Wanted

Directed by: Timur Bekmambetov
Starring: James McAvoy, Morgan Freeman, Angelina Jolie, Terence Stamp
Running Time: 1h 50min

Sold on the body of Jolie, and the style of The Matrix, Wanted offers little more than what you see in the overplayed trailers and TV commercials. Big on style and low on substance, this adaptation of a comic book series has a lot going for it, but fails to deliver, and is found wanting.

Snazzy special effects and hip, anti-corporate cool can only be sustained by a decent script, and are not sufficient enough on their own to make a good film. Trying too hard to be Fight Club meets The Matrix, in its use of narration and bullet time slow-mo, the movie comes off as an impostor of a good film. Wanted is the celluloid equivalent of Coke Zero. Bold, new packaging, claiming to be of equal taste, but when you get to it, it really doesn't measure up to the real thing it's claiming to be. Wanted tries so hard to craft a clever premise to go along with its dynamic special effects, however, it is too in love with itself that the story gets buried in the overuse of time altering slow motion effects.

Though Jolie and Freeman do their best to keep this thing afloat, they just can't give any dramatic power or substantial weight, when the film's lead McAvoy comes across as a little boy man who stumbled off the O.C. and into a sci-fi film. His face is one only a mother could love, and makes you wonder how it could co-exist in the same universe as Jolie's trim and sexy body, put into sexually suggestive positions straight out of a teenage boy's video game playing fantasy.

It happens all the time, but all the good bits are in the trailer. Jolie's fifteen or twenty odd screen minutes are the key to the advertising campaign, and those wicked shots are all that's worth watching in this film. Once you get the gist of the FX, they become tedious and boring, as there's nothing to back them up. The film tries so hard to be cool, so hard to be hip, that it's easy to dismiss it as anything but. Certainly, there's a lot to be interested in from this film, as there is some genuine excitement and eye candy. Perhaps a short film would have sufficed, because once it's over, it sure seems like overkill.

Grade: C+

The Incredible Hulk

Directed by: Louis Leterrier
Starring: Edward Norton, Liv Tyler, Tim Roth, William Hurt, Tim Blake Nelson
Running Time: 1h 54min

Revisiting a superhero franchise that had a false, yet interesting starting attempt in Ang Lee's The Hulk, it comes as a surprise that the big green monster would get another go around so soon. And, not being much of a fan of the character in the first place, i was pleasantly surprised with what was accomplished with The Incredible Hulk this time around.

Edward Norton has given us plenty of film work to suggest that he has a knack for selecting smart, thought provoking films. So, seeing him star as perhaps the dumbest character in comic books, whose claim to fame is the one liner, "Hulk Smash!", seemed like a serious mismatch. Thankfully, Norton does the smashing here, hammering out a winning performance and a clever script (Norton apparently had some say in the film's direction), resulting in a much more balanced film, that is realistically approached and rendered.

The idea of the Hulk, a mild mannered man whose rage causes him to lose control and hulk out, as it were, is a very interesting concept. However, i never cared for the comics that waited for that moment for Bruce Banner to turn green and wreak havoc and destruction. i did enjoy a storyline that had the "grey" Hulk remain highly intelligent whilst in the rage of the Hulk, and Norton's take on the green machine is more closely in tune with the Hulk that has his wits about him, even in the moment of rage.

Playing the character as an afflicted, intelligent man, desperately trying to control and solve his rage issues makes him much more relatable. Norton takes a long time before succumbing to the rage that gives him a super strength makeover, and the result of that wait and the emotional impact surrounding it plays out nicely. The fact that he seems somewhat aware of his actions and cleverly strategizes his movements pays off in a true sense realism and tragedy that the character needs.

As with other recent super hero success stories, the supporting cast is every bit as important as the lead, and this film's stars don't disappoint. Hurt is good as an old army man with a dark past, and Roth goes over the top with much fun and flavour to give the film a little bit of that comic book cartoonery. Tyler gets very little to work with, and spends much of her time screaming and looking on in horror, but she looks good doing it. You could have told me her part was played by Jennifer Connelly and i wouldn't have noticed.

For such a limited character who really only has one story to tell, this film does a great job nailing it. There really isn't any other direction to go with this beast who poses a threat to all the people he loves, and hopefully there isn't a sequel. That being said, this is an excellent installment in the Marvel series of films, and Norton and company should be proud of their ability to pull off what a talented director like Lee had some difficulty doing half a decade ago.

Grade: B+

Jumper

Directed by: Doug Liman
Starring: Hayden Christensen, Samuel L. Jackson, Diane Lane, Jamie Bell, Rachel Bilson, Michael Rooker
Running Time: 1h 28min

Jumper deserves to be much better than what this 88 minutes of wooden acting and flish flash mumble jumbo turns out to be. An intriguing power such as teleportation begs for a much more interesting script, and considering the script comes from the hands of the adaptor of Fight Club, which got the novel so right, one would expect a well developed, character driven, multi-layered approach to how a young teen would handle discovering he has this unbelievable power to transport himself anywhere on the planet.

