The Best and Worst Films of 2007

It’s been a long, loooooooong time coming, but here it is. The Top 10 films of 2007 that I, Joe James, saw in a theatre or on new release DVD (and that means within a month of its release, not the Blockbuster style of year old “new” release). 2007 was a busy year for me and movie watching. I could barely keep up with the blog (hey—a year wait ain’t so bad—at least everything is on DVD by now for you to see, if not on regular TV). I saw a total of 61 movies, with over half of those at the theatre. Some I barely reviewed, and others I ranted and/or raved about as best as I could given the time constraints.

Due to the time consuming aspect of these reviews, and the fact that barely anyone I know even reads the blog, let alone lends their own comments or detractions, this should be my last ever Top Ten list I send out (except for the 2008 list, which may or may not arrive in the next couple of weeks). It’s been a gas (literally—believe me, some of these movies stunk so bad I could smell it). I was hoping it’d be a nice forum to debate and applaud some of the films we see and love, and a way to cut through some of the ridiculousness (read: B.S.) of so-called critics’ faves and mass marketed studio garbage. Thanks for reading! Enjoy!

The Top 10 films of 2007 are...

10. Enchanted

Though not actually given an “A” grade in my initial review, this movie has a certain goofiness and spoofy quality that surprisingly came out of the Mouse House at Disney. Finally putting a few of their age-old princess stereotypes through the ringer, the movie is fun for both kids and adults. I should know, I’ve probably seen it over 20 times on account of my own princess. Alas, by the end of the film, despite turning several Disney conventions on their head, it still boldly assumes that all little girls want to be princesses and they can, if they just purchase more Disney product. Don’t resist. Resistance is futile.

9. The Simpsons Movie

How do years and years of waiting and hype, and increased expectations result in a film that actually lives up to its audience’s hopes? It’s a bloody miracle that The Simpsons Movie was every bit as funny as the series (though not as funny as the funniest episodes), every bit as cinematic as a full length feature should be (not feeling like three episodes strung together, but a fully fleshed out adventure), AND visually appealing off our small screens and onto the big one!!! By delivering on this film, while continuing to make the series for television, The Simpsons creators deserve their own award, in their honour. Here’s to the creation of The Homer, cast in gold and worth its weight! Eat another doughnut, you deserve it.

8. Superbad

I feel guilty enjoying this movie. And isn’t that the point of this silly list? To proclaim movies that I will watch over and over again (Undercover Brother, Elf) as the undeniable best of the year, rather than those pompous, good for you movies that earn accolades but collect dust in our DVD cabinets (insert former Best Picture Oscar winner here). I felt guilty the first time I saw this, sitting outside the car at the drive-in, laughing my head off as my wife sat in the car with our daughter, sound turned off, surprised by the insistent use of obscenities in the early film of the double feature. I still feel guilty watching it over and over on TMN while my daughter sleeps upstairs to the sounds of teenage bromantic lunacy. But do I turn it off? Never.

7. Pan’s Labyrinth

Forget what I just said about movies that earn accolades but collect dust. Pan’s Labyrinth deserved every award it won and was nominated for in 2007, but the reason it collects dust on my bookshelf, is that it was so powerful and emotionally disturbing that it’s actually quite difficult to watch again. Kind of like Schindler’s List, in that regard, a marvel of filmmaking and ingenious storytelling, the film’s content just makes it hard to revisit. But whenever I get a glimpse of the visuals or a sound from the score, it makes me want to return to Pan’s land. If you haven’t gone here once, be sure you do, as it will be a visit you’re unlikely to forget.

6. The Bourne Ultimatum

This entire series has been an awesome throwback to classic spy and cop films of the seventies, with amazing stunt work, exotic on-location shoots, and thrilling chase scenes without any CGI. The third installment really hammers these pleasantries home, as it has perhaps the best chases and fights of the three, though the story is a little less intriguing. Matt Damon is still quite believable and deadly, but the camera work and staging really make the breakneck pace that sets our hearts on overdrive. I recommend the whole series, but if you can only watch one, there really isn’t one clear choice.

5. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan
This is one of those films that divide us into two camps: Love it or Hate it. For someone who loves it, Borat is politically subversive, culturally revealing, and gut busting hilarious. For those that hate it, it may seem childish, inappropriate, and irritatingly stupid. Which, for those that love it, is all the more reason to love it. I don’t think there is another film that had me laughing out loud, so hard, so often. I still get a smile on my “vanilla face” (or would that be cinnamon?) when I hear someone imitate “Very Nice.” Even the cheese scene went from not so funny, to irritatingly stupid, to unbelievably hilarious over the span of so many “What’s this?” that when my daughter began asking in her own Borat manner, it brought tears of laughter and joy, not sorrow. Not so much.

4. Snow Cake

A DVD discovery for me, this is one of those hidden gems that may not truly be one of the BEST of the year, as much as it is one of the best finds of the year. Powerful performances, yet subtle in their emotional honesty (we’re not talking about Pacino shouting matches) Rickman and Weaver prove why they continue to be at the top of their game. Canadian in location shooting (I’m sure) with a few Canadian “superstars” of acting, perhaps this is why the film so quietly flew under the radar. Once I discovered it and took a chance on this very human tale, I was thoroughly rewarded. Try it once you’ve exhausted the Hollywood Blockbuster selections and you’ll see why we love movies and why actors choose to act in the first place.

3. Perfume: The Story of a Murderer

Have you ever smelt a film? And I’m not talking about John Waters’ Polyester (though with 3-D films coming back big, there’s no doubt an Odorama attempt may return). Perfume is one of those rare occurrences in film that’s truly worth celebrating. A film where another sense is involved and enveloped as the story unfolds. Centered around a main character whose sense of smell is integral to the plot, director Tom Tykwer pays equal attention to not only how the shot looks, feels and sounds, but how those senses can create an acute sense of smell in the viewer. If you don’t believe me, watch it for yourself. The scents come alive like never before through the use of visual suggestion and audio presentation. Often cited as Kurt Cobain’s favourite novel (and basis for the song “Scentless Apprentice”) earlier attempts by several noted directors were left abandoned, as esteemed talents including the great Stanley Kubrick deemed the novel “unfilmable”. Ironic, considering he himself filmed the previously believed to be “unfilmable” Lolita. Tykwer proves that a keen attention to visual smell could indeed bring this text to life and create a film that is sure to become a cinematic reference point of extremely ingenious storytelling for years to come.

