Trick 'r Treat: If you're looking for a decent horror film, look no further

In the small town of Warren Valley, Ohio the locals are celebrating Halloween. It's during this celebration that four interlocking tales explore all the tricks and treats those residents uncover on All Hallow's Eve.

First time director Michael Dougherty (who also penned the script) did right by making Trick 'r Treat a somewhat unique horror film that did not hang its hat on buckets of blood, a silly story or being another sequel. The interlocking stories lent a breath of creativity in story and character that most horror films seem to be lacking nowadays. By constructing a universe in which stories and characters were the focus and could overlap one another Dougherty was attempting to keep the audience engaged in the goings on in Warren Valley. And while there were times in which the story being shown failed to keep the audience's attention (like the story involving that creepy looking thing on the movie poster to the right, seriously, could someone tell me just who or what that is?) the rest of Trick 'r Treat was awash in frightening moments, surprisingly dark humor and a great misdirect involving the story of Laurie (the always effective Anna Paquin) which one would have been hard pressed to see coming but was completely satisfying nonetheless. The most outstanding part of the film was the "school bus massacre" story. Built upon a local urban legend in which a group of "special" children were killed in a bus accident (an accident which they avenge later on in the film in rather nasty fashion) this section featured everything a good horror film needs; moody lighting, good characters, tension, excellent dialogue and a twist at the end which grabbed you by the gut and twisted just for kicks. In this age of useless sequels and mindless gorefest it's a shame that a story like the "school bus massacre" is relegated to being only part of a film instead of its own stand alone feature.

Trick 'r Treat fits with the particular season we are in at the moment (it is October after all). It was original, creepy, scary, funny and accomplished being all of those things by not resorting to the tired "Saw" method of overwhelming the audience with blood and gore in lieu of good filmmaking.

Grade: B-

Observe and Report: Enough with the security mall cop films already!

It's hard to figure out just why two films featuring mall security cops as their lead characters (this film and Paul Blart: Mall Cop) were released in the past year. Of the two, Observe and Report would have been the obvious choice as more likely to tickle one's funny bone due to its popular leading man Seth Rogen. Unfortunately, it's the Kevin James lead Paul Blart that wins the crown as "the least terrible" of the two.

Audiences have grown accustomed to seeing Seth Rogen in the funny, nice guy role due to his work in previous movies like Knocked Up, Zack and Miri Make a Porno, etc. But his role as Ronnie Barnhardt in Observe and Report cast him in a different light. Ronnie was bigoted, overbearing and hard, if not impossible, to like. There was no backstory to explain his rash behavior (he takes meds but his condition was never discussed), no room for his character to grow, he was just a disturbed weirdo with a penchant for weapons and spouting curse words. At least Paul Blart had some semblance of a recognizable story/plot, Observe and Report lacked a cohesive story structure and the editing was amateurish to boot. To top it all off, there was nothing funny in the film (save for Ronnie tasing a guy and beating up on some skateboarders). The jokes that were there fell flat, and Rogen was never given the chance to show any smarts, wit or even the slightest bit of the charm which he uesd to make the characters he played in those other films so memorable.

One kept waiting for something funny or even interesting to happen, but the joke was on them beacuse Observe and Report simply stunk.

Grade: D

X-Men Origins: Wolverine: More blah than anything.

All of the elements were there to make X-Men Origins: Wolverine a solid entry into the spectacular series of X-Men films (well, X-Men: The Last Stand wasn't all that great thanks to the craptacular direction of Brett Ratner). Hugh Jackman was returning to the lead role, the cast was rounded out with other credible actors including Liev Schreiber and Ryan Reynolds and it was being helmed by a respected director in Gavin Hood. But that's the thing about expectations, (especially for big summer blockbuster films), sometimes what you are expecting does not even come close to what you get.

X-Men Origins: Wolverine failed to echo the first two X-Men films in story, character development, action and even fun. The director of those first two X-Men films, Bryan Singer, took the time to cultivate the stories and the characters within them. He developed both the heroes and villains and, through their development and that of the plot/story, was able to draw the audience into the film emotionally so that when the action and tension arose one could not help but watch intently at each individual characters' internal struggles as well as their physical ones on the battlefield. Singer was able to create a full and rich X-Men universe that not only entertained the masses through effective action sequences but also created memorable characters that audience members could relate to on a personal level. Unfortunately those kinds of things were missing in Wolverine. Hugh Jackman was unable to do much emoting, if any at all, as his range of emotions went from silent to snarling and that was about it. Hood tried to get across his internal conflict of not wanting to become what it was he seemed to be bred for but it failed to connect and came across as maudlin at best. The same could be said for the rest of that "credible" cast I mentioned earlier, who seemed like window dressing at best (here's a note to all casting directors, not all rappers can act. Will. I. Am looked as out of place in the film as Kenny Rogers in a rap video).

In the end, X-Men Origins: Wolverine mirrored X-Men: The Last Stand in its silliness and lack of subtlety, choosing to treat the audience like a gaggle of five year olds and throw a ton of action sequences and special effects at them (some of which looked so amateurish that one could not help but laugh) in the hopes that they would not notice how truly bad it was.

Grade: D+

Smokin Aces: All style, no substance

When a one million dollar hit is put out on Las Vegas illusionist and wannabe Mafioso Buddy “Aces” Israel, a number of unsavory figures track him down to his penthouse suite in Lake Tahoe and raise hell trying to collect the bounty.

Smokin Aces certainly had its share of memorable characters which livened up the screen, including the sadistic Tremor Brothers, a pair of female assassins (one of which was R&B singer Alicia Keys) and Ryan Reynolds who earned some action chops as a somewhat straight laced FBI agent. Once the attack on Buddy’s penthouse started, its hyperkinetic pace and stylized nature kept action fans contented until the credits rolled.

But it failed to capitalize upon the obvious visual storytelling talents of its director Joe Carnahan. Unfortunately, he has no one to blame but himself because he wrote the script, and the story spent so much time ineffectively setting up most of the players in the hunt for Buddy that by the time the violence did start, the audience was indifferent as to who got killed or even if anyone got Buddy. Also, there were two specific story points that seemed to be totally unnecessary and succeeded only in slowing it to a halt. One was the Matthew Fox (Dr. Jack in Lost) cameo which only went on for as long as it did because he was in the menial part and the other was the run-in Hollis had with an ADD suffering kid that rivaled Jar Jar Binks in annoyance. Carnahan tried to go Tarantino and make Smokin Aces the kind of film people would easily and readily quote lines from (a permanent part of pop culture) but it was nothing more than a good looking wannabe.

Grade: C

2046: A different kind of romantic film

Drawing inspiration from the Oriental Hotel he once lived in, Chow writes a story about a mysterious woman who lives in room 2046. The story also tells of a place where people travel to recapture lost memories, and he is the first one to return from it.

2046 was a staggering cinematic spectacle presenting a mind-blowing tale of loss, jealousy, love and desperation, but doing so in unparalleled fashion. At its heart is Chow, a man haunted by a woman he loved but who left him. He spends a good deal of the film trying to find someone to replace her (including exotic beauty Zhang Ziyi) but finds that he cannot, nor will he be able to. To him, 2046 (the apartment as well as the year in which his story is set), was a beautiful state of mind filled with joyous memories that were next to impossible to leave. But that was not revealed by having Chow ramble aimlessly on with cheesy melodramatic dialogue. Through the glimpses of the universe he created in his story, the audience was shown Chow’s torment. Unable to truly express how he felt about those women he faced in the real world (as well as those in the story), he comes to realize he had love once, but will never find it again. 2046 is light years ahead of other romantic dramas in not only story and characters, but cinematic expressiveness as well.

While the plot of the film, with its non-linear storytelling, was definitely a challenge to the audience if they were able to stick with it, 2046 was something of a distinctive film going experience.

Grade: A

Duplicity: Espionage and romance, a good combo!

In the high stakes world of corporate espionage two former spies, and lovers, hatch a plan to make the score of a lifetime. But will they be able to trust one another long enough to pull it off?

This complex caper certainly kept the audience on its toes by not only keeping them guessing as to who exactly was playing whom, but also if the main characters (Ray and Claire) could trust each other. Writer/Director Tony Gilroy did a good job of structuring the movie in a non-linear fashion, to further aide in keeping the audience engaged in the plot, but he also created clever dialogue for the cast to eat up. Speaking of said cast, Clive Owen and Julia Roberts were dynamite as Ray and Claire, trading verbal jabs as well as kisses all the while looking cool. Their crackling exchanges might even remind some of those that are prevalent in those old 1930's and 1940's screwball comedies like Bringing Up Baby. But what made Ray and Claire's story so endearing, and relatable, was that the issues they were having with their relationship mirrored those we mortals face (although rarely are ours set against the background of corporate espionage). The fear of trusting someone implicitly and loving them for who they are is something most people have to deal with in their search for their better half and Owen and Roberts (thanks to Gilroy) were able to tackle those issues and more in an intelligent manner which did not insult the audience with over-sentimentality. Neither was the love story seemingly tacked on as an afterthought to justify certain aspects of the caper plot of the film.

While Duplicity successfully waves the banner as a breezy, fun caper film, it's the heart of its main characters which sets it apart from the rest.

Grade: B

Mission Impossible 3: Tom Cruise is not a loon (he just plays one in real life).

Agent Ethan Hunt is lured back into active duty as he is sent to retrieve a captured IMF agent in Berlin. Soon after he must face off against a sadistic weapons dealer named Owen Davian who not only has his sights set on stealing a deadly new biological weapon, but eliminating his new wife Julia as well.

I will be the first to admit that I did not want to give this film a fair shake because I think Tom Cruise is an egocentric loony. Thank goodness for him (and the rest of us) J.J. Abrams was responsible for writing and directing Mission Impossible 3 because he actually made Ethan Hunt a very human and even likeable character. Not only that, but Abrams reinvigorated the Mission Impossible franchise by filling the third incarnation with unrelenting action, smart dialogue, unforeseen plot twist, and actual spy-related facets including wondrous gadgets that would make Q from the 007 series jealous. To top it off, the supporting cast was top notch, (although Michelle Monaghan who portrayed Julia looked a little too much like Katie Holmes), especially Philip Seymour Hoffman as Davian. But Hoffman's lack of screen time was a drawback as the plot twist concerning his Davian, the evil biological weapon and the reason why a certain individual was in cahoots with the bad guy seemed as if it were an afterthought tacked on by the writers at the eleventh hour when they realized they never dealt with it in the context of the entire story. The film also would have benefited from more scenes featuring Davian and motivations concerning his evil plans.

Regardless of the real life antics of it's leading man, Mission Impossible 3 was a rousing action film that delivered the goods.

Grade: B

The Black Dahlia: I wish it were better but...

Based upon the true life crime that occurred in 1947, L.A. cops Bucky Bleichert and Lee Blanchard are assigned to uncover the person or persons behind the murder of Elizabeth Short, a wannabe actress whom the media dubs The Black Dahlia after her death. It is a case that will alter their lives forever.

Usually if a crime thriller tries to take an audience on a twisted ride in the hero’s attempt to uncover the truth behind a crime, it is a welcome change from the predictable junk Hollywood puts out. However The Black Dahlia’s story was so confusing, muddled and unsatisfying that it was more of a chore to watch than anything. Famed American aueteur Brian De Palma did his best to make The Black Dahlia look stunning, invoking a number of filming techniques and paying homage to the movie whose influence was evident throughout. For her part Mia Kirshner nailed her role of Elizabeth, making her an innocent and fragile girl whose desire to “make it” in the picture business was twisted so that only her horrifying death gave her the celebrity she ached for. The audience was given way too much information about Bucky and Lee (two characters that were not very likeable) and not nearly enough on Kirshner's Dahlia. Heck, it was a half an hour into the film before she was even mentioned. Instead of watching a film which dug deeper into the how’s and why’s of one of the most famous murders in American history, the audience just got some crappy acting, (Aaron Eckhart needed to switch to decaf and Hilary Swank was never going to be believable as a femme fatale), a convoluted story and little to no action. Where are those predictable Hollywood thrillers when you need them?

Grade: D+

Final Destination 3: Good, mindless fun

Wendy has a premonition that she will die on a rollercoaster ride she is about ready to take. But after it actually crashes, she and the others who got off the doomed ride must face a terrible truth. Death has a plan, and no one escapes from it when it’s their time.

Before you pass this off as another in the long line of made-to-order teen horror flicks take into consideration the fact that that was exactly what the filmmakers wanted Final Destination 3 to be. A group of stereotypical (i.e. a smart, virginal “final” girl, the dumb jock, the goth girl, etc) teens are lined up and offed in ways that must have taken the screenwriter and stunt people months to dream up. The most thrilling sequence in the film had to be the opening part where the characters take an unforgettable ride on the damned rollercoaster which will make you sweat the next time you’re in a line at a Six Flags. The improbability in the ways some of the characters were killed could leave non-horror film aficionados rolling their eyes or perhaps they could start griping about how they have seen this film before because it’s basically the same story as the first two Final Destinations and a million other horror films. The only originality this film was concerned with was finding newer, more shocking ways to dispose of people.

Another feature which made this film fun to watch was that the dvd was interactive. Audiences are able to “choose the fate” of the characters and watch what would have happened if they were in charge of who lives and who dies by selecting a special option on the disc. It’s kinda like those old Choose Your Own Adventure books you read as a kid, except this time if you choose wrong, blood will be spilt.

Grade: C

Chloe in the Afternoon: It's okay if a film has subtitles, really.

When someone says to you, “hey, there’s this great French film you should check out,” nine times out of ten you’ll look at them as if they’re asking you to watch C-Span for a couple of hours and politely decline that invitation. But if they are telling you to watch Chloe in the Afternoon, an open-minded approach is suggested.

Frederic is a happily married man who can’t resist engaging in harmless flirting every once in a while. However when he runs into an old acquaintance named Chloe and starts spending afternoons with her, their rekindled friendship turns into a longing that could destroy his happily married life.

Writer/director Eric Rohmer was able to craft an absolutely stunning and perceptive morality tale centering on human romantic relationships, one that was not afraid to tackle questions like; “how can a man love only one woman” or “is it possible to love more than one woman at the same time,” questions that typical Hollywood films tend to gloss over with predictable plot twist or unbelievably silly compromises in story. Frederic (the man torn between his wife and the title beauty) had a life and set of circumstances which wavered a bit on the male fantasy side at points, but it was his constant re-examination of life and relationships with both his wife Helene and Chloe which made him easy to associate with, and also human.

French New Wave films from the 1970’s, like Chole in the Afternoon, might not be everyone’s cup of tea, specifically because they are not like The Break Up or any of those million other crappy romantic films that overrated Hollywood actresses like Jennifer Aniston put out. So those expecting cutesy endings or loveable best friends of the main character delivering oh so subtle sexual quips might be disappointed that there are none to be found. The honesty with which Frederic and Chloe discussed polygamy and monogamy might have seemed shocking to some, but it was that candor which made Chloe in the Afternoon a raw experience and a worthwhile venture into the meaning of love, happiness and companionship.

Grade: A

Shadow of a Doubt: A hidden Hitchcock gem.

When people start discussing the greatest directors of all time, one name certain to be mentioned is Alfred Hitchcock. Most directors of modern suspense/thriller films owe a great deal to him because his influence is still felt to this day. But even the "Master of Suspense" has a film or two that falls between the cracks and is never given the spotlight it should. Shadow of a Doubt is one of those films.

Charlie Newton is waiting for something to spice up her life and save her from the boredom of suburbia. There is not much for a teenage girl like Charlie to do in a small town but her prayers are soon answered when her favorite relative Uncle Charlie (for whom she was named) decides to visit. Everything seems wonderful until Uncle Charlie begins acting strange and young Charlie starts to suspect he is hiding something.

As with most of director Alfred Hitchcock’s better films, Shadow of a Doubt was a suspenseful thriller with a great story, memorable characters, and just enough black humor to keep it from being too dark and gloomy. Teresa Wright played young Charlie as an intelligent, resourceful girl. She started off the film as an innocent teenager wanting to experience more than her mundane suburban life could offer but by the end, thanks to the unbelievable stress and drama the whole ordeal with Uncle Charlie caused, she had matured and learned that her little suburban life was not all that bad. Uncle Charlie, played by Joseph Cotten, was the opposite of his niece. Having grown up almost completely alone and in the big city, he saw the world as an ugly place. And in order to make his way through the world, he was willing to do just about anything. He could be kind and giving one minute but then nasty and hateful the next. Due to Cotton’s excellent performance, it was hard to tell if he was a man on the lam or a quiet, misunderstood gentleman. This hidden gem amongst the vast canon of Hitchcock films, is not to be missed.

Grade: A

Time for a little break.

Greetings to all,

First I'd like to say thanks to everyone who has checked out my blog (especially if you became a fan of it on Facebook:)). Over the next week or so I'm going to be relocating to the West Coast so it might be a while before I get back to telling you all about the latest movies I've caught. I promise that when I finally have things settled, I'll be back online. Thanks again and I'm out for now.

Mark

Waiting: Do not mess with your waiter or waitress!

Ah the gross-out comedy, some say it peaked with the first American Pie in 1999 and every imitator that was released since then (including all the American Pie sequels) pales in comparison to that ground breaking film. But there are a few gross-out comedies out there which offer more than another inter-pastery erotic moment or one more perky foreign exchange student who likes nerds, one of which is Waiting.

Dean works with a group of colorful characters at a restaurant called Shenanigan’s. But when he gets offered an assistant manager position there he questions whether he should take the position, or pursue something else with his life.

The guy who provided the most laughs in this clever comedy was Ryan Reynolds as the cool, smarmy waiter Monty. With a witty retort for every situation, he was the standout in a talented ensemble cast. An while the movie could have done without some of the characters, specifically T-Dog and Nick, for they never contributed anything to the film as a whole and frankly they were irritating (hasn’t the faux white boy gangsta stereotype been done enough already?) what saved it from being just another in the growing line of gross-out comedies was Dean’s (played by Justin Long) story. It was one that most young people deal with (the desire to do something more with their lives) on a regular basis. This kept the film grounded in some reality, instead of being concerned strictly with making the audience squirm everytime “the game” was played by the male employees. Waiting was a treat for those people who work in the food service industry as well as those of us who rely on them every time we head out to eat. It was also a gentle reminder to consumers to have respect for the people who handled their food, lest it ends up being “taken care of” like it was for one annoying customer in the film.

Grade: B

Knowing: I know this...

It's great when the star of a film is able to give a performance that is not only memorable, but elevates said film into something more. However there can be times when an actor's performance, like say Nic Cage in Knowing, can be so awkward and distracting that it's hard to even pay attention to the movie.

A time capsule unearthed at his son's school holds dire predictions for John and the rest of the world, one of which is that the end of life on the planet will happen soon. Will John be able to stop that prediction from coming true?

As it was pointed out to me by a good friend that saw Knowing before I did, the religious overtones in the film are heavy, even if director Alex Proyas tried to mask that by adding an extraterrestrial element to the whole thing. John (played by Nic Cage) was a broken man who had lost faith after the death of his wife, turning away from religion and family. His story arc, the road to redemption by trying to figure out just what the mysterious predictions from the time capsule meant, was a compelling one, but it was severely mismanaged via poor storytelling on the part of Proyas and the screenwriters and the aforementioned bad acting. The film seemed to become bloated and plodding when it got away from John's search for answers about the numbers or attempted to bring other characters into the mix (I love Rose Byrne but she seriously added nothing to the film). The whole relationship between John and Diana (Byrne's character) felt forced and silly at points as she took him at his word one minute then yelled at him for being a crackpot the next. The bland characters and gaping plot holes did nothing but hurt the film and if redemption and family were truly what the movie was attempting to explore, then more time should have been spent doing so and not trying to awe the audience with badly CGI'ed plane crashes. Then there's Nic Cage, whose own unique brand of acting might work for some, but clearly is not for everyone. He really was just unlikable as John, and the staccato-like unevenness of his performance could leave one wondering how the guy still gets work.

On paper Knowing seemed like a cool concept with predictions about the end of the world, creepy numbers which could help save everyone from destruction and a main character whose journey to salvation would make for a gripping viewing experience. Too bad it turned out to be another spasmodic sci-fi junker.

Grade: C-

Chicago: Yes, I liked a musical.

Men are usually as enthusiastic to see a musical as they are to get a root canal from their dentist, I know that's how I was feeling when my date suggested we check out Chicago instead of doing something, you know, fun. As we walked into the theater it was easy to spot the bemoaned looks upon the faces of the other men in the seats, longing to be somewhere, anywhere other than where they were. As the film started, I prepared myself for the worst, but then the strangest thing happened, I actually found myself enjoying the movie.

In the town of Chicago, murder is just another form of entertainment. So when Roxie Heart murders her lover she finds herself in the middle of a media circus which she gladly accepts in order to boost her fledgling singing career. With the help of a hotshot lawyer named Billy Flynn she hopes to not only beat the murder rap, but make a name for herself as an entertainer as well.

The film was bolstered by a provocative mix of catchy songs, vibrant sets and stellar acting performances. The songs that were performed throughout not only entertained, but carried the dual purpose of relating parts of the story and moving it forward rather than bogging it down. Also the story, though set in the days of speakeasies and flappers, had a message that translated well into the modern world. Roxie’s obsession with getting her fifteen minutes of fame, even if it was via the murder of her lover, is something that is still prevalent in today’s world. Plus there is still the media infatuation with creating instant celebrity for all those types of people like Roxie, all in the name of profit. And while both Renee Zellweger and Catherine Zeta-Jones excelled with their performances the true star were Richard Gere as lawyer Billy Flynn and John C. Reilly as Amos Heart (Roxy's long suffering husband). Gere's singing and dancing as the slick talking attorney in particular was a totally unexpected and welcome surprise. Chicago was an entertainment extravaganza.

Grade: A

Predator: "Get to the Chopper!"

It's a shame that when people think about the Predator franchise nowadays, they are forced to relive those terrible AVP movies that have been released recently. The original Predator is a film which more than holds its own against recent action films and remains quite the fun movie to watch over and over again (if only to hear Schwarzenegger utter that memorable line that is in the title of this review).

In a Central American jungle a group of highly trained military men are searching for missing hostages. But something is hunting them, something not of this earth. This other worldly hunter is looking for some trophies and has the rescue team in its sights.

One of the best things about the film was its non-stop action. From dropping into the jungle behind enemy lines to the assault by Dutch (Schwarzenegger) and his men on the guerrilla camp where they believe the hostages are being held, the action was impressive and intense. But the main attraction of the film had to have been the Predator itself. By only showing bits and pieces of it throughout the first half of the film director John McTiernan was able to build the tension and made the audience feel like Dutch and the others, like they were being stalked by some ghastly creature. When the Predator was finally fully revealed it no doubt shocked and awed the audience for it looked exceedingly vicious and deadly but also looked like something that might come from another planet. Not a CGI construct, the Predator creature was real and scary as hell. As Dutch, the leader of the rescue squad, Schwarzenegger did a good job doing what he seems to do best by kicking butt while delivering one liners.

There were no introspective moments by Dutch as to the horrors of warfare and no desire to try and negotiate with the Predator. The film was all about big explosions and a high body count. It was easy to turn off your brain and enjoy the show.

Grade: B

300: A man's movie.

If ever there were a more perfect example of a "guy's movie" it's hard to figure out what it would be. 300 is an action film that helped to redefine the sword and sandal movie and gave all men everywhere headaches trying to figure out how they could get abs like Leonidas and the rest of the Spartans.

The invading Persian army threatens Sparta and it’s up to King Leonidas and 300 of his bravest warriors to fight them back. They make their final stand at the Battle of Thermopylae in the hopes of not only defeating overwhelming odds, but inspiring their fellow Greeks to fight the impending tyranny of Persian King Xerxes.

The second cinematic incarnation of a work by comic book legend Frank Miller, (the first being the ultra cool, ultra violent Sin City), 300 was a viscerally thrilling action experience full of intense battle sequences, unparalleled environments and testosterone fueled performances led by the star-making one turned in by Gerald Butler. His Leonidas snarled, roared and howled the dialogue and provided enough heart behind what he said to make even the most conventional Patton-esque “fire up the troops” speech believable and rousing. Adding her own powerful punch was Lena Headey as Leonidas’ Queen Gorgo. Far from a wilting flower she held her own in the Sparta political arena as her husband chopped heads on the battlefield, passionately trying to explain that he fought not only for the freedom of Spartans, but all Greeks as well. These performances added some depth to the movie but are bound to be lost amongst some of the most ardent ancient battle sequences ever filmed. Director Zack Snyder did his best Peckinpah impersonation and slowed down parts of the action until they became something of a savage ballet that an audience would find hard not to either get jacked up about or become overwhelmed by. Either way 300 was a cinematic event.

Grade: A-

Superman Returns: And what a return.

In this day and age of constant Hollywood adaptations of classic comic book heroes a relaunching of one of the most popular, Superman, seemed like a sure fire box office smash. But when this film was released, it was met with mixed emotions from fanboys and critics alike. But unlike most superhero films, Superman Returns shines.

After a five year search for his home planet, Superman returns to earth. However he finds a great number of things have changed. There are some people that think the world does not even need him around anymore. But when his arch enemy Lex Luthor hatches an evil plan to destroy billions of lives, Superman will once again take up the mantle as protector of the planet.

In re – launching the Superman franchise, director Bryan Singer made a wise decision to not simply retell his origin and rehash what was covered in the first Superman film. Instead, Singer and the film’s screenwriters used the story of his return to ponder, in a broader sense, if the world truly needs superheroes at all. He then set about filling the screen with impressive action, treating the audience to the whole menagerie of Superman’s powers and resplendently composed shots which could take their collective breaths away. Some true action fans might have been disappointed that there was not more fighting and henchman butt – kicking in the film but what separated this film from other recent comic book to film adaptations (and made the first two X-Men films which Singer directed so good) were the directors’ ability to make those quiet moments in the movie so human and sincere. Yes the audience got to see Superman fly around, save lives and other spectacular feats, but that also got to see him interact with Lois Lane as they tried to hash out their personal relationship and grapple with the inner turmoil of trying to be the earth’s savior again. It was those quiet moments which made the return of Superman a film to remember. The lack of enough action could have also been due to the main villain of the movie. Kevin Spacey effectively tore up the screen as Lex Luthor, giving him the kind of snobby flair the character demanded, but his evil plan to destroy the world felt feeble and made Luthor look like nothing more than an evil land developer and not a proper nemesis for The Man of Steel.

Grade: B

From Hell: A look at Jack the Ripper

The Jack the Ripper crimes continue to baffle professional and amateur sleuths to this day, but is it proper fodder for a feature film? After watching From Hell one would have to say, yes.

Jack the Ripper is on the loose in White Chappell and it is up to Inspector Abberline, using detective work and his visions, to find and stop him. But as he digs deeper into the case, Abberline uncovers clues that lead him to a person that no one would have suspected of the ghastly crimes.

The actual mystery of who Jack the Ripper was and how he got away with the crimes he committed made the film interesting and challenging to the audience at the same time. Along the way in Abberline’s investigation they were introduced to a number of characters that could have been the famous killer so when the Ripper’s real identity was revealed, it was a shock for it was probably the last person the audience might have expected. The directors of the film, the Hughes Brothers, deserve credit for the stylish way in which the murders were presented. While they were not excessively gory, they were intense, visceral and took a person’s breath away. Johnny Depp was able to create another unique character in his Inspector Abberline. A far cry from his turn as Capt. Jack Sparrow in the Pirates of the Caribbean movies, Abberline was an emotionally haunted man besieged by visions of horror and constantly “chasing the dragon” to deal with life.

For all its visual gusto and terrific performances however the film tended to drag a bit and lost momentum as Abberline tracked down lead after lead. It was important to make the audience work along with Abberline to piece together the clues as to the Ripper's identity but it might have been the case where less (i.e. less suspects) is more (tighter story structure and more chance for The Hughes Brothers to build tension). The ending, while happy in some respects, might not have been what the audience would have expected and therefore could disappoint some.

Grade: B

The Peacemaker: Another "comfort" movie

Some films get lost in the shuffle and can only truly find their audience if: 1. Word of mouth gets around amongst a group of friends and spreads or 2. TBS, TNT or one of those other basic cable networks continuously shows a movie, so much so that it grows upon a viewer after the tenth time they've watched on a boring Tuesday night. The Peacemaker is one of those films which will hopefully fall under the first category.

Terrorists have stolen a number of Russian nuclear weapons and the task of hunting them down falls upon nuclear weapons expert Julia Kelly and her military liaison Tom Devoe. And even though they have differing views on who was responsible for stealing the weapons and why, they find that they must work together in order to prevent a possible nuclear disaster.

From the beginning sequences, which showed the hijacking of the nuclear weapons, to the explosive conclusion the film moved at a non-stop pace as Julia and Tom attempted to hunt down the weapons of mass destruction. The action sequences were intense, though not excessively gory or ultra-violent and they were expertly edited together so that the audience was held breathless while watching them. The film succeeded due to the performances of the two leads. Nicole Kidman proved she could play a powerful woman in charge of not only scientific matters, but military ones as well. George Clooney did a good job portraying Tom Devoe as a “Clooney-esque” character. His Devoe was smug, smarmy, charming, and full of himself yet able to show compassion and emotion. Plus he had no problems effectively pulling off the action hero role. Clooney and Kidman shared a dynamic chemistry on screen which, along with the action and suspense, made The Peacemaker an explosively entertaining action thriller.

Grade: B

Zack and Miri Make a Porno: That's right, a movie about a porno

If there is one director whose films I will rush out to see no questions asked, it would have to be Kevin Smith. Somehow his profanity-laced, pop culture referencing comedies connect with me and not only make me roll on the floor laughing my butt off, but also make me take stock of human relationships and all of those things (good and bad) that affect them. And while his latest film, Zack and Miri Make a Porno, delivers on the laughs, the deeper emotional touchtones are missing.

Zack and Miri are best friends who are struggling to get by. But after a fortuitous meeting at their 10 year high school reunion they come up with a plan to solve their financial issues, they'll make a porno. However they both discover that once the camera starts rolling, things become a little more complicated than they expected.

Some people become nervous when they hear the word "porno" in a film title and while there is a fair amount of nudity and sexual situations in "Zack and Miri" that should not prevent one from checking it out. In fact, Smith used the "staged" sex scenes between Lester (the always hilarious Jason Mewes) and Stacey as a counterpoint to the tender, more personal sex scene between Zack and Miri. It's obvious that Lester and Stacey were simply playing parts in a film so their sex scenes become almost comical whereas Zack and Miri, while trying to convince themselves that it was all for the movie, had deeper emotions attached to the act. Speaking of those two, Seth Rogen (Zack) and Elizabeth Banks (Miri) shared a great chemistry on screen. Their dynamic relationship propelled the story and their discussions (on subjects ranging from the proper title for their porno to the differences between male and female sex toys) were hilarious. More hilarious than those two however was Justin Long as Brandon St. Randy, the catalyst that inspired Zack to his pornographic business plan. All the character benefitted from the script which contained the type of dialogue Kevin Smith is known for.

Where the movie failed was in getting the audience completely invested in Zack and Miri's romance. Their actions and reactions after the on-screen tryst, as well as their prior personal history needed to be expanded upon. Yes, they have been best friends since elementary school, so how about some flashbacks to key moments in that friendship where romance which could have blossomed was cut short. Not only was their relationship mishandled but the ending felt rushed and almost too easy. It seemed as though Smith (or, more likely, the studio) just gave up after an hour and a half and plopped down the ending they thought everyone in the audience would like to see.

Still, Zack and Miri Make a Porno provided the kinds of laughs few comedies deliver anymore.

Grade: B

The Haunting in Connecticut: A not so scary trip

For some, there's nothing better than popping in a scary movie on a Friday night and seeing if it's creepy enough to make them check under their bed bfore they turn off the lights. Unfortunately, it is rare to find scary movies like that anymore because most, including The Haunting in Connecticut, have a hard time even keeping an audience entertained.

After her son Matthew is diagnosed with cancer, Sara decides to move him and the rest of her family up to Connecticut so he can be closer to the hospital for treatment. Soon after moving into their new house though strange things start happening, and the family begins to wonder if their new home is haunted.

Having previously read about the true events which inspired this movie, it was rather disappointing to see the "Hollywood spin" which was grafted upon the story of the Campbell family, but even audience members unaware of the real life events are likely to find the film both repetitive and commonplace when viewed against most recently released horror films. It's true that there were some effective jumps and scares scattered throughout but not enough to make one check their closets before saying good night. It seemed as though that instead of drawing upon the true experiences the real life family went through, and showing how those events affected their relationships as well as the paranormal vs. religious questions the incidents raised, screenwriters Adam Simon and Tim Metcalfe decided to turn the film into something preposterously mundane that has been done to death in the horror genre. The result was a messy story which tried, and failed, to be effectively scary or even entertaining on a regular basis.

However if you're desperate for a few cheap scares on a dark and stormy Friday night then The Haunting in Connecticut just might be able to help you out.

Grade: D

Watchmen: So how complex do you like your superhero movies?

When you hear the words, "comic book adaptation" the first images that probably pop into your head are of Spider-Man swinging on a web or Batman brooding on a dark rooftop. The last thing on your mind would be images of heroes philosophizing on how the world is not worth saving or those same heroes discussing the need to sacrifice a few in order to save the many. But this was the case with Watchmen

In an alternate universe, one in which Richard Nixon is still President and the Cold War between the U.S. and USSR still threatens to destroy the world, masked heroes are being murdered. It is up to the remaining members of the superhero group known as the Watchmen to figure out why this is happening.

Director Zack Snyder (of "300" fame) was very faithful in keeping to the source material (a graphic novel) in bringing the story of Nite Owl, Silk Spectre and all the rest of the characters to the screen. His trademark visual style was certainly on display as the audience was treated to the same kind of slow-motion, stylized action sequences present in 300 as well as some truly breathtaking scenes (i.e. Nite Owl and Silk Spectre kissing as a nuclear blast envelopes them). These heroes were far from being carbon copies of ones who came before them as time was spent building up their backstories. By doing this, the audience was shown all the moral dilemmas each Watchmen faced as they struggled in making sense of their own lives both professionally and personally.

But therein lies the catch - 22 of Watchmen, how many audience members are willing to sit through an almost 3 hour film in which the action sequences seem few and far between when compared against a Spider-Man or Batman film? The universe that the Watchmen inhabited certainly was not for the faint of heart (kinda made Gotham City look like Beverly Hills) as the heroes killed indiscriminately, fought amongst each other, and seemed to blur the line between good guy and psycho vigilante from time to time (especially Rorschach). In this way the film challenged the audience to think beyond their normal expectations for a comic book movie and take a journey in which the greatest accomplishments of its heroes were not the apprehension of supervillians or the simple battle of good vs. evil, but the philosophical breakthroughs made when the hero realizes that the world is not pure black and white but a shade of gray which can grow lighter or darker depending upon where you are standing morally.

Watchmen just might be the most literate comic book movie you're likely to run across, which might enthrall some but discourage others.

Grade: B-

Pirates of the Caribbean: Dead Man's Chest; When too much of something is a bad thing.

Captain Jack Sparrow is in trouble (again). It’s time for him to repay the blood debt he owes to the evil Davy Jones. In order to save himself, he goes searching for the Dead Man’s Chest, the only thing that can stop Jones and the rest of his bloodthirsty crew aboard the Flying Dutchman. But he cannot find it by himself, so enlists the aide of Will Turner and Elizabeth Swann to help him (even though they have problems of their own).

As with the first Pirates, Dead Man’s Chest contained a terrific blend of dazzling action pieces; the three way sword fight between Jack, Will and Norrington as well as Jack’s escape from cannibals have to be seen to be believed, and enough goofy shtick to make everyone happy. Using another famous middle part of a trilogy as its model (it did remind one of The Empire Strikes Back in its structure, plus there’s even a visit to a mystic in a swamp for god’s sake), Dead Man’s Chest furthered the story of Captain Jack, Will, Elizabeth and the rest, introduced some new wrinkles into the Pirates universe and set up the finale nicely as the audience was left with unanswered questions. The star of the film, of course, was Johnny Depp’s Captain Jack. Director Gore Verbinski did right by letting Depp run wild again and the result was nothing short of jovial absurdity no audience member could resist.

However, there was an inferiority present in the pacing of the film and its story telling which made it harder to sit and digest this film in comparison to the first one. With so many characters and sub-plots to introduce and explore it was only natural that Dead Man’s Chest would run for over two and a half hours, unfortunately some of those things Verbinski and the screenwriters put up on screen were totally unnecessary (Will meeting up with his father while he was in the clutches of Davy Jones for example). While we’re on the subject of the villain of the piece, his design was uniquely intriguing, however the rest of his minions looked like rejected villains from bad Saturday morning cartoons (or distant cousins of Jar Jar Binks). All of the action and jokes one expected with the film were present, but Dead Man’s Chest lacked the spirited fun so prevalent in The Curse of the Black Pearl.

Grade: B-

Letters From Iwo Jima: A stunning achievement

War films are another one of those Hollywood genres which tend to follow very well - worn patterns when it comes to plot, action and characters. We, as American, are used to seeing the American experiences on the battlefield and are usually only shown the cruelty of our enemy. But Letters From Iwo Jima challenges those conventions and presents the audience with the story from the other side of those battle lines.

As the Allied forces prepare to storm the beaches of Iwo Jima, Japanese General Tadamichi Kuribayashi and his troops know they are facing staggering odds. With a limited amount of time and resources, all of the Japanese troops realize that the impending fight just might be their last.

How is it that Mr. Dirty Harry, Clint Eastwood, was able to create such a stirring and devastatingly emotional war film about the Japanese experience during the famous World War II fight? He humanized the Japenese solider and gave the normally faceless enemy, (at least in most American made war films), soldiers names and stories, Western audiences are only used to experiencing war through the eyes of an American soldier but by doing this, he opened the audiences' eyes to the insanity that is war and the trials that all sides face. Eastwood also broke standard war film tradition by showing the loosing side of war and all of the chaos, loss and mourning they had to work through. This served to, again, humanize a normally cliched set of characters. To see the depth to which the Japanese went to in order to stave off the enemy, including a terrifyingly realistic scene in which some soldiers committed suicide via grenade to avoid capture, was remarkable and fell into sharp contrast with the way Westerners view warfare. One came away feeling a great respect for the Japanese soldiers’ plight and, hopefully, a deeper desire to make sure destructive conflicts such as World War II never happen again. As the companion piece to Flags of Our Fathers, Letters from Iwo Jima carried a heavy burden of trying to match or surpass it in emotional resonance and overall magnificence, a task which it achieved in stunning fashion.

Grade: A

Just Friends: Just funny.

Sometimes actors can carry an average film and make it into something more. Just Friends is a good example of this as both Ryan Reynolds and Anna Faris turned a standard romantic comedy into a knee - slapping good time.

Chris has had a crush on his friend Jamie since he was an overweight high schooler. Time has passed and now he’s a fit and successful music executive who, upon returning to his hometown, attempts to woo her. But there are a number of obstacles in his way, including his psychotic pop-diva client Samantha and a rival suitor named Dusty.

When a movie succeeds in just makes an audience laugh, its flaws can be overlooked, such was the case in Just Friends whose jokes were non-stop from start to finish. Sure some of the antics could be construed as adolescent and pandering and there were a number of breakdowns in the story, with some plot points became lost altogether (such as Chris’ job and whether or not he was able to keep it or not by the end of the film) but the positives far outweighed the negatives. Besides, it was hard not to laugh when both Ryan Reynolds and Anna Faris were on their games acting wise. Faris especially deserves credit for she stole every scene she was in as Samantha (think Britney Spears’ lack of talent and Paris Hiltons’ lack of intelligence). The film contained a surprisingly wistful romance between Chris and Jamie, one that those people stuck in the "friends zone" could relate to. Just Friends was just freakin’ hilarious.

Grade: B

Van Helsing: (or the reason why I'm not going to catch the new G.I. Joe movie)

It was recently brought to my attention that, for the most part, I give high marks to most of the films I review. I guess I've had the good fortune to watch good movies so far but trust me, I do not intend to rubber stamp every film that I run across. By a bizarre coincidence (go figure), the film I'm about to discuss is one of those that deserves to be thrown under the bus. And that's a shame because it's directed by the guy who directed the soon to be release G.I. Joe movie.

Written and directed by the same man, Stephen Sommers, who created The Mummy and The Mummy Returns, Van Helsing is the story of a man without a past who roams the earth ridding it of monsters. After successfully dealing with one, the Dr. Jekyll/Mr. Hyde monster, in the beginning Van Helsing and his weapons man Karl are sent to Transylvania to hunt down Dracula and protect a local princess named Anna. Not only does Van Helsing have to deal with Dracula, but his three brides, Frankenstein, Igor, and the Wolf Man as well (I guess the Invisible Man and the Mummy were busy elsewhere and couldn’t get in on the action).

For all the millions of dollars spent on this film one would believe that the special effects would look spectacular, but this is not the case. It’s hard to be scared of monsters that look many pixels short of completion. Sommers ran into this same problem with the effects work in The Mummy Returns but apparently didn’t see fit to tell the effects guys to correct it. There was no coherence to the story. The characters and any kind of backstory or relationships they may have were never really explored due to the time needed for the next bit of action. We are told of Van Helsing’s mission but never really understand why Dracula was doing what he was doing. And any flow the story started to develop was bogged down by big, loud action pieces with bad CGI. Some people, myself included, might object to the misuse of the monsters in the film. Sommers was given free reign to use most of the Universal (movie studio) monsters but never should have been for he twisted the classic characters that most people recognize into bad caricatures. Dracula became some Eurotrash wiener who’d rather do his best Lionel Ritchie impersonation of walking on the ceiling rather than emote evil. One wonders if he’d scare a five year old. Frankenstein was turned into a pontificating wuss. He spent most of his time on screen quoting the Bible or whining about how “all is lost.” It felt as if Sommers had all of these great ideas for action pieces in mind and wanted to get them all into the final cut but he forgot that he needed to have a story that could match his vision. The utter ridiculousness of the story, lousy dialogue and amateurish special effects make this move a big waste of time and one prays that it's not the same for G.I. Joe (but if you've seen the trailer, you're pretty much resigned to the fact that it is).

Grade: D

Annie Hall: I'm no longer bitter.

If you've read this blog for any amount of time you realize that I am a huge Star Wars honk. To that end I was always curious as to why Episode IV did not win the Academy Award for best picture when it was released in 1977. This film, perhaps the best in the Woody Allen canon, took home the Oscar that night and I never understood why, until I watched it.

Comedian Alvy Singer seems to be unlucky at love, till he meets Annie Hall. Soon their relationship begins to grow but like all relationships, must endure some rough spots. But can Alvy and Annie survive these trials and tribulations and stick together for the long haul?

First and foremost, the film was funny. From the first drink that Alvy and Annie shared on a rooftop to his driving experience out in Los Angeles the film kept the audience chuckling throughout. To go along with the humor the film presented a great love story. Alvy and Annie seemed like typical people facing those good and bad times in a relationship that most regular people face. Their story was very accessible and easy to relate to. The way in which the film was presented, going back and forth in time and showing things in a non – linear fashion, made it interesting. It kept the audience more entertained than a straight forward linear film would have. Woody Allen was terrific in the lead role. He was a neurotic comedian that could quip one – liners with the best of them, but also had a serious and caring heart. Diane Keaton’s Annie was the real treat of the film. When she first appeared on screen she was a timid country girl unsure of herself and her abilities (she wanted to be a singer). By the end of the film she had become a modern, independent woman capable of doing anything. Hollywood tries but fails to make films like this nowadays, which makes watching Annie Hall quite a treat.

Grade: A

Big Trouble in Little China: It's all in the reflexes!

There are some movies that you can just throw into the dvd player on a Tuesday night and kick back and enjoy no matter how many times you've seen them. You know all the best one - liners, know when the jumps are going to take place and still, you watch the movie again and again. They're sort of like comfort food, they just make you feel better after your done watching the credits roll for the 372nd time. Big Trouble in Little China is one of these films.

Truck driver Jack Burton is a no-nonsense, take charge kind of guy. However his life takes a strange detour when he goes to visit his friend Wang. After Wang’s fiancée is kidnapped by a group of street thugs and then held prisoner by an evil magician name Lo Pan, Jack must venture into a world of the supernatural to help his buddy rescue his fiancée and defeat the evil Lo Pan.

Kurt Russell’s performance as Jack Burton was the main attraction in the film. Not only was he able to make Jack seem like a legitimate action hero, but he also imbued him with humor and a sense of self-doubt that most normal people would have if they were stuck in his situation. One got the feeling that Jack grew up watching too many John Wayne movies and that he was using those performances by The Duke to help him get through the supernatural world he found himself in. However that world of dark Chinese magic and mysticism became confusing at points and was never clearly explained from the audience. While that never distracted from the film as a whole, it was noticeable. The film was also aided by Russell the great chemistry Russell shared with Kim Cattrall as his Jack and her Gracie Law traded snappy dialogue and provided romantic sparks. The film, which moved at a solid pace, was full of kung fu action, hilarious one liners and had a unique story. Altogether, it was a great piece of entertainment.

Grade: B

Run Lola Run: An international adrenaline rush.

Another lesson I took away from my film classes was that one needed to expand their viewing habits and see what kind of movies the rest of the world had to offer. Sure you might have to deal with subtitles but if the movie is good, like Run Lola Run, you can be entertained none the less.

Time is running out for Lola. After receiving a frantic phone call from her boyfriend Manni, who explained that he lost 100,000 marks of mob money, she has twenty minutes to somehow replace the money or Manni will pay dearly. With the clock ticking, Lola has few options and must choose the right one or watch Manni suffer the consequences.

Rather than having a traditional straight-forward Hollywood type narrative the film featured a unique narrative structure in which multiple possibilities of how Lola and Manni’s story would play out were shown. To go along with its distinctive narrative, the film also featured a rapid pace and non-stop action as Lola fought through numerous obstacles to try and obtain the money. The use of quick cuts and edits as well as a driving soundtrack also kept the film moving at a break neck pace. At the core of the film was the romantic story of the two main characters. Lola, played by the beautiful Franka Potente who played Matt Damon's love interest Marie in the first two Bourne movies, was out to save her Manni no matter what. If she had to move the mountains, rob a store or even talk to her uninterested father, she would. The love they shared for one another was what made the entire plot plausible and no doubt struck a chord with some viewers as they wondered how much they would do for the love of their lives. Run Lola Run was a pure adrenaline rush of entertainment.

Grade: B

Shaun of the Dead: A zombie comedy.

Now here's an interesting take on the zombie film! Shaun of the Dead is a zombie comedy which was able to take those typical genre conventions one would expect in a film about the living dead and turn them on their heads.

Shaun is just like every other regular guy out there. He’s stuck in a dead end job, has a girlfriend that wants him to be more than he is and has a roommate that is permanently attached to the couch playing video games. He is trying to make sense of his life but there is the little complication of a horde of zombies attempting to kill him and the people his loves.

The story of Shaun (played to the hilt by Simon Pegg) and his attempts to change and understand what exactly he wanted to do with his life was what carried the film and made it a kick to watch. Before he even faced down his first zombie, he was dealing with problems most people must grapple with; dead end job, girlfriend who wanted him to change and be something more and an overall directionless life. The zombies, while the main villains of the film, were also the things that spurred along Shaun’s attempts to change. What also propped this film above other zombie movie was It was how the director, Edgar Wright, made sure to show how all the regular people around Shaun’s neighborhood acted like zombies before they actually turned. His little social commentary went a long way in framing the world Shaun and friends lived and our own by extension (take a look at the person in the cubicle next to you at work and you'll see what I mean).

Shaun of the Dead was thick with laughs throughout, (usually provided by Shaun’s lazy flat mate Ed), and contained the typical blood and gore one would expect in a horror film.

Grade: B

King Arthur: Does a classic need to be "reinterpreted?"

Arthur and the Knights of the Round Table are sent on one last mission in this “reinterpretation” of the classic story. Based on historical accounts, the film tells the tale of how Arthur and his men, after having served under the Roman flag for they ruled Britain at the time, were due to leave the service and begin their lives as free men. But the last mission, one to rescue an important Roman ruler, leads to a discovery that makes them question what it is they are fighting for. Plus an army of evil Saxons are on their tails, looking to conquer the land the Romans are giving up as they withdraw from Britain and destroy anyone who gets in their way.

This “reinterpretation” of the Arthur tale had a distinct take on the timeless story. Instead of being a fairy tale, it was presented as more of a war story with Arthur as the commander of a group of battle - hardened veterans who are trying to earn their freedom from Roman rule without loosing their lives. The look of the film reflected that with gritty battle sequences plus sets and locations that were dark and earthy as opposed to the bright, shimmering appearance you would see in a fairy tale version. The performance of Clive Owen as Arthur was intense, although there were points where his "Braveheart - ish" speeches and distant gazes slowed the film. He played Arthur as a man divided by his idea of how the world should be and the way it was. Other characters are shuffled around and given different back stories which made the film unique and interesting. Merlin was still a wizard, but commanded a tribe that fought against Arthur while Guinevere was a warrior who fought along side Arthur, not a fragile princess. One consequence of the reworking of the legend which hurt the film overall was the fact that the Arthur, Lancelot, and Guinevere love triangle was merely hinted at and never fully explored. Without it, Lancelot played a lesser part and a plot device that could have added more emotional intensity to the movie was never explored.

The action was there in King Arthur but it felt as though the viewer had to trudge through too much in order to get to and enjoy it.

Grade: C

My Darling Clementine: The classic Western

Westerns were a stable of film studios during the golden age of Hollywood and while most of them are viewed as nothing more than Saturday matinee fun some of them, such as My Darling Clementine, still resonate deeply with audiences in these modern times.

Wyatt Earp and his brothers are driving cattle to California. They stop at the town of Tombstone for a bit of relaxation but find it to be awash in lawlessness. Wyatt, a former sheriff, is offered the position by the town but does not want it. However after his youngest brother is murdered and their cattle rustled, he and the rest of his brothers become the law in Tombstone. With the help of Doc Holliday, Wyatt hopes to not only solve his brother’s murder, but clean up the town as well.

Directed by the master of the American western, John Ford, the film featured a seamless balance of action, humor, intelligence, romance, good and bad guys, and magnificent scenery. The performances in the film were exceptional as well, specifically those of Henry Fonda as Wyatt Earp and Victor Mature as Doc Holliday. Fonda portrayed Earp as a man’s man, unable to forget about his brother’s murder or watch as Tombstone turned into a sinful city. Dignified, thoughtful, yet able to take action, Earp was the archetypal western hero. Mature’s Holliday, on the other hand, was a classic anti-hero. Haunted by his troubled past, he gave up on practicing medicine and fell into a bottle and the call of the West. Aside from the gun-slinging and fisticuffs, there were also lighter moments such as the romance between Earp and Doc’s former love Clementine (the scene of Earp and Clementine dancing made the movie). Those moments helped to humanize Earp and make his quest to clean up the town easier to swallow. My Darling Clementine was a quintessential western that everyone could enjoy.

Grade: A

Audition: Seriously, this one is....tough to watch.

I used to be a big horror film fan (I say used to because as I grow older I find that I just do not have the stomach for them anymore or at least the ones that have no plot and only wish to fill the screen with as much blood and carnage as possible). After watching all the Friday the 13th and Nightmare on Elm Street films, I thought there was no horror film that could get to me. And then I rented this film and, as the title of this post says, even I found it tough to watch.

Shigeharu has been living as a widower for far too long in the eyes of his family and friends. So in order to obtain a new wife with all of the qualities he seeks, he holds a fake movie audition. It is during this process that he meets Asami, a seemingly perfect woman. But there’s more to Asami than he could ever imagine.

Even days after you’ve watched the final moments of Audition, you are terrorized by the whole endeavor. What starts off as a faux romantic comedy devolved into a disturbing psychological thriller/horror film whose context and imagery will forever be burned into a viewers’ mind (especially male viewers). And it was this startling turn in tone that hit the viewer like a sucker punch for they cared for both Shigeharu and Asami, wanted them to fall in love and live happily ever after but wound up realizing, like Shigeharu, that you can never judge a book by its cover, even the most delicate flower can have a penchant for garrote wire and torture. One of the film's bigger missteps was the number of times it tried to misdirect the audience with dream sequences posed as reality. Audition ask a lot of the audience just with its visual content alone, and to play with their emotions in that way seemed unfair. A quick word of warning, if you thought the actions and reactions in Fatal Attraction were harsh, you should stay away from this movie for it takes you to a level so far beyond boiling a bunny that you honestly have to remind yourself, “it’s only a movie."

Grade: C

Spaceballs: May the Schwartz be with you!

Parody, when it is done right, it can not only pay homage to the subjects it is parodying but also take on an existence of its own, becoming something more than a series of bad one - liners and pratfalls. When done badly,...well you get most of the Scary Movie sequels or any of the most recent parodies done by the guys who wrote the Scary Movie sequels. Leave it to comic legend Mel Brooks to deliver a parody that hits the mark.

When Princess Vespa is captured by Dark Helmet it’s up to Captain Lone Starr and his sidekick Barf to save her. But after they rescue her they must evade capture by traveling, (actually crash landing on) to a distant planet where they encounter a mystical being named Yogurt who teaches Lone Starr about the ways of the “Schwartz” so he can defeat Dark Helmet.

The film not only excelled in parading Star Wars but other science fiction movies like Star Trek, Alien, Planet of the Apes, and others. Fans of the aforementioned Star Wars films easily distinguished which characters in the film were lampooning those of the beloved trilogy. There were numerous scenes which made laughing quite easy including Dark Helmet (Rick Moranis at quite possibly his funniest) playing with toys of himself and other characters of the film, a cross-eyed gunner on the Spaceball ship doing his best to fire a warning shot, and Yogurt revealing how “merchandising” was where the real money of the movie was made (damn you George Lucas, you're the one that forced me to spend all my allowance money upon action figures and other assorted pieces of plastic!). From sight gags like jamming the radar with a really big jar of jam to the use of an instant VCR tape to discover where the heroes escaped the jokes came at lightspeed (yes, I wrote that, it was cheesy but hey, it's six in the morning, what are you going to do?) and left the audience begging for more. It's true that if a person was not a fan of the science fiction films lampooned in Spaceballs, they might not have caught some of the jokes. But Spaceballs the movie is something everyone can enjoy.

Grade: B

The Grudge: Finally, a horror film with an effectively creepy kid (and so much more).

Before Hollywood started remaking and Americanizing Japanese horror films like Ford use to mass produce the Model T, films like The Grudge laid the ground work for the onslaught. However, unlike all the rest of those "J-horror" remakes, The Grudge is actually a good movie.

After the original caretaker is reported missing Karen, an American student, is sent to look after an older woman in a house where strange things are occurring. She has an encounter with something she cannot explain. Soon after she attempts to discover what it was she saw and what happened to the previous owners of the house.

What made the film such an effective horror picture was the fact that the scares and frights were constant throughout. A person would barely be recovered from the last terrifying situation when another would pop up out of nowhere and cause them to jump in their seat (again). The scares in the film were also effective because they were accomplished via quick cuts with the camera or editing or by creepy CGI work. The sound design also deserves special mention here due to the fact that the "death rattle" that comes from Yoko (the violent ghost haunting the house Sarah Michelle Gellar has the misfortune of being in) will haunt a viewer for days on end. Add to that Yoko's eerie staccato movements and she becomes one of those keystone horror icons that is so often immitated, but never duplicated. If the filmmakers had depended on excessive blood and gore to achieve a scare, it would have diminished the frightening parts and the movie as a whole. The Grudge also benefited from have a non – linear story presentation. By cutting forward and back in time, director Takasi Shimizu was able to show why the house was the way it was without alienating the audience with extraneous exposition. This was a great haunted house film with more scares than Jason, Freddy, or any other manic killer could muster.

Grade: B

The Exorcist: Even after twenty years, it's scary.

So why review a well known film that a person could safely assume everyone has seen? Well, the truth of the matter is some people have not seen all the movies that most film nuts would consider classics. I don't know how many times I've ran across someone who looked at me funny when I started discussing how the scenes between Yoda and Luke on Degobah changed my life (some of you are probably giving your computer screen that same look right now). Classic films can still work their magic 20 or so years after their theatrical release, and The Exorcist is certainly one of them.

Based upon the novel of the same name The Exorcist tells the story of how a young girl named Regan, daughter of a famous film actress, comes to be possessed by the devil and the attempts of her mother and two priests to rid her of the possession.

Perhaps the most disturbing aspect of the film was the possession of Regan and the way she behaved after it happened. Aside from being able to spew more curse words than a sailor, she physically assaulted those people, such as her doctors, nurses and her mother, that were trying to help her. She also performed some acts that are too horrifying to discuss in this text. The fact that all of these things were being done, by and to a little girl, made the film all of the more intense. All of the actors gave terrific performances considering the subject and content of the film, especially Linda Blair as Regan. She had the toughest task to go from little girl to possessed hellion but she pulled it off. Director William Friedkin did an excellent job of building the tension and making the audience wonder whether Regan was just physically sick or if something more sinister was taking place. Even though the novel from which the film was made was based upon a real life event, the audience was left to ponder if what the film presented could happen. And that made The Exorcist all the more frightening.

Grade: A

Love Actually: the character's the thing.

Films with big ensemble casts are a tricky proposition. If a director spends too much time on a character no one in the audience really likes, then they will loose them altogether. If they do not spend enough time with a character the audience does identify with, then they will still feel cheated and might just start a blog where they rip said film (not that I'd know from personal experience or anything). But when it's done right, a film with a big ensemble cast can work wonders because there is one character that each individual in the crowd identifies with, Love Actually is that film.

The romantic lives of a number of different characters are explored in the film Love Actually. Be it the Prime Minister of Great Britain, a man with unrequited love for his best friends’ new wife or a housewife who fears her husband may be cheating, all of these characters (and more) must find a way to get, forget or deal with that most human of emotions; love.

The strongest parts of the film, aside from many genuinely funny parts, were the interconnecting storylines and characters. With all of the characters and situations they were in it would have been easy for writer/director Richard Curtis to loose control of the film and have it turn into one giant mess. Instead there was just enough of every storyline and character to keep the film interesting and entertaining. In fact, some of the individual storylines were so good that they could have been made into their own stand alone films. Most romantic comedies nowadays are too sickly sweet for their own good and seem excessively phony with endings that are too good to be true, but in this film the happy endings were actually heartwarming because the audience cared whether or not love would prevail. Jam packed with laughs and enough happy endings to make even a pessimist crack a smile, Love Actually was a top notch romantic comedy that everyone could enjoy.

Grade: B