Add to this, the fact that Jumper comes from the guy who brought us Swingers, The Bourne Identity franchise, and Mr. and Mrs. Smith, one would think this film would have a great balance of humour, action, and intense scenes. Perhaps the answer as to why this film fails so miserably is in the fact that there are two more listed screenwriters (one of which is responsible for Blade and the recent Batman revival), which is rarely a good sign.

Jumper starts off as a teen romance narrated by a snotty jerk. Which immediately makes the lead character unlikable. When it turns out that the lead character is played by Hayden Christensen, a low rate Ryan Phillippe, (who is approaching the 14th minute of his own 15 minutes of fame), it makes him all the more unlikeable. Eventually, an altercation straight out of the Tony Atlas sand kicking school of bullying, causes our hero to discover his powers. Yet unlike most superhero films, where the newly discovered powers are tested out amongst the hero's surroundings, we flash forward to a time where the lead is an even bigger jerk, and sadly, still loves his high school sweetie, who has grown up to be less interesting and less beautiful than she was, making the film even less believable, from a character standpoint.

Quickly, we learn that there are a group of hunters who seek out the jumpers and kill them in the name of God (an age old reason if there ever was one). Their leader is none other than Samuel L. Jackson, who could have used a little more Jules to his sinister Jumper hunter, and perhaps some hair dye for that ridiculous white hairdo of his. He looks like Chris Tucker's character from The Fifth Element after he reaches his fifties. Perhaps a little kookier swagger would have made his role more interesting. He tries to be a little Tommy Lee Jones in The Fugitive, to no avail.

What makes Jumper so disappointing is that there's a real interesting premise here that just gets no time to develop in its 88 minutes. It's like the film itself "jumped" through it's good parts. The effects used to portray the teleportation work well; not too flashy but not too simple. Still, we have seen it done well in The Matrix sequel and with Nightcrawler in X-Men. What is nicely established are "rules" for "jumping", which shows the thought that goes into this sci-fi kind of concept.

With word that there is a Jumper 2 in the works, it bodes well for a film franchise that has set the groundwork for future. Unfortunately, that foundation is as shaky as Japanese fault lines. There is so much promise that is not fulfilled in this first film. Hopefully in the sequel, the lead characters get killed and we're introduced to a greater battle between Jumpers and Jumper hunters, that uses a little more mystery and stealth and a lot less hokey love line plot threads. This film should be able to be summarized in a good three minutes at the start of Jumper 2, so avoid it now at all costs.

Grade: C-

Kung Fu Panda

Directed by: Mark Osborne and John Stevenson
Starring: Jack Black, Dustin Hoffman, Angelina Jolie, Ian McShane, Jackie Chan, Seth Rogen, Lucy Liu, David Cross, Randall Duk Kim, James Hong, Dan Fogler, Michael Clarke Duncan
Running Time: 1h 32min

The best animated feature since Ratatouille, Kung Fu Panda is original, exciting, funny and wonderfully animated, and deserves to sit amongst some of the best animated films of our time. This is high praise, and deservedly so, coming from a lover of animated kids' fare, and kung fu film fighting. Going in with high expectations, i was thrilled to leave having all those expectations met, and then some.

What made Ratatouille so good is also what makes Kung Fu Panda stand out from the pack. It is its own film. It isn't trying to spoof on other films, it isn't delving in pop culture references, and it's not succumbing to the tired old family film pattern. It's establishing new characters that aren't derivatives of older ones, excepting for the fact that it is sticking true to the Kung Fu film stock characters, with much respect to the genre. This film isn't poking fun at Kung Fu films, it is faithfully having some fun within the genre.

The story line is typical, in that a young panda named Po, unhappy with his plight in life, dreams of something bigger. He gets the chance and makes the most of it in a startling way that teaches us that "there are no accidents". He is bestowed with the title of Dragon Warrior and must fulfill his destiny. The storyline is very faithful to Kung Fu legends, and unfolds at an excellent pace for adults and kids. All the elements that make a great Kung Fu film are in place, as well as what makes for a great animated adventure. The melding of the two genres is marvelously mastered, as though the perfect combination of the two have joined forces in an unbeatable yin-yang harmony. By bridging the best of both film worlds, Kung Fu Panda has elevated both genres to new heights.

The voice work is well cast and superbly suited for the film. Black's voice is easier to take without his typical insanity, as it's easier to watch him do his shtick as a lovable panda, and not a middle aged man. The Furious Five all make the most of their screen time, which can be expected from the talented bunch that they are. But the real great voice work comes from Hoffman, channelling his inner David Carradine as the mentor Shifu, and Kim as the wise old turtle Oogway. Their exchanges really ground the film's Kung Fu angle, and allow the silliness to float around the Chinese wisdom that gives the film its gravity.

Much of the levