes off quite well, considering the circumstances; second headliner Malkovich (in what amounts to more of a cameo appearance) barely registers in a retread of previous roles; Djimon Hounsou seems ill at ease in a wasted role as the rebel leader; and Rachel Weisz, as the voice of the dragon, gets by. Though the luke-warm theatrical reception of Eragon clearly dispels the idea of seeing the following chapters of the trilogy (a sequel is expected from the film's final scene), those looking for light, bloodless entertainment may find some fantasy relief here until the next big book-to-movie adaptation comes along. Or, if you're in need of a dragon fix, catch Dragonheart.
Entertainment: 4/10

The Descent (2006)
Starring: Shauna MacDonald, Natalie Mendoza
Director: Neil Marshall
Plot: Trapped under the earth while exploring uncharted caves, six women desperately try to find a way out and soon realize that the caverns harbor strange, predatory creatures.
Review: A surprisingly character-driven affair that provides as much genuine fear as it does inevitable violence, The Descent isn't your typical monster movie. Indeed, with a whip-smart script and fine story-telling sense it manages on a modest budget to have more thrills and chills than any six-pack of usual Hollywood drivel. Following the footsteps of 70's horror flicks like the original Texas Chainsaw Massacre or The Hills Have Eyes, this is an old style horror flick given the modern, slick treatment, where the horror elements aren't explained, and don't need to be for them to be effective. The extended set-up is never dull, doing a fine job of setting up the group of friends harboring both recent loss and a bitter secret, creating a tight-knit bond between them. It only helps make the breakdown of "normalcy" all the more frightening when bad things start happening, heightening the tension and the final pay-off. The visuals are terrific, like scenes of our heroine rising out of a stagnant pool of blood or reaching out for a lonely beam of sunlight, but it's at its best when it sticks to the creepy, tight tunnels and passageways, creating a foreboding sense of doom and an intense feeling of claustrophobia that is downright nerve-wracking. If it had just been that, it would have been terrifying enough, even before the film presents us with the cannibalistic terrors. Spelunking has never been this scary. The lurking creatures themselves - pasty, horrid looking caricatures of men with very pointy teeth - are passably frightening, if not wholly convincing. The battle between women and creatures, however, is vicious and realistic, full of fear and panic, allowing for lots of crushed skulls and bloodletting. Marshall has made a name for himself directing low-budget but high-octane horror flicks like Dog Soldiers, and here he's cranked up the tension a great deal. Though he avoids most of the familiar cinematic tricks, he can't help throwing in some of the usual clichés - but that's a minor fault compared to all that's done right, from the constant air of menace to the relentless confrontation. As for the relatively unknown cast, the women manage to make their characters genuine and smart, all the more to gather our empathy at their perils. Gruesome, chilling and intense, The Descent proves that there's still some life left in a genre that desperately needs some new blood.
Horror: 7/10

American Movie (1999)
Starring: Mark Borchardt, Mike Schank
Director: Chris Smith
Plot: Documentary following the struggles of a down-and-out Wisconsin amateur filmmaker to produce his long-gestating slasher film with the help, and gru