The Protector

Directed by: Prachya Pinkaew
Starring: Tony Jaa, Nathan Jones, Johnny Nguyen, Lateef Crowder
Running Time: 1h 21min

Interesting film, but a little too many knees and elbows for my martial arts taste. Some good stunts and a bizarre premise, but worth a watch. Full review to come.

The Devil Wears Prada

Directed by: David Frankel
Starring: Meryl Streep, Anne Hathaway, Emily Blunt, Stanley Tucci, Adrian Grenier
Running Time: 1h 49min

Not a chick flick, not a teen movie, not a romantic comedy. This film is just plain old good novel translation that hits some high notes and can be equally enjoyed by many different audiences, especially Streep's performance. That's all.

The Death of Mr. Lazaresco

Directed by: Cristi Puiu
Starring: Ion Fiscuteanu, Luminita Gheorghiu, Gabriel Spahiu
Running time: 2h 30min (but feels twice as long)

About as funny as a catheter. This film reminds me why i started this website; for two types of films...mainstream movies that suck yet rake in box office (see several of my worst of films) and the polar opposite, festival films that suck but no one wants to admit it or else they'll come across as unintelligent or unknowledgeable about film. Extremely painful to watch. Full review to come.

Little Miss Sunshine

Directed by: Jonathan Dayton and Valerie Faris
Starring: Abigail Breslin, Greg Kinnear, Paul Dano, Alan Arkin, Toni Collette, Steve Carell
Running Time: 1h 41min

Overrated, but very funny and touching. Another great little indie that could. A full review will be posted later.

Pan's Labyrinth

Directed by: Guillermo del Toro
Starring: Ariadna Gil, Ivana Baquero, Sergi López, Maribel Verdú, Álex Angulo
Running Time: 1h 52min

It's such a treat to be able to go to the multiplex and see a film like Pan's Labyrinth, when more often than not, there are 4 screens showing the latest Adam Sandler or Tom Cruise flick. It's even more exciting when the theatre is half full on a Saturday afternoon. I'm sure there wasn't a disappointed movie goer in this theatre.

The film is an interesting mix of genre, part Spanish Civil War tale/part children's fantasy fairy tale. Between these two lies a beautiful depiction of how a child can cope with horrors both real and imagined, possible and imminent, and a testament to a child's strength in the face of adversity. When a child is living a most wicked life, even the most terrifying supernatural being pales in comparison, even this one:

So the movie sways, between the real life horror and the complex underworld reminiscent of classic European fairy tales. You know the ones, where Hansel and Gretel cook the witch, instead of just running away. Or Little Red Riding Hood is saved because the woodcutter disembowels the wolf, but not after poor grandmama is savagely eaten. There are no apologies for wicked behaviour, real or imagined, in this film, as the closest fairy tale element Pan's Labyrinth shares with Disney is a tinkerbell like creature from a movie with a similar name.

The fantasy is breathtaking and frightening in equal amounts, causing the viewer to gaze dumbfounded against their better instincts to look away. It is Ofelia's (the child in the film) courage that pulls us along, as she knows nothing can hurt her in this fantasy realm as much as the pain she feels in her everyday life for her mother and unborn sibling, trapped in a marriage of convenience for the lead villain.

And what a villain this film has! A memorable fairy tale depends on its antagonist to be unnaturally cruel or morally corrupt. Sergi Lopez plays the adversary with such menace, such cruelty and such inhumanity that you'd swear he was someone not from this world. Yet we can see and understand his drive and motivation as a direct result of his unfaltering belief that orders must be followed and rituals held fast. It is this contrast between making moral decisions for oneself, and blindly towing the line that situate the characters as good or evil.

Though not an entirely easy film to watch, in that triumph is born only out of pure suffering and sometimes the right choices are not the easiest or safest ones, Pan's Labyrinth is able to somehow feel exhilarating in its telling of a story quite distressing. This can be attributed to its stellar cast performances, lush musical score, and eye popping fantasy visuals juxtaposed with its gritty wartime realism.

This is one fairy tale that will stand the test of time to rest alongside other greats. It is truly deserving to be on so many year end critic's Top 10 lists. Go see so for yourself.

Grade: A

The Illusionist

Directed by: Neil Burger
Starring: Edward Norton, Paul Giamatti, Jessica Biel, Rufus Sewell
Running Time: 1h 50min

How bizarre, that two films centered on the mystery of magic and the timelessness of love situated in similar eras with a love triangle at the centre, would come out in the same year. Both films starring talented casts, no less. I speak of The Prestige and this film, The Illusionist.

For as much as The Prestige was as puzzling a film as this one, both are relatively easy to figure out with a keen view and knowledge of film or storytelling. Perhaps this is where the similarities must end, and comparisons no longer be drawn, because as I see it, The Illusionist is centered around a pure love story, Romeo and Juliet style, where no force can keep the loves separated. By contrast, The Prestige is about the relationship between two men who just can't seem to quit each other (not in the Brokeback Mountain sense) or let bygones be bygones, letting their professional quarrels spill over into their personal lives.

So, if inseparable love and undying passion is your cup of tea, then The Illusionist will fill your cup. Norton and Biel play their emotions beautifully, and Giamatti and Sewell continue their quest to be considered the best supporting actors in Hollywood. It's no secret that this film enjoys the better cast. Yet it keeps its secrets, unlike the foretelling found in the aforementioned film of similar theme and setting.

Norton really carries this piece, adding another top notch performance to his amazing resume. He comes across as vulnerable, yet powerful, a necessary trait for a star crossed lover facing opposition from the authorities and upper class. The movie's time and setting allow the film to draw out its key conflict, as Sewell and Giamatti must engage in a civil, cordial cat and mouse game with Norton, so as not to embarrass or misrepresent themselves. I can't imagine this same conflict in modern times, as a good pistol whipping or other gun play would solve this film in a quarter of an hour.

The Illusionist is not full of tricks, twists and shocking surprises. Instead, it mesmerizes you with sharp wit, sweet thoughts and stunning visuals that situate love where it belongs: out of this world.

Grade: A-

The Break-Up

Directed by: Peyton Reed
Starring: Vince Vaughn, Jennifer Aniston, Joey Lauren Adams, Jon Favreau, Jason Bateman
Running Time: 1h 45min

It is extremely frustrating when a studio deceives you by selling a film as something it is not. The Break-Up is NOT a laugh a minute comedy of he said/she said. It is not the playful battle of the sexes so guiltily enjoyed in Peyton Reed's previous film Down With Love. It is, however, an enjoyable (that's perhaps not the right word) take on the part of a relationship we rarely see in an otherwise romantic comedy.

Centering a film on the ugly side of dating is a risky task, which is why it is understandable that the studio would try to sell the "hilarity" of incompatibility. Yet by doing so, the film's trailer really sells short the strength that this film has as a dramatic rendering of an adult relationship gone sour.

Vaughn and Aniston give strong, believable performances as a couple in crisis. Their attraction and chemistry is right, in that you can see these two hooking up, but not exactly hitching up. Neither one deserves the other, as both display their worst faults as their relationship devolves. A strong supporting cast plays their pals caught in the crossfire, with some funny results and some ridiculous mugging at times. Reed does a fine job of hitting the right notes, though the jump between comedy and drama can be a little jarring.

The film tries to realistically deal with a couple's break-up, yet finds truth in the dialogue more often than it does in the actions of its characters. Some honest reactions spill forth from the mouths of the hurt, confused couple dealing with their emotions, but their over-the-top responses by way of making grand purchases and throwing away their hard earned lives and bodies at a whim seem less real and more made in Hollywood.

Still, in the end, without the misleading theatrical trailer and real life romance (and prior break-ups) of the two leads, the film is convincing and entertaining. Just expect a lot more screaming than laughing.

Grade: B

The Black Dahlia

Directed by: Brian De Palma
Starring: Josh Hartnett, Scarlett Johansson, Aaron Eckhart, Hilary Swank, Mia Kirshner
Running Time: 2h 01min

Brian De Palma has an uncanny ability to keep you in suspense. In some instances, like Mission: Impossible or Carlito's Way ,the suspense is so intense that you can hear a pin drop in the theatre. On the other hand, De Palma's suspense can be of the variety that keeps the viewer guessing, "When will this movie ever end? Or, more importantly, will it ever actually begin?" It is within this category that The Black Dahlia falls, alongside De Palma's other notable attempts, Mission to Mars and Femme Fatale.

Now it's easy to hate on De Palma, just as easy as it is to trumpet him for notable works like Scarface and The Untouchables (and my personal fave, Wise Guys). This is because when he fails on a film, he fails miserably. 100%, absolutely, "so bad it's good", win another Razzie it's that awful, miserable. In attempting to revitalize the noir genre for the umpteenth time, De Palma gives us a clouded, convoluted and at times contrived film that does make us yearn for the noir of yesteryear, only to forget this one that really missed its mark.

This film sucks all the life out of the excellent cast, or should i say, Josh Hartnett sucks the life out of his co-stars, while he's sucking so bad on screen. A quick glance at the worst films of the past decade will show Hartnett's ability to accurately choose the worst projects in Hollywood (Sin City aside). This is unfortunate, because on paper, The Black Dahlia looks intriguing. A script based on a James Ellroy novel and an unsolved real life murder in 1940s Hollywood. Sounds like L.A. Confidential all over again.

Sadly, it tries stylistically too hard to be reminiscent of the noir films De Palma is so fond of and neglects to update its genre for today's audience. So it feels like an old film transported ahead in time where today's audience is more sophisticated and savvy, leaving little to the imagination and drawing out plot points much longer than needed. The acting borders on melodrama, while the dialogue sounds classically inspired, but delivered like a grade 9 student reading Shakespeare for the first time, hitting all the wrong notes.

It is a movie searching for an identity, telling its tale using mixed up genre codes, but not in an attempt to create something new (which would have been nice) but in a way to disrupt the viewer's connection to the film and degrade decades of film history in the process. It jumps around like a poorly conceived student film yet manages to prod along at a pace so tedious that you'd wish it were a student short film.

Still, some actors manage to emerge unscathed (see Eckhart and Johansson in other films), while Hilary Swank reminds us just how miraculous it is that her name will forever be preceded by "two time academy award winner". Now there's a mystery that will forever go unsolved.

Grade: D

The Best and Worst Films of 2006

The Top 10 Films of 2006

How, you may ask, does a father of a one year old (now 23 months) find the time to compile and write a list of the top films of 2006, let alone actually see ANY films this year? To this question, I offer two responses: first, drive-in theatres are the greatest inventions EVER, and second, when your daughter is as sweet as ours, getting someone to baby-sit or even taking her to the movies with us is an easy thing to do.

So, with that in mind, I remind you of the rather limited criteria in which I compile this list each year for your reading benefit/torture. These films are the top films that I was able to see, in theatres, in the calendar year of 2006. Last year’s pickings were pretty slim, utilizing this criteria, so this year I’ve opened the criteria to include DVD releases or The Movie Network premieres in 2006. Still, with the advent of drive-in double/triple/quadruple features and Famous Babies/Stars and Strollers programs, I managed to see more films in theatres than on my TV, proving once and for all that I am truly a film snob, who will argue to my dying day that movies belong in theatres, no matter how good the home technology gets. Nothing beats watching a projected film in a dark theatre, with an audience, even if that audience is crying, pooping, and dropping bottles on the floor. And if you don’t believe me, try attending a Stars and Strollers show yourself, with or without a baby, and you’ll see that sometimes the action off screen is more interesting than the action on (see Click as a case in point).

So, without any further adieu, here are the top 10 films of 2006...

10. Hoodwinked

The family saw this one early in January, the first film in a theatre in 2006. For some reason, it just stuck with me. I’m a sucker for fractured fairytales, and this film puts enough twist on the Little Red Riding Hood story by unfolding it like a Kurosawa film, with a little Sherlock Holmes, Airplane! and Fletch thrown in for good measure. Strong vocal performances and a different animated look (which is both hit and miss) make this my just for fun, number 10 pick this year. The “Be Prepared” number is worth the viewing alone.

9. V for Vendetta

I was rather shocked that Oscar forgot this film. It has a wonderful score, some amazing film work, and a very timely Big Brother storyline. Plus, Hugo Weaving is the best, most charming and deft superhero we’ve seen in cinema since Zorro, the Gay Blade. Though, admittedly it has its plot jumps and eyebrow raising coincidences, however its stylistic inventions outweigh its structural deficiencies for me. Natalie Portman continues her beautiful rise from childhood ingénue to Top 5 leading lady of our time, leaving memories of Star Wars in the past. First, with her stunning turn in Closer, and now the depths she goes to in this film, we may be witnessing the next Sigourney Weaver or Julia Roberts, only (thankfully) better.

8. Shop Girl

After so many romantic comedies in the past five years of my married life, it was so refreshing to watch this bizarre tale of a highly eligible bachelorette, who chances upon love in two very different ways, from two drastically different men. From the pen of Steve Martin, Shop Girl has a dry wit that we’ve come to expect from Martin’s characters, but a beautiful, bittersweet whimsy of love that can only come from age and experience. The trifecta of actors is rounded out by two of the more finer actors of their generation, Claire Danes and Jason Schwartzman, capable of playing honest and awkward adults stumbling through a relationship. Equally funny, romantic, and depressing, Shop Girl is realistic and compelling in a way that most romantic films are not.

7. Kiss Kiss Bang Bang

Ok, this is my 80s actor love fest going on. I’ve always been a Val Kilmer and Robert Downey Jr. fan, and to see these two in a film noir/buddy cop send-up from the Lethal Weapon creator could very well be considered cheese. Yet if the fromage smells bad, I’m loving it, because the joy these two actors have working together makes you want to see them become the second coming of Lemmon and Matthau. These two fine thespians are well aware that their career paths have taken a turn for the worse, but their perspective on life has never seemed better. Listening to the commentary of the two was almost as entertaining as watching the film, which twists and turns, using many conventions while tweaking them at the same time. Pure fun and silliness, this dark action comedy hits the right notes and doesn’t let up.

6. The Prestige

Deservingly nominated for Academy Awards in cinematography and art direction, this is a wonder of a film, enticing the eyes and tantalizing the mind as it weaves and unweaves a tale of revenge, jealousy, and professional madness. Like a slick magician or a clever poker player, The Prestige keeps its cards close to its sleeve, but keeps giving us enough to up the ante. The acting is superb, and the direction even more so, as the art of magic and movie making are explored, examined, and juxtaposed on a textual and metaphorical level. At the centre of it all is a battle between two men; and by talking with a few others who have seen the film, it leaves itself open to interpretation, as either lead can be considered the film’s hero, as both straddle the line between good and evil, obsession and devotion. Highly satisfying.

5. Murderball

I eagerly awaited the DVD release of this documentary on wheelchair athletes, and I wasn’t the least bit disappointed. No screenplay could create these living, breathing testaments to human strength and perseverance. The film follows the bitter rivalry between the U.S. and Canada national “murder ball” teams, and the athletes who compete in the brutal sport. Though the film uses the very familiar sports story arc, it’s the glimpses of the human condition, the response to adversity and the stories of determination and connection that drive the emotional response and dramatic tension. This film is a must see, so people can understand what it takes to compete, at any level, both in life and on the court. There are many lessons to be learned from the quadriplegic athletes, apart from the fact that we are all lazy and weak willed compared to these guys.

4. Talledega Nights: The Ballad of Ricky Bobby

Boosted by its recent release on DVD, this is the funniest film I saw this year. Now, if ever there was a scene which is ripe for spoofing, and a community where an over-the-top Will Ferrell won’t seem out of place, it’s NASCAR. The jokes never stop, which is integral to a decent comedy, but what makes this film an excellent comedy is its devotion to telling a story. Now, as ludicrous as that seems, the cast assembled is able to play their zaniness with a certain amount of believability, and construct characters that are worth caring about while still being just a cut above caricatures. Supporters John C. Reilly, Michael Clarke Duncan, and the year’s hottest actor (even hotter than Hansel!) Sacha Baron Cohen all offer Ferrell some amazing comedic foils to bounce off of, providing some lines that are even funnier than Ricky Bobby himself. I could watch the dinner table prayer scene for two hours and leave the theatre happy. Not often enough are the outtakes of a film funnier than most others that call themselves comedies.

3. Monster House

As the years have gone by, I’ve come to appreciate the “family” film as a valid, and much sought after bit of entertainment. It is a rare treasure when a film can be made that offers enough for both preschool likes and adult tastes. Pixar and Tim Burton seemed to have the market cornered, when along came this scary yet fairy tale like spook fest, full of amazing animation scenes and silly dialogue, certain to tickle the funny and fright bones of five year olds and fifty year olds alike. The children act like children, appropriately caught between that frightening age of playing on the street and puberty, where you’re expected to grow up but no adult takes you seriously. So, as the film is told through their eyes, we’re whisked back to that time in our lives, where the creepy house on the corner and the crotchety old man were our greatest fears, the all consuming aspects of our childhood. A fine balance of frightening scenes, witty one-liners, and suspenseful moments are sure to make this film a perennial Halloween favourite. It’s a shame it wasn’t marketed better.

2. The Constant Gardener

If you haven’t seen City of God, go see it. Now. No really, stop reading and go rent it. If you’ve read my lists of previous years, you’ll know how much I loved that film. And so director Fernando Meirelles follows that tour de force up with this film, another sun scorched pot boiler filled with plot lines too unbelievable to not be true, based on real life goings on in third world countries. Yet like his previous work, he heightens the mystery, the drama, the excitement by weaving the story through multiple settings, time lines and characters, never letting up on the intrigue and suspense. Rachel Weisz won an Oscar for her role, in the supporting category, though one could argue that she was in fact the lead in the film, as her character’s spitfire and sauciness drive the film’s compelling mystery and passion. It is rare to see a female role written with this much complexity and Weisz sinks her teeth into it. Not to be outdone, Ralph Fiennes gives a performance worthy of his career bests in The English Patient and The End of the Affair. This is a must see film, not just for the performances, not just for the amazing direction, but for the ripped from the headlines controversial subject matter of pharmaceutical testing in African countries.

And the number one film that I saw in 2006 is…

1. Inside Man

Now, my love for Spike Lee goes back even further than my love for Meirelles, and my admiration and appreciation for Spike’s own ability to tell a compelling political story using style and substance. And as I reflect on the selections of this year’s Top 10, I realize how much of an old man I am becoming, entrenched in my ideas and firm in my likes and dislikes. So, the old man in me was impressed by Spike’s latest collaboration with Denzel Washington. Impressed to see that he wasn’t resting on his laurels, nor giving us what we’ve come to expect from him; politically charged meditations on the state of race relations in America. Which isn’t to say there is none of that in this film. Rather, Spike and Denzel have connected to create a real audience pleaser, a bank heist/hostage film, unlike we’ve ever seen. And it is refreshingly fun to see these two work magic again, without the political wrangling of prior films. An all star cast (Jodie Foster, Clive Owen, Christopher Plummer, Willem Dafoe) rounds out the clever film, creating intriguing subplots and character connections that further the suspense and have us questioning the motives and actions of each individual. Clive Owen and Jodie Foster have the acting chops to match Denzel scene for scene, line for line, adding to the power of the storytelling. A smart, fun, exciting film that pays homage to the classic Dog Day Afternoon while telling its own story in its own twisting and head scratching way, keeping us guessing until the end.

Honourable Mentions (good films that didn‘t warrant making the list, but worth a rental nonetheless): Fantastic Four, Thank You for Smoking, Akeelah and the Bee, Cars, Stranger than Fiction, Casino Royale

And, in order to save you some time, money, and self respect…

The Top 5 Worst Films of 2006...

5. X-Men 3: The Last Stand/Superman Returns

What a complete letdown. Brett Ratner and Bryan Singer decided to swap directing roles and gave us two of the biggest disappointments of the year. Despite their past success at action, both of these films did a poor job of balancing story with action set pieces. Neither film had any continuity, urgency, or memorable moments. They just looked like a lot of money spent on screen. Two more nails were just driven into the coffin of the comic book movie explosion.

4. Clerks 2

A summer of promising sequels turned out flat, and this was the big granddaddy of them all. An unnecessary (and a promised not to) return to Kevin Smith’s New Jersey View Askewuniverse, offered nothing new, and even managed to sour old greats. When Clerks launched Smith’s career over 10 years ago, his cast of unpolished actors and stale directing could be forgiven for his witty dialogue and hilarious banter. A decade later, he should know better, yet he delivers the same staid old guys speaking the aforementioned banter, only it’s not funny, not interesting, and not even close to entertaining. It’s downright embarrassing. Only Rosario Dawson and Jason Lee save face, reminding us why they have careers outside of Kevin Smith’s universe, while the others are wasting away. Please, Kevin, do something new!

3. The New World

Or maybe something new isn’t the way to go. Terrance Malick is an auteur. A poet with a film camera for a pen, a painter with a celluloid canvas. He has given us a few masterpieces, but this time around, misses the mark with his picturesque retelling of the Pocahontas tale. Only, he forgets to tell the story. Instead, he just leaves us watching the European settling of the New World, like strangers at a bus station, watching the lives of others without any background, or any indication of where things are headed. Or any care for that matter. Like a beautiful architectural façade, this film has all the appearance of structural fascination, yet nothing behind it. An even bigger letdown than spots four and five.

2. Pulse

I feel sorry for kids these days. It would seem that everything made before their time is so much better than what they are growing up with. A case in point is the horror genre. There seems to be an explosion of horror films nowadays, with at least one offering a week at the multiplex, whereas we had to wait until October to get our fill of Freddy, Jason, Michael, and Chucky, not to mention Pinhead. Yet with this glut of horror has come a watering down of the product. It’s like the quality has given way to quantity and Pulse is the epitome of that crux. There is no better way to describe it than a review I read that said “it’s difficult to watch a film where you couldn’t care less if the characters died.” That about sums up this one. Nothing original, nothing frightening, except perhaps the obscene amount of duct tape used, which could have been spent on lighting the actors so we could distinguish them from each other. Pulse is the biggest misnomer of the year, as it was completely lifeless.

And the worst movie of 2006 is…

1. Nacho Libre

The creators of Napoleon Dynamite take Jack Black and put him in the world of Mexican wrestling. Hilarity ensues, right? No. Another promising premise that goes the way of button fly jeans; slow to get into and even longer to take off. Perhaps, like Napoleon Dynamite, this one takes several viewings to really get into. Sadly, I won’t afford them the pleasure, as I find that hearing other people say the lines is actually funnier than watching the film itself. A serious belly flop from the top rope, as Black couldn’t have been hotter coming off of School of Rock, and director Jared Hess coming off of Napoleon Dynamite. Sometimes two rights can make a wrong.

Dishonourable mentions (more movies to steer clear from like a spinach filled Taco Bell carrot juice from the West Nile bird flu region): Bob the Butler, Pirates of the Caribbean: Dead Man’s Chest

16 Blocks

Directed by: Richard Donner
Starring: Bruce Willis, Mos Def, David Morse
Running Time: 1h 45min

Surprisingly a lot of fun. Willis plays his umpteenth cop role, but going to the well actually works one more time, as his tired old cop plays a good foil to Mos Def's annoyingly precocious star witness. A decent Movie Network watch, or cheap rental. i'm glad i didn't pay to see it in theatres. A full review to come.

Santa's Slay

Directed by: David Steiman
Starring: Bill Goldberg, Douglas Smith, Emilie de Ravin, Dave Thomas, Saul Rubinek, Rebecca Gayheart, Chris Kattan, Fran Drescher
Running Time: 1h 18min

Starts off with instant body count and hilarity, and keeps you entertained right to the end. Filled with expected bad lines and horrible puns, this B movie is at the top of the B movie list. Goldberg does for Christmas horror films what he did for wrestling, whatever that may be.

My Super Ex-Girlfriend

Directed by: Ivan Reitman
Starring: Uma Thurman, Luke Wilson, Anna Faris, Rainn Wilson, Eddie Izzard, Wanda Sykes
Running Time: 1h 35min

The premise is great. The pairing is good. The supporting cast is all there. Yet this film fails to fly. Even with a notable comedic director, the movie hits all the wrong notes, just feeling like a creepy stalker film with absolutely no interest in the characters.

Thurman and Wilson's characters are possessed with characteristics that audiences can't or don't want to relate to. They are needy, self-involved, whiny pushovers. We don't feel sorry for anyone, except ourselves, for having to watch this train wreck.

It's so disappointing to see an inspired idea, with inspired casting, be conducted without an ounce of inspiration. The super hero scenes aren't all that super, and the romantic scenes aren't all that romantic. Situations are so contrived and so telegraphed, that when something unexpected happens, it's welcomed. Unfortunately, those "unexpected" moments are completely out of tune with the film (sharks?) that they seem preposterous, even in a super hero film.

Luke Wilson's line delivery continues to be (unintentionally?) funny, and Thurman has done comic book before with the same mixed results (remember Poison Ivy?). Faris and Wilson are more interesting to watch than the leads; i would rather watch what they were doing after their scenes, than to wince through the painful experience of Thurman and Wilson's relationship.

Don't waste your time or money on this one, like i did. Consider yourself warned. You'd think we'd all want to avoid our ex-girlfriends.

Date Movie

Directed by: Aaron Seltzer
Starring: Alyson Hannigan, Adam Campbell, Sophie Monk, Eddie Griffin, Fred Willard, Jennifer Coolidge, Carmen Electra
Running Time: 1h 23min

It's good to see this genre branching out of the Scary Movie mold, and reaching for something ripe for parody, the romantic comedies. However, the creative team uses the same approach to spoofing, and basically makes a sad attempt at "doing" the romance films, as opposed to creating their own story that makes light of the ridiculousness of rom coms.

Hannigan shows off her ability to carry a film (she is genuinely funny, like she was when she stole the show in American Pie) and Eddie Griffin continues to give good supporting laughs. The cameos are funny, though not really too inspired. It just seems that these films just go through the motions, unlike the Granddaddy of them all, Airplane! Considering that genre films seem worse than ever these days, you'd think that spoof films would have gold mines to reap from. Except, spoof movies are so abundant, you almost could spoof the spoofs.

There are some big laugh out loud moments, like the opening "Milkshake" sequence. But with the humour front loaded, it makes the rest of the film sag down. They try to keep up the pace, by moving the scenes along quickly, but it makes it less memorable and believable when the characters are just thrown into one new situation after another. Still, for a free viewing, it has enough laughs to keep you interested. Just don't pay for those laughs, or you'll be crying.

Casino Royale

Directed by: Martin Campbell
Starring: Daniel Craig, Eva Green, Mads Mikkelsen, Judi Dench
Running Time: 2h 24min

Let me come right out by saying that I would consider myself a casual Bond fan. I'm not a die hard, "have to own the latest special edition box set" kind of fan, but i must admit that i have seen all the films in the franchise. In fact, i'm geeky enough to admit to having rented all the films during a Bond binge, mind you, the rentals were free at the time, so the marathon was a no brainer.

That being said, i must also admit that my favourite Bond films are the seventies/early eighties Roger Moore cheeky stunt spectacles, quite possibly because they are the ones i grew up on, and happen to have secretly watched while i was pretending to sleep when my parents took us to see a drive-in triple header of Clash of the Titans, Superman 2, and For Your Eyes Only, if my memory serves me correctly. This is not to say that Moore is my favourite portrayal of Bond, but i have a certain soft spot for the films he was in.

Now, imagine my surprise when seeing Casino Royale open without the huge ridiculous opening stunt i've come to expect. Rather, in its place is a black and white, gritty, origin piece showing us Bond's first kill on his way to 00 agent status. This is not your typical Bond! And thankfully so.

The franchise had already gone through a cycle or two of self parody and re imagining, so it is very refreshing to see the character return to his roots. This updated version fits in nicely with some other recent, play it straight, spy capers like The Bourne Identity. The consequences seem very real, Bond's emotions rise to the surface, and his love, pain, anger, and fear all fill the screen in a way no amount of explosions could.

Daniel Craig is receiving tremendous accolades and is deserving of them. He makes you forget about his predecessors, only because this take seems so different and down to earth (or at least as down to earth as a British super spy can be). He has a wonderful supporting cast, with Eva Green taking "Bond girl" status to new heights, far beyond the simple eye candy we've come to expect.

The film is exceedingly long, but does have some fine set pieces and tense moments that it can be forgiven for its indulgence. Fans and non-fans should enjoy this film, as it requires little background of the character in order to enjoy, though followers will chuckle at some of the tweaking of the conventions. I did miss Q, however, but trust that his presence would have hindered the new direction they've taken.

Grade: A-

Stranger Than Fiction

Directed by: Marc Forster
Starring: Will Ferrell, Maggie Gyllenhaal, Dustin Hoffman, Queen Latifah, Emma Thompson
Running Time: 1h 53min

Perhaps the most interesting concept in mainstream film this year, Stranger than Fiction has Ferrell playing the character in Thompson's newest novel, though he just recently has become aware of his status as fictional character. The idea is brilliant, much in the vein of Charlie Kaufman's crazy "plot within a plot" films like Adaptation, Being John Malkovich and Eternal Sunshine of the Spotless Mind.

Thankfully, the entire cast is up to the task of making the most mileage out of this quirky concept. Ferrell's crazed lunacy works wonders here, as his everyman abilities blend nicely with his penchant to spazz out in full improvisation mode. He equally carries the romantic, psychological, and comedic sub plots with ease, effortlessly engaging with his co-stars.

Gyllenhaal deftly handles another May-December romance, adding to her growing resume. She and Ferrell have a bizarre chemistry that you'd think you'd only find in a novel (or a film), further adding to the perplexity of the film's converging plot lines. She is sexy and charming, but believably drawn to Ferrell in way that's hard to explain, without the help of Hoffman's literary professor character.

Hoffman continues his career resurgence, as he is quickly morphing his history of brilliant leading man turns into stellar supporting roles that are upstaging his co-stars. Here he propels the film forward by guiding Ferrell's character arc and bridging the two major plots together. Hoffman demonstrates his comedic prowess in both physical and lyrical delivery, and is a treat to watch.

Finally, Thompson, who is normally one of my most hated screen foils for no reason other than she's the type of Brit that irritates me, rather than entices me, is quite charming as the writer of the entire piece. Thankfully, her screen time is limited, though she delivers well, much as she did in Love Actually.

This film has to be seen, possibly multiple times, to be fully appreciated. You will enjoy it on a multitude of levels.

Grade: A-

The Prestige

Directed by: Christopher Nolan
Starring: Hugh Jackman, Christian Bale, Scarlett Johansson, Michael Caine, Piper Perabo, David Bowie, Andy Serkis
Running Time: 2h 08min

It's always nice to see a director-actor duo collaborate in successive projects, espeically when they can be removed from the massive studio work situation that surrounds a film like Batman Begins, which is where we find Nolan and Bale, filling in time between Bat films. A subsequent pairing allows the director and actor to further their relationship and speak in a kind of shorthand, bringing their collaboration to new heights. Think of Scorcese-DeNiro and Scorcese-DiCaprio, or Spike Lee-Denzel Washington for examples of this.

The term relationship is key, as The Prestige centers around the relationships the characters have with each other and what is perceived as their connective tissue plays both within and beyond the film. The audience is placed in a very strategic position of both knower and seeker of knowledge, and like a good magic trick, it is what we perceive and expect that will equally guide us and trick us towards the final act, or what is referred to in magic circles, as "The Prestige".

Nolan's previous work (Memento, Following, Insomnia) has built upon his manipulation of audience engagement with film texts, and tweaking our sophisticated knowledge as viewers in such a way that our work as an audience helps propel the film as we are forced to guess, then second guess our preconcieved notions of where his films are headed. Without recognizing our intelligence as an audience, the film would have no place to go.

The psychology of Nolan's films are like that of a masterful storyteller, akin to Robertson Davies' Fifth Business set of novels. The make up and structure of the medium, whether it is writing or filmmaking, or magic tricks, is key to the enjoyment of the medium's content. We are well aware as we watch The Prestige, how the film unfolds in three acts, exactly as the magic pieces are described in the film. It is both a pleasure to behold on a story level, as well as a film level. Technically, it is parlaying exactly what it is being mystically told as the plot develops. This movie is a classic example why film schools exist.

Without giving too much away, this film is a pleasure on many levels, and worth subsequent viewings to fully appreciate and explore. The cast is perfect, as Bale and Jackman play two anti-heroes, whose sides we can easily assume or oppose, depending on how one reads the film and the characters' motives. Johansson plays a wonderful femme fatale, who we never can quite trust. Is she part of the illusion, or the only source of truth? Where does Caine's character's loyalties lie? His performance may perhaps be the best of the bunch, another testament to how prior work with a director leads to greater performances in their own ability to work in shorthand with each other.

If you can't tell by my tongue tied review, this film has volumes to speak about. Another thought provoking piece to add to Nolan's young but impressive resume.

Grade: A

Slither

Directed by: James Gunn
Starring: Nathan Fillion, Elizabeth Banks, Michael Rooker, Jenna Fischer
Running Time: 1h 35min

Nothing is more fun than settling down with a couple of friends to watch a B horror flick, filled with enough laughs, both intentional and unintentional, along with just enough plot and scariness that you remain involved. Slither does this to perfection, resurrecting a lost art that was beginning to die in a sea of horror films that take themselves too seriously, while seriously sucking up the screen.

Slither announces its awfulness right off the bat, when Rooker starts running around looking like a grotesque elephant man mixed with The Fly; yet when confronted about his appearance he casually says, "It's just a bee sting." Instant credibility and appreciation from this reviewer! The preposterous plot is played with full on dedication and seriousness by the leads, which adds to the pleasure of watching this one. There's no attempt to cleverly wink at the audience; just a knowledge that if they are watching this, they know just as well as the filmmakers that it is everything it is supposed to be.

The pleasant surprise of Slither wasn't the silly plot about an alien possessing a man so that he could procreate. Instead, it was a pleasant surprise that the action and suspense were good enough to warrant genuine fear and fright amongst the laughs. There is a bathtub scene, wisely used for the film's poster, that makes taking a bath akin to Psycho's effect on taking a shower. Even though it seems out of place in the film, it works along with the rest of it, and gives the viewer more than they expect from such a low budget film.

Slither is a definite renter and has me anxiously awaiting a sequel. This is to slug films what Chuckie is to possessed doll movies. A total guilty pleasure and sure to please B movie lovers.

Grade: B-

Nacho Libre

Directed By: Jared Hess
Starring: Jack Black, Ana de la Reguera, Héctor Jiménez
Running Time: 1h 32min

There are several types of comedies. There are the ones with good jokes, or good performances, or good premises. There are ones that are funny parodies or situationally funny. There are even the ones that are so stupid, they're funny. Sadly, Nacho Libre is none of these, and fails miserably as a comedy in any form.

Hess' follow-up to the unbelivably successful and quietly yet riotly hilarious Napolean Dynamite is perhaps a legendary bomb of a sophmore jinx. Never has such promise and buzz been squandered so quickly. Jack Black, single handed saviour and upstager of many a film sets his career three steps back as the lead character, a monk cook at an orphanage who moonlights as el matador, Mexican wrestler.

Relying on the odd and ridiculous, Hess tries to recapture the magic that made Napolean Dynamite quirky, yet lovable. However, Black's zaniness works best when the world around him is normal; but in this film his insanity is lost in the sea of ludicrous that populates the film. And none of it is funny. There's just a series of scenes where people get punched or hit or kicked or crushed and it's supposed to be funny. WWE is funnier than this, because they play it straight. This film goes for the laughs and ends up empty.

Perhaps the only funny thing is Jack Black's accent, but even that gets tired and annoying quickly. Avoid this film at all costs. In fact, watch Mexican wrestling instead. It has more drama, romance, and comedy than a thousand Nacho Libres combined.

Grade: D-

Inside Man

Directed by: Spike Lee
Starring: Denzel Washington, Clive Owen, Jodie Foster, Christopher Plummer, Willem Dafoe
Running Time: 2h 9min

Any Spike Lee/Denzel Washington collaboration is cause for celebration, as they always seem to bring out the best in each other. This time isn't any different, but what really surprises is how well the rest of the cast carries the film, making Washington almost seem like a bit player. Owen commands the screen as the master criminal matching wits with Washington's hostage negotiator. Foster is suave and smooth in a way Washington normally is, and Plummer has a quiet reserve and vulnerability that has made some of Washingtion's characters truly memorable.

It's great to see Spike removed from the political expectations that so many of his films convey, though this film does tackle a few race issues amongst the intrigue. In fact, Spike's casting prowess allows the film to be populated by a number of ethnic minorities, giving the film some added realism and tension, two elements this film has in spades.

The premise is simple, as Owen and friends enter a bank and proceed to take customers and staff hostage while the police waits outside. Owing a lot to Dog Day Afternoon (which is a good thing--that's one of my all time favourite films), this bank robbery gone bad is gripping and will leave you guessing right until the last frame. Spike crams each frame with intensity and the actors are more than game.

In typical Spike fashion, there are several layers to the film and the characters' motives are equally complex. He knows when to stylize the action and when to leave it raw. He pays just as much attention to dialogue heavy exchanges as he does to gunplay and smoke bombs. The result is a formulaic hostage film played out to perfection, with just enough twist and turns that everything feels fresh, exciting, and intense.

Inside Man is perhaps one of the best rentals of the year, and I eagerly await Spike and Denzel's next collaboration. This one is definitely for film fans and casual movie goers alike. I don't want to say too much in fear of giving anything away, but you won't be able to tear yourself away from this film.

Grade: A

The Wicker Man

Directed by: Neil LaBute
Starring: Nicolas Cage, Ellen Burstyn, Kate Beahan, Frances Conroy, Molly Parker, Leelee Sobieski
Running Time: 1h 37min

The wonderful thing about Nicolas Cage is that he throws himself into the role, good or bad, 100%. Which is exactly what a movie like this needs of its leading man, who is on screen almost the entire film. Therefore, if you're willing to watch Cage ham it up with reckless abandon in this remake of the 70s cult thriller, then you're in for an enjoyable experience.

Eerie in a way that movies now a day just aren't, The Wicker Man uses the most of all the production devices at its disposal. Sets and surroundings are surreally bizarre; the musical score is creepy and uncomfortable, and the costumes are unsettling and sometimes disturbing. It figures that a stage director like LaBute would find inspiration in all these cinematic devices, as they are equally, if not more important to the stage work world he comes from.

However, without the smoke and mirrors of the production crew, the plot is rather thin and develops at a snail's pace. In true seventies fashion, the film is more character driven and unconcerned about delivering a definitive beginning, middle and end story arc that wraps up nicely. It's more about Cage's character's journey and how he deals with the situations he finds himself in.

As the film progresses, the situations seem more and more bizarre, yet answers fail to come, and as an audience member it can prove to be frustrating. However, Cage's performance and LaBute's direction, propped up by a great supportive cast, compels you to watch it. The island Cage finds himself on, investigating a missing child, is just slightly unlike the rest of the world. The sense is that we're watching an Amish community based on the principles of a beehive. Burstyn's queen bee performance is every bit as powerful as her turn in Requiem for a Dream (why isn't this woman working more often?) and the supporting females are the most unlikely bunch of femme fatales yet every bit as menacing.

The film plods along and requires the audience's trust, as we are often as much in the dark as Cage is. The twist ending is a slight shock, but probably not as much as it was 30 years ago. Yet it was interesting enough to give this film a slight recommendation, though i do realize it isn't for everyone's taste, especially those who like their films quick and tidy.

Grade: B