2. Hot Fuzz

The first time I saw this, I was at the drive-in, we’d watched a film or two (or three—some drive-in nights are marathon stretches) and it was one of the only times it began to pour rain. Yet, despite the sleepiness and the downpour, we stuck with it to the end. It wasn’t until repeated viewings on TMN, that I came to recognize its genius. This is parody at its best. Mocking and simulating the Michael Bay style of over-the-top, over edited, over exploding action genre with equal parts love and admiration, shame and silliness, the creators of Shaun of the Dead do for buddy cop action films that Shaun did with the zombie genre. I’ve stated before, spoofs like Epic Movie and Date Movie, etc., etc. aren’t truly spoofs. They are simply replays of film moments done with lesser actors and potty humour. Hot Fuzz is a film that restores parody film making to its pinnacle, creating a believable (somewhat) action film, that accurately imitates the style it’s so cleverly mocking as ridiculous. The premise is hilarious, off-beat, and goofy, all the while presenting it as the most awe-inspiring action adventure of the century!!! Die Hard in a small town!! Watch it, then watch it again. “For the greater good!”

And the number one film that I saw in 2007 is…

1. Ratatouille

There is something truly magical about this film that has been lost on dozens and dozens of so called family animated films in recent years. Call it the Shrekenization of animation, if you will. Every new family film seems to need to be tongue in cheek, pop culture referencing, sing-a-long extravaganzas. Not Ratatouille. Pixar tosses all that aside like the stale fare that it is, and serves up a remarkably fresh, invigorating and totally original film filled with life, adventure, and stunning beauty. It’s amazing that the Mouse House (by way of Pixar) finally manages to create an original story worthy of classic Disney material of yesteryear, if not better. Even more amazing, they actually went with a completely unmarketable title (which probably actually lowered grosses to some degree—don’t let it fool you) and lead characters that aren’t the least bit toy and merchandise friendly (as much as I love this film, I had to laugh at the Ratatouille stock collecting dust and discount stickers at the Disney store—perhaps a cameo in the next Toy Story sequel will be forthcoming).

Ratatouille succeeds in the same manner as the number three film, Perfume. Except, on top of being able to smell this film, you can almost taste how good the film is. The animation is exciting, vibrant, and kinetic, while the story is swift, sweet and succulent. Foregoing an “all-star cast” (yet another Shrekenization of the genre) for more secretly spot on voice work (I never knew Garofalo, Arnett, Holm, and O’Toole, not to mention Garrett, were even the voice talent until the end credits, they were so welcomingly unrecognizable), the film allows you to immerse yourself in the culinary delights and craziness of the kitchen, and transport you to Paris and a little Rat’s dream of beating the odds and the critics. Well, Remy the Rat had this critic at Bonjour.

Honourable mentions (good films that didn’t make the cut): The Departed, Little Miss Sunshine, The Illusionist, Blades of Glory, The Devil Wears Prada, Flushed Away, and some guilty pleasures that may not be your cup of tea, Hot Rod, Grindhouse, Hairspray, and 3:10 to Yuma.

Now, to save you some time, money, and shame,

The Top 5 Worst Films of 2007…

5. Bee Movie

Forget movies that were supposed to suck. Believe me, there were films worse than this. In fact, the more I see ads for this film, the more I’m willing to give it another chance. But for years and years, Seinfeld has been dallying around with a follow up to his sitcom about nothing. And this is what we get? The unhilarious, the so not funny, the so what’s the deal with that joke feeling I got from this film really left a bad taste in my mouth and had me wondering just how much of Seinfeld’s humour came from the dry hand of Larry David and how little came from Jerry’s mind and mouth. After all is said and done, I would rather have had nothing.

4. You, Me, and Dupree

Sold as a laugh a minute farce, this actually becomes painful to watch, especially in light of the news that came after and during the production, of Hudson and Wilson’s philandering and Wilson’s suicide attempt. I think a making of documentary would have been more interesting. Poor Matt Dillon had to take a detour from a nice career renaissance and it wasn’t even his fault this film falls so flat. What promise Hudson once showed in her early career roles has since faded, and yet like her movie star parents, her career will somehow survive until she’s 80 and stars in You, Me, and McCain.

3. Movies with “3” in the title, a.k.a. “threequels”

This includes but is not limited to, Shrek the Third, Rush Hour 3, Spider Man 3, and Pirates of the Caribbean: At World’s End. Those last two aside (they weren’t so much bad films, but just not worthy of the originals) the need to repeat formulas for repeat cash got so bloody obvious that you didn’t need to actually go to see the films to know what would happen. I mean, honestly, were there any surprise moments in any of these threequels, let alone the fourth installment of Die Hard, and while we are at it, the fifth Harry Potter film? I have to admit, the parade of sequels has actually raised the standards somewhat compared to sequels past, but I would much rather prefer a fresh idea that fails to some degree than a formula that pales in comparison. Don’t get me wrong, Live Free or Die Hard was fun, and the 5th Potter maintained the series’ worth as we head into three more, but sometimes too much of a good thing is not so much a good thing. Here’s to new ideas in the future.

2. Movies with “Chuck” in the title

This points directly at I Now Pronounce You Chuck and Larry, along with Good Luck Chuck. My apologies to any good films that came out in 2007 with lead characters named Chuck. The brazen attempts to get a laugh in these two films made me want to upchuck. See. I bet you saw that lame ass joke coming from a mile away. Well, not to disappoint, these two “comedies” actually did not come across telegraphed in a bid for cheap laughs. No, instead, these two films went places you’d never expect to not only forego any attempt at being actually funny; they went into territory that made them morally offensive, and not in a good, George Carlin (R.I.P.) way either. You can make films that are funny, offensive, and sexually mature (see Knocked Up). You can even make Jessica Alba seem funny (see Fantastic Four). But stooping to the levels these films went for laughs that weren’t there??? I Now Pronounce You Dumb and Dumber.

And the worst film of 2007 is…

1. The Death of Mr. Lazaresco

What’s that? You never heard of it? You don’t even know what it’s about? Consider yourself lucky. I wouldn’t have known about it either if I didn’t read stupid year-end Top 10 lists. This one was in several critics’ lists. Apparently, the laugh is on me. I’d love to know what they were smoking when they saw this one and found it funny. It’s not even sad, or clever, or darkly comic (as most claimed it was). In fact, it’s just plain dull and boring. And the fact that I had to do a little more work reading the subtitles made it even worse, because I could have spent that time reading something funnier, like Ziggy. Yes, even the cartoon Ziggy is funnier than this film. Here’s the premise in case you’re one of those people that have to see for themselves. A man, named Mr. Lazaresco is dying. He gets picked up by an ambulance (after about an hour of being in his apartment with random neighbours that speak about mundane things) then goes from hospital to hospital seeking the care that he needs. Then he dies. It may be funny if it didn’t have a hint of truth to it. Then, in that case, maybe it is darkly funny, but not enough so that I need to watch it. I just need to hear that premise and say, “Oh, that’s sadly funny.” SO there, now you know. Save yourself the time, the money, and the miserable experience. I think critics recommend films like these just so they can get the laugh of pulling a fast one on the unsuspecting viewers who follow their suggestions.

Dishonourable mentions (stay away at all costs): The Black Dahlia, The Good Shephard (so bad I actually forgot how bad it was, hence, not on the list), Shrek the Third, Transformers, The Ex, and War.

So there you have it. My long awaited top 10 list. I hope it was worth it, if you read to the end. The fact that it took a year in the making should prove that I’m not pulling a fast one on you. Hopefully 2008’s list will make it to you sooner, rather than later.

Enchanted

Directed by: Kevin Lima
Starring: Amy Adams, James Marsden, Susan Sarandon, Patrick Dempsey, Timothy Spall, Rachel Covey, Julie Andrews
Running Time: 1h 47min

Disney finally manages to make fun of itself in this twisted fairy tale that owes some of its material to Shrek, not to mention the older French film that was remade into an English language version, Just Visiting. Yet it is refreshing to see the Mouse House poke fun at some of its history, the repeated storyline of Prince rescues the Princess mythology and all that comes with it. Or so it would seem. In the end, Enchanted reinforces modern ideologies, encouraging little girls to dress like princesses, connect with their mothers through consumption, and keep searching for their true love, Prince Charming. That's not to say that there's a little fun along the way.

Adams gives an excellent performance as a maiden who finds herself plucked (or rather, pushed) into New York city, with her fairy tale mentality intact. This plays havoc with Dempsey and his daughter, who act as good sammaritans found only in the movies. Adams plays princess so well, ditzy but not dislikable, sweet but not syrupy, and not your typically stunning beauty, but gorgeous nonetheless. Her songs are hilarious and she does a wonderful spin on typical Disney musical numbers, playing it straight amongst the silliness, like Leslie Nielson in Airplane!

It's in these moments that the film takes off, mocking all the ridiculous Disney past and present. Dempsey plays a great foil to it all, reminding us of his great comedic timing, as he has the hard task of realistically responding to this displaced fairy tale damsel. Their chemistry works, ensuring the film's success. Equally important is Marsden's clueless Prince, a character that could easily have been one note, but is hilarious and suave and adds complexity to the emerging love triangle. He gets some of the best laughs in limited screen time.

All of this is enjoyable and played out wonderfully, milking laughs for just the right amount, and mocking the Princess theme while playing within its trappings. Unfortunately, the third act can't sustain the promise of the first, and the return to traditional fairy tale endings is somewhat disappointing. i still find it quite appalling how commercialism and consumption replaces a young girl's dreams of a boy charming, as if to say that "Girls, you don't need men when you can spend, spend, spend!" If this is what feminism and women's lib have brought us, we're no better off, and i'd take an old fashioned fairy tale romance anyday. However, apart from this ideological gaffe, Enchanted is a ton of fun for everyone in the family.

Grade: B+

The Bourne Ultimatum

Directed by: Paul Greengrass
Starring: Matt Damon, David Strathairn, Joan Allen, Julia Stiles, Albert Finney
Running Time: 1h 55min

Jason Bourne's third outing, The Bourne Ultimatum was much anticipated, and faithfully delivered. After rebooting the spy genre with 2002's The Bourne Identity, then abandoning major time chewing back story and love plot lines for more immediate action and adventure for the sequel, The Bourne Supremacy, the third film gives us more of the same, intense cat and mouse chases, powerful in close fight scenes, and kinetic dialogue between breath stopping moments. It's quite the achievement for a franchise to finish out its third film and leave us wanting more. It's more of an accomplishment to put three films together, that stand alone on their own, while also opening the debate as to which is the greater film.

The vision started with Doug Liman, who helmed the first film and then took a producing role for the franchise. Incoming director, Greengrass has stripped the film's original elements bare, using hand held style camera and amazingly quick pacing to situate the viewer in the desperate dilemma that is Bourne's existence. Greengrass's style is well suited in exotic locations, unfamiliar and uninviting, where Bourne can trust no one. The paranoia is ratcheted up a notch for the film's opening sequence, and we're immediately hooked from then on.

From there we follow the only lead (perhaps the most easily exposed flaw of the series--the next lead is too easily deciphered and chased, an action movie conceit that we can appreciate by way of picking up the pace despite all realistic intentions) to the next location. With each new locale, Greengrass infuses the frame with intensity, setting up the next great chase, fight or showdown. Damon's acting prowess convincingly enhances the chases, the cleverness, and the killing, giving emotional weight to a genre that has traditionally been filled with brain dead and emotionally vacant beefcakes.

The Bourne Ultimatum nicely wraps up the series, putting everything (and everyone) on the line. The spy genre has its cliches, but this franchise manages to side step them to success. Sure there's dirty operatives and double crosses, and a Central Intelligence Agency that isn't the most intelligent. Yet on the other hand, you have a lead character who is more creative and resourceful (and more deadly) than MacGyver, and as skilled as Jackie Chan in close combat (without any of the humour). The film moves with as much excitement and suspense as the chase sequence from The French Connection, only for two hours duration. Sit back, strap in, and enjoy!

Grade: A-

The Golden Compass

Directed by: Chris Weitz
Starring: Dakota Blue Richards, Nicole Kidman, Daniel Craig, Freddie Highmore, Ian McKellen, Eva Green, Sam Elliott, Christopher Lee, Kristin Scott Thomas, Kathy Bates
Running Time: 1h 53min

Fantasy films (and novels) promise so much, but unless you can get deep within them, they can give you so little. The genre's trappings and formulaic unfolding require that there be something emotionally or philosophically different to set it above other examples of the genre. Philup Pullman's trilogy certainly has these in spades. Unfortunately, the novel's driving forces are lost in this adaptation.

Strangely, however, The Golden Compass' casting and production/design is spot on when it comes to the book's vision. The sets conjure up the same surroundings, and the all-star cast hits the right notes when it comes to the tone of each character. In fact, the casting couldn't be better, as each actor, on screen or just as a voice, nail the characters' demeanor and presence from the novel. Dakota Blue Richards is particularly good, embodying the lead character Lyra's sense of mischief, charm, and cunning wit. Adult leads Kidman and Craig do just as well, fully fleshing out their supporting roles, doing plenty of subterfuge with merely a glance, an eyebrow, or a whisper. They place their characters exactly where they need to be in order to keep the audience guessing.

Despite all that the film adaptation gets right, there's too much left out and done wrong. First off, the restructuring of the novel to make for a more fluid film, with key spectacles more perfectly placed, actually results in a film that struggles with pace. Unlike the novel, which builds suspense, intrigue, and emotional weight by the way it slowly builds, this restructuring never allows the film to build any momentum, all the while stripping the high octane action scenes of any emotional intensity or grand scope. Even something as simple as the majestic power of the Aurora Borealis, and all that can possibly exist within it's awesome beauty, is barely glimpsed in the film.

It seems as though the studio was so desperate for the next fantasy franchise, that they forgot what made the books special in the first place. By focusing on the elements of what makes a fantasy fit the genre, they forgot to include everything that makes "His Dark Materials" stand out; a fantasy that offers the best of children's literature, while pondering the essence of us all, and the question of free will. It's a shame the studio aimed so low.

Grade: B-

Sicko

Directed by: Michael Moore
Starring: Documentary (no "name" actors)
Running Time: 2h 03min

Michael Moore's run of success in the documentary field was unprecedented, so it came as no surprise that his latest outing, Sicko, did not drum up the same box office, nor critical acclaim as its predecessors. What is ironic, is that it is perhaps the most important film he's made concerning the woes and inadequacies of his homeland.

Fresh off the success of the Bush bashing Fahrenheit 9/11, and the previous gun society questioning Bowling for Columbine, Moore sets his sights on the profit pushing insurance providers in a pay per patient health care system. You would think that he's settled on a villain we can all agree on, avoiding the divisive responses he's had in the past. Yet by doing so, he creates a documentary that is devoid of the humour, the fun, and the sauciness that has become a hallmark of his work. Sicko is too dire, depressing, and despite his best attempts, distant for us. It just doesn't seem to have the relevance or timeliness of his other films. A backwards health care system in what is supposed to be the leading country of the civilized world is not news to us. It's just sad and unfortunate, which is the feeling this documentary leaves us with.

Moore is much better when he's using irony and humour to prove a point. His attempt in this film is to bring 9/11 volunteers to Cuba to get the treatment they can't seem to get, at least at an affordable price, in the country they were volunteering to defend. However, the sick people that are interviewed, escorted, and interrogated, feel like they aren't in on Moore's joke. Even worse, they come across as convenient puppets for Moore, as his questioning, dramatic pauses, and hovering camera framing position them too much as helpless victims, when in fact, Moore's promise has always been offering a voice for the little, working class guy.

Still, the subject matter is interesting, if not well worn. The highlights have to be Moore's comparison of other countries' health care systems. Just the disbelief on the faces of people abroad is priceless; how they cannot comprehend a health system that denies procedures or pharmaceuticals for those that need them, at reasonable rates, if at any cost at all. If Moore could channel that nonchalant disbelief, instead of a heavy handed sorrow, Sicko would be easier to swallow.

Grade: B

Trust the Man

Directed by: Bart Freundlich
Starring: David Duchovny, Julianne Moore, Billy Crudup, Maggie Gyllenhaal, Eva Mendes
Running Time: 1h 43min

Adult comedies that work don't come around that often. And when they do, they're often so profanity laden and raunchy, that they earn their R rating, and as a result, the laughter ensues from the shock and taboo release we find in them.
Rarely are they funny in a mature, complex, and honest manner, filled with characters that are three dimensional and realistically flawed.

Trust the Man is a gem, in that it is a rare cinematic achievement, that takes enough risks that could go wrong, but is so well cast that everything goes right. Immediately, each actor reveals enough depth and humanity, that it is easy to fall into the world in which they live, as we watch a number of couples struggle with their fidelity, relationships, and self-worth. After watching a few scenes of Duchovny, Moore, Crudup and Gyllenhaal trading lines and looks, you can't help but wish this were a weekly series so you could tune in and enjoy their insanity week in and week out.

Hollywood has given us so many stock romances with typical character and story arcs, that while watching this film, you're expecting it to go in certain directions, but it never fully turns out as expected. Sure, the basic premise might go in the obvious direction, but never without a stylistic twist, or an odd humerous angle. The leading four, plus Mendes as a supporting character, truly embody a wonderful place where comedy and drama show no boundaries, as all five are equally adept at both worlds. Their skill at both aspects peppers each scene with a tone unlike most films.

There are some bizarrely funny moments, and scenes written completely for the gag. Yet there are just as many scenes that punctuate the difficulties couples have growing together, whether its growing apart, growing old, or growing in spite of the other. The swinging emotional ride takes a little getting used to, but once you realize that this is not going to be a typical film, that follows its characters more than it leads them, then you are in for a refreshing, fun, unique bit of dramedy.

Filled with many laugh out loud moments, some tragic heartbreak, and some smart, reflective dialogue, Trust the Man is a great writing and directing effort that gets the most from its talented cast. Definitely worth the time spent, and hopefully we will see these thespians involved in future projects together, quite possibly with the same writer.

Grade: B+

Bee Movie

Directed by: Steve Hickner and Simon J. Smith
Starring: Jerry Seinfeld, Renée Zellweger, Matthew Broderick, Patrick Warburton, John Goodman, Chris Rock, Kathy Bates, Barry Levinson, Larry King, Ray Liotta, Sting, Oprah Winfrey
Running Time: 1h 30min

It's sad to think, that in the years since Seinfeld's self titled sitcom has been off the air, that all he has been able to muster is this mediocre film populated with stock jokes, tired cinematic conventions, and lazy one liners. Considering he was the star of such a consistently funny, cleverly paced, and tightly woven series, that provided fresh laughs and continues to be the hallmark of situation comedies, Seinfeld's first foray into film is a disastrous flop.

The premise sounds like great comedic fodder, the workman like bee hive, with all its natural wonder and colony code of conduct. It seems perfectly matched with Seinfeld's stand up style, of pointing out life's oddities and silly social structures and situations. Yet all Bee Movie offers are the run of the mill punny honey jokes that you can see from a mile away. Even the lousiest Seinfeld episode has more laugh out loud moments than this film. Even jokes aimed at the preschool crowd fall flat, so that no matter what age you are, this film fails to offer any laughs.

Lack of laughs aside, there really isn't any insightful or meaningful moments which are often peppered into animated children's films. The human-bee relationships seem awkward and borderline crazy, and the premise of bees talking and humans listening is too easily glazed over, when it could be a goldmine for humour, allegory, or moralizing. Instead, we're left with the message that capitalists have been trying to subversively instill in workers for centuries; accept your lot, because you never know what disaster could strike if you choose to rebel against your meaningless McJob.

Perhaps the only bright spots in this film can be credited to the supporting cast, who do some great voice work in their roles. Zellweger, Broderick, Warburton and Rock all get a lot of millage out of their roles, showing some real skill and style with their line delivery. Their screen time makes you wish their characters were more developed and more integral to the film's plot.

The bottom line however, is that a good animated film rests on strong voice work, a clever story line that's suitable for both kids and adults, and finally, but most importantly, great animation. Bee Movie strikes out on all three fronts. Seinfeld can't carry the film on his own, as his whiny voice does little to inspire the audience to rally behind the hero. The plot skips and jumps its way along, in search of meaning while forgetting any semblance of coherency. Sadly, the animation is uninspired, with only the moments of bumblebees in flight providing any visual excitement. Robots did a much better job utilizing the geometric designs into the world inhabited by its characters, and both Antz and A Bug's Life, not to mention Toy Story and Finding Nemo, painted much more lush, extravagant backdrops for it's tiny creatures living amongst humans.

Bee Movie is a huge disappointment, as a comedy, as a kid's flick, and as an animated adventure. It doesn't even rate a "B", but due to some interesting scenes, a few clever cameos, and some decent supporting work, it isn't a complete failure. Let's just hope it doesn't warrant a sequel.

Grade: C-

Good Luck Chuck

Directed by: Mark Helfrich
Starring: Dane Cook, Jessica Alba, Dan Fogler, Lonny Ross
Running Time: 1h 36min

There are four reasons to see this film. Jessica Alba.

Grade: D+

3:10 to Yuma

Directed by: James Mangold
Starring: Russell Crowe, Christian Bale, Logan Lerman, Ben Foster, Peter Fonda
Running Time: 1h 57min

I continue to state that I am not a fan of westerns. Yet every couple of years I'm forced to admit that the film I accidentally stumbled upon, or was forced to watch, is indeed a great film, filled with great acting and locations, and is indeed a western. In this category go the films Unforgiven, Shane, Tombstone and now, 3:10 to Yuma.

Great acting can elevate any film, and this film benefits immensely from the contrasting forces of a soft spoken, do right father figure played by Bale, and his counterpart, the tough talking, bad boy played by Crowe. Both actors infuse their characters with enough menace and sentimentality, that it is hard to convincingly root for either of them. Though Bale's honesty and integrity weigh out above Crowe's character's cold bloodedness, there's still enough charm and charisma in Crowe for us, and more complexly, Bale's teenage son, to enjoy his company.

The story builds slowly enough, yet moves at a pace that keeps the viewer intrigued. The ending really is any one's guess, as you can see these locomotives headed for a collision, and it's really up in the air if good will triumph over evil. The uncertainty arises out of a series of dialogues between the two leads, which set up an unnerving third act. You can see these two diametrically opposed individuals, slowly rubbing off on each other, yet staying steadfast to who they are at their cores. Cutaway scenes to Crowe's crazy crew help to fuel the fire fight that is the culminating sequence, placing insurmountable odds in front of our hero.

3:10 to Yuma has received some excellent reviews, all very deserving. Don't be surprised if it finds its way on some year end best lists, as it executes the genre to perfection. So, i humbly admit, westerns, when done to perfection, can be some of the best films around.

Grade: B+

Hairspray

Directed by: Adam Shankman
Starring: Nikki Blonsky, John Travolta, Michelle Pfeiffer, Christopher Walken, Amanda Bynes, James Marsden, Queen Latifah, Zac Efron, Elijah Kelley
Running Time: 1h 57min

John Water's original B-movie of the same name, which then spawned a surprise Broadway hit musical, which then spawned this A-list cast film, was a sweet treat of Baltimore 50s nostaligia, packed with a powerful message. The heart of the movie was the fight against racism, with the window dressing of smooth dances and smoother hairstyles.

This update shifts that focus from fighting racism, to an increased emphasis on the dance numbers, seeing as its more an adaptation of the stage show than a remake of the original source material. This results in some positives and negatives. The negative being a movie that pushes the plot aside at times, so the kids can just dance and sing. The positives are that the dance numbers really do pop and sizzle, in a way the original film hinted at, but never had the production dollars to put over the top.

The Hollywood players really have a great time camping in their roles, and its great to see the performances that come out of Travolta, Pfeiffer, and Walken. Very humerous, and in the spirit of Water's ouevre. Still, the real standout in this version is the crop of young talent in the roles of the students. It's no wonder that Disney's High School Musical is such an overwhelming success, with talent in spades. Blonsky's fairy tale casting story is well documented and turns out to be a great call, but the real stars are Efron and Kelley, who seem to be destined for big success.

If there's anything Waters' can claim from his body of work, it's finding magic in small packages, and making the most of his ideas. His subversive films were done in his unimitable Baltimore bred style, with a lot of love for his characters, flaws and all. The new Hairspray polishes up the flaws, makes it sparkle and shine, yet loses a little heart and soul in all the glamour. Still, it's probably the most fun you can have in the theatre in a long time, and you'll certainly be singing a song or two on your way home.

Grade: B+

I Now Pronounce You Chuck & Larry

Directed by: Dennis Dugan
Starring: Adam Sandler, Kevin James, Jessica Biel, Dan Aykroyd, Ving Rhames, Steve Buscemi
Running Time: 1h 50min

A complete waste of time, I Now Pronounce You Chuck & Larry probably didn't even seem funny at the pitch meeting, but got the green light based on the success of the lead actors, and the amazing supporting cast, who should all be sentenced to some sort of community service after giving us this atrocity.

Rarely can films be given demeanor status, but this pathetic "comedy" is a crime against humanity. Not only is it not in the least bit funny, it also manages to insult our intelligence and sensitivity with its ridiculous premise. Imagine, if you will, two firefighters (can't get any more butch than that) who pretend to be gay to receive an insurance policy. Then, to complicate matters, an exhibitionist insurance policy fraud investigator, played swimmingly by Biel, looks into the matter, managing to insult insurance policy investigators and exhibitionists everywhere. At least she looks good while doing it.

Sandler and James, on the other hand, looked pained as they go through the motions, letting sad dialogue fly from their lips, while their eyes scream "Save us". They seem uncomfortable spitting out homophobic jokes, and equally uncomfortable pretending to be gay. Which is fine, because the audience feels equally uncomfortable, wondering if this film wants to be a crass, hateful throwback to a less tolerant time, or a morality lesson on gay rights. Well, that lesson comes too late, after a deluge of homophobic jokes that we were supposed to laugh at (but didn't) at the beginning of the film but now we should feel ashamed that we did because gays are people too. It's as though it wants to have its homophobic cake and eat it too.

Which gets me to why this movie didn't deserve an F. In actuality, i can't honestly remember, having erased most of this film from my mind. However, i think the C+ was redeemed through a good dose of fat jokes, a section of the population that does not yet have advocate groups. In these moments, you do get a sense that Sandler and James could bring a bit of that Abbott and Costello, Laurel and Hardy, Spade and Farley magic to the film. Just not this film.

Grade: C+

War

Directed by: Philip G. Atwell
Starring: Jet Li, Jason Statham, John Lone, Devon Aoki, Luis Guzmán, Saul Rubinek, Mathew St. Patrick, Nadine Velazquez
Running Time: 1h 43min

Truly unmemorable film starring two great action stars who have given us much better work. War is a complete misnomer (more like "grudge"), as the action is quite limited and the storyline convoluted. In the end, it all makes a little more sense, through some flashback and revealing, that could have saved us all about half an hour, had we been given that information in the first place.

After starring in some innovative action films that always gave us at least one new interesting set piece or fight scene, Jet Li and Jason Statham are just going through the motions on this one. A 10 minute documentary on the choreography of their past films would have had more drama and thrills than this entire movie. It's a surprise this didn't go straight to video. Just another installment in the action genre.

Grade: C

Superbad

Directed by: Greg Mottola
Starring: Jonah Hill, Michael Cera, Christopher Mintz-Plasse, Bill Hader, Seth Rogen
Running Time: 1h 54min

It's hard not to hate the hype surrounding Judd Apatow and his league of comedy superheroes, as every thing they've ever done is being pulled out and branded as "from the guys who brought you The 40 Year Old Virgin and Knocked Up." Now those are two good movies, but compared to the hilarity of Superbad, they should be honoured to be mentioned in its presence.

Superbad is a nice return to those teen comedies of the 80s, only more raw and realistic. These kids swear. A lot. There isn't any pandering to what we wish teens were, but rather a hyper realised dream of what one wild night in pre-college American teen life could turn out to be. The search for sex, by way of booze, by way of fake IDs, by way of ridiculous teenage forging is on! This is Porky's, Weird Science, and Revenge of the Nerds, all rolled into one. Only with more swearing.

Each scene one ups the previous one, and the hi jinks are gut busting funny. Cera plays a great foil to Hill's foul mouthed buffoon, balancing crass with class. Mintz-Plasse is piss your pants funny as the king of the nerds, McLovin, sure to be a teen reference for years to come. Hader and Rogen, showing up as a pair of cops, bring the absurd to the film, giving us the requisite adult characters found in these films, but not quite as we expected them to be.

Yet despite all the great lines, inventive staging, and silly situations these teens get themselves into, it is the heart at the center of their friendship that really elevates this film above mere teen comedy. Its sentiment saves it from being a boy's fantasy night on film to an honest depiction of the confusing growth a teenage boy must navigate on his way to maturity. The coming of age storyline is nicely laid underneath it all, giving value to what could easily be throwaway gags and staged guffaws.

What is really great about Superbad, is how the dialogue is so funny, yet so realistically coming out of the mouth of these teens. There are so many quotable lines that you'll have to watch it several times to soak it all in. And like only the best comedies do, it will get funnier and funnier each time you see it. A sure to be future classic, a shoe in for the Teen Sex Comedy Hall of Fame.

Grade: A-

The Ex

Directed by: Jesse Peretz
Starring: Zach Braff, Amanda Peet, Jason Bateman, Charles Grodin, Mia Farrow, Donal Logue, Amy Poehler
Running Time: 1h 30min

A promising comedy that could go in many directions, The Ex takes the basic comedic staple of an ex entering the life of two newlyweds, as Bateman's wheel chair bound high school cheerleading cohort of Peet ends up being a coworker to Braff, who is married to the company president's daughter. Braff already has issues with what Peet's father thinks of him, and when Bateman starts making waves in both the office and the family, Braff's jealous streak gets the best of him.

The comedic talent in this film is evident, but well wasted on the belaboured premise. It doesn't help that each and every character acts in a deplorable manner, so there really isn't anyone to care about or root for, as each is equally annoying.

Bateman does a great job of testing our sympathies for a man in a wheelchair, begging us to hate him in spite of his affliction. It's amazing how he can be sweet and sensitive (he was the heart of Arrested Development) yet turn in such a nasty, underhanded performance here.

Black comedy is probably the best way to describe this film, but it doesn't really want to leave its romantic comedy undertones, and finds itself split between a Farrelly brothers style "how low can you go" brand of humour, and a slapsticky, Meg Ryan kind of comedy. The subject matter and script stylings do not give enough for these leads to do, which is really disappointing.

Grade: C

The Lookout

Directed by: Scott Frank
Starring: Joseph Gordon-Levitt, Jeff Daniels, Matthew Goode, Isla Fisher, Carla Gugino, Bruce McGill
Running Time: 1h 39min

A different take on the bank heist film, The Lookout does a great job of situating a big time action movie premise, into a realistic, small town setting. Gordon-Levitt plays a young man whose life has a dramatic set back, which he must deal with everyday of his life. When people from his past discover his predicament, they think of how they can manipulate him into doing what they want him to do.

Clever, surprising, and interestingly developed, The Lookout takes some nice twists and turns on the genre. From the complexity of the main character, and his own personal demons and conflict, to the imprint a small town can have on our present day relationships, every aspect of the script has many layers. It all subtly unfolds, with an ending that is satisfying and true to the characters we're presented with.

If there is any film I could compare it to, it reminds me of the late 90s film "A Simple Plan", which told the story of how money can corrupt and corrode relationships, causing people to act in ways they would have never imagined. Yet all presented in a small, intimate way, like an excellent novel unfolding before us, keeping us in suspense the whole while.

Grade: B

Fracture

Directed by: Gregory Hoblit
Starring: Anthony Hopkins, Ryan Gosling, David Strathairn, Rosamund Pike, Embeth Davidtz, Billy Burke, Cliff Curtis
Running Time: 1h 53min

A nice chess match of a murder mystery, pitting Hopkins as an accused criminal against Gosling's young prosecutor, Fracture is sure to delight and tease your mind. Reminiscent of the exchanges that punctuated Silence of the Lambs, Hopkins delivers a cold and controlled performance, with just enough hint of madness and jealousy to keep Gosling second guessing.

Gosling, in turn, matches Hopkins step for step, both in the setting of the story, and as an up and coming actor sharing the screen with film royalty. They wear their emotions on their faces well, exhibiting each nuance of frustration, smugness, and complexity. It's such a treat to have two actors at the top of their game, that the tight script and witty dialogue is an added bonus.

Grade: B

Hot Rod

Directed by: Akiva Schaffer
Starring: Andy Samberg, Jorma Taccone, Bill Hader, Isla Fisher, Sissy Spacek, Ian McShane, Will Arnett
Running Time: 1h 28min

If you enjoyed the 80s, or enjoy laughing at the 80s, or wish they made movies like they did in the 80s, then Hot Rod is for you.

When i say, "make movies like they did in the 80s", i mean it. Hot Rod captures that feeling completely! Not in a spoofy way, either. It's as though this film was actually shot and developed in the 80s. Which is the best way to spoof anything--to realistically recreate it, and let the straightforward presentation be interpreted by the audience for the hilarious parody that it is. This is the "Airplane!" or "Top Secret" of 1980s films. Definitely not the "Date Movie", (jam as many scenes from recent movies as you can, with a fat or fart joke for good measure), type of lame duck comedy.

Right from the opening credits, you question whether you accidentally hooked up the VCR instead of the Blu-ray player, or stepped into a retro cinema, rather than an IMAX experience. i saw this one at the Drive-in, adding greater pleasure to the throwback nature of the film. The cheesy soundtrack seems like Footloose 2, and when you see him take a run out into the forest, shadow boxing himself, you can just smell the Kevin Bacon in the air.

Even though all the eightyosity makes for an amusing film experience, let's face it. Those cheesy 80s teen movies weren't all that great, which means spoofing them straight up makes for a silly, yet still kind of lame movie. Hot Rod's plot, centered around a boy who wants to do an amazing stunt to raise money so that he can save his step dad's life just so he can kick his ass, Mano e Mano, is a goofy as it gets. So as the film unfolds with all the slapstick missed stunts and TV after school special crying fits of the actors, it's funny, but in a bad way.

Still, you have to admire the lovingly way these guys approach this film. They must really have immersed themselves in plenty of synthesized soundtracks and anti-climatic teen dramas to make such a faithfully reconstructed parody. Definitely not for everyone, but those in on the joke, with think this is "cool beans".

Grade: C+

Stardust

Directed by: Matthew Vaughn
Starring: Charlie Cox, Ian McKellen, Sienna Miller, Peter O'Toole, Rupert Everett, Michelle Pfeiffer, Claire Danes, Robert De Niro, Ricky Gervais
Running Time: 2h 08min

Grade: B+

1408

Directed by: Mikael Håfström
Starring: John Cusack, Samuel L. Jackson, Mary McCormack, Jasmine Jessica Anthony, Tony Shalhoub
Running Time: 1h 34min

Grade: B-

Rush Hour 3

Directed by: Brett Ratner
Starring: Chris Tucker, Jackie Chan, Max von Sydow, Hiroyuki Sanada, Yvan Attal
Running Time: 1h 30min

Grade: B

The Simpsons Movie

Directed by: David Silverman
Starring: Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Harry Shearer, Hank Azaria, Joe Mantegna, Albert Brooks
Running Time: 1h 27min

Grade: A-

Disturbia

Directed by: D.J. Caruso
Starring: Shia LaBeouf, Sarah Roemer, Carrie-Anne Moss, David Morse, Aaron Yoo
Running Time: 1h 44min

Grade: B

Keeping Mum

Directed by: Niall Johnson
Starring: Rowan Atkinson, Kristin Scott Thomas, Maggie Smith, Patrick Swayze, Tamsin Egerton
Running Time: 1h 43min


Grade: B-

Perfume

Directed by: Tom Tykwer
Starring: Ben Whishaw, Dustin Hoffman, Alan Rickman, Rachel Hurd-Wood, Karoline Herfurth
Running Time: 2h 27min

Grade: A-

Zodiac

Directed by: David Fincher
Starring: Jake Gyllenhaal, Mark Ruffalo, Anthony Edwards, Robert Downey Jr., Brian Cox, Chloë Sevigny, Elias Koteas
Running Time: 2h 38min

Grade: B+

Live Free or Die Hard

Directed by: Len Wiseman
Starring: Bruce Willis, Timothy Olyphant, Justin Long, Maggie Q, Kevin Smith
Running Time: 2h 10min

Grade: B+

Grindhouse

Directed by: Robert Rodriguez and Quentin Tarantino (with extras from Eli Roth, Edgar Wright, and Rob Zombie)
Starring: Rose McGowan, Zoe Bell, Tracie Thoms, Freddy Rodríguez, Kurt Russell, Josh Brolin, Rosario Dawson, Bruce Willis, Vanessa Ferlito, Quentin Tarantino
Running Time: 3h 09min

Overindulgence has always been the modus operandi for these two auteur directors, though not in a financial form. Rodriguez is perhaps the most thrifty director around, overindulging his creative palate by writing, directing, scoring, editing and physically shooting his films. Tarantino, on the other hand, has always overindulged on dialogue, violence and odes to cinema oddity. Together, these two overindulge in the pleasure they derive from B-movie films, creating a compelling, though self indulgent grindhouse double feature, which they must have had more fun filming than we have watching.

First off is Rodriguez's take on the zombie flick, "Planet Terror". The better half of the double feature, this gore fest is true to the director's oeuvre, filled with over the top action, crazy cuts, and explosive stunts. It's story arc sticks to the traditional small-town-losers-in-way-over-their-heads-as-army-base-outside-of-town-unleashes-a-slew-of-zombies, and supplies plenty of opportunities for great lines, much machismo, and sweet sweet love making. It's everything a late night drive in experience should provide, and then some.

Planet Terror benefits from some superb performances from lesser lights, Rose McGowan and Freddie Rodriguez (uncertain if there is a family connection here), as well as some toned down supporting work, notably Bruce Willis. The director is no stranger to this genre, having travelled here before in The Faculty and From Dusk Till Dawn, (a far superior use of the two directors' talents). The cheesy special effects give way to mind-blowingly amazing makeup work, and the zombie cliches wind up seeming fresh in the lens of Rodriguez. Guilty fun, with laughs, screams, and gasps, Planet Terror sets us up for a rollicking ride at the Grindhouse.

Following the frenetic pace of the first film is a series of mock trailers, filled with funny cameos, ridiculous voice overs, and preposterous premises from some of the director's most visionary friends in the genre. Any full length treatment of these films would have been more interesting than Tarantino's book end, "Death Proof".

Now, i am a fan of Tarantino, and yet i still didn't find his half of the grindhouse all that interesting. You have to be a super fan of the films he's lovingly re-imagining to fully enjoy his take on a stuntman gone sadistic. Even still, he tests even the most hard core fan, by filling almost three quarters of the film with chicks speaking dialogue that goes nowhere, says nothing, and reveals very little about the characters on screen. For a writer-director that's made a living from his fresh, original and witty screen writing, Death Proof provides very little fodder for fun.

Russell is menacing and McGowan equally good in this second half, playing very different from her role in the first, but Dawson and company are wasted, suited up for eye candy and little else. The real star of the show is the stunt driving, but in this day and age of where we've seen everything, the car chase in Death Proof seems nothing more than an ode to car chases of yesteryear. Stunning, yes. Breath taking, certainly. Mesmerizing, for sure. But worth the hour of pointless dialogue beforehand? Definitely not. Tarantino has reached a point where his love of old movies is overpowering his ability to make new ones. Or inspiring him to make new bad ones. Someone needs to say no to him, as he is starting to abuse his position of harbinger of everything old is new again, instead of creating something fresh and exciting based on hidden gems of the past.

Like the films they are galvanizing, Grindhouse has great moments, but as a whole, is truly a B-movie, best viewed on video, where you can cut to the chase.

Grade: B

Harry Potter and the Order of the Phoenix

Directed by: David Yates
Starring: Daniel Radcliffe, Emma Watson, Rupert Grint, Imelda Staunton, Michael Gambon, Gary Oldman, Alan Rickman, Evanna Lynch, Matthew Lewis, Katie Leung, Jason Isaacs, Ralph Fiennes
Running Time: 2h 18min

The fifth film from the seven book franchise, the Order of the Phoenix has the distinction of being the heaviest tome, the greatest battle yet, and the launching point of a number of key characters and plot threads that will play out in the series' conclusion. This all makes for wonderful reading, but very difficult viewing and screen writing.

Reading fans can lose themselves in the novel, expecting Harry to live on to see subsequent novels, enjoying his adolescent development and growing responsibilities. Film fans, however, can't invest the time needed to see the characters through their full story arcs, nor leave the theatre feeling satisfied with an installment without conclusion.

So, it is a wonder that the Order of the Phoenix manages to cram a healthy portion of the book's features while still moving along at a delicious pace, offering up enough character moments (Harry's first kiss) and action scenes (Quidditch is barely missed, as the broom flying really zooms with London as its playground). The three young leads continue to grow into their roles remarkably well, though some of their limitations are noticeable (Radcliff doesn't quite seem threatening enough when Harry's blood boils).

Secretly, as in many great "children's" films, it is the adult roles that really give us the greatest joy, and Staunton's turn as Delores Umbridge is frightfully spot on, gleefully sadistic as the bureaucratic representative from hell. Never has such rule following and attention to procedure been so sinister. The supporting cast of adults that reads like a British walk of fame continue to shine in small roles, lead by the inimitable Rickman as Severus Snape. If there were parts from the book that could have been beefed up for the movie, it was his occulemcy lessons. i would gladly have taken those scenes over the whole giant subplot.

Alas, some things have to get cut, and Kreacher's role seems to be the most omitted. Though, having read the series to the end now, it's almost a blessing in disguise as his character provides the most inconsistency in the series. Yet the introduction of Luna Lovegood and emergence of Neville and Ginny as full fledged characters really give fans and cinephiles much to rejoice about.

Darkest in tone, most quietly (and subsequently, eerily) paced, and grandest in scope, the Order of the Phoenix does a remarkable job of resting comfortably amongst its predecessors, while steering the train in an all new direction. Though not as lush and lavish as the series' best Prizoner of Azkaban, it certainly makes its case as one of the top three. A series this long is always in danger of fizzling out before its story is told. Rest assured, the fifth feature only wets your appetite for more.

Grade: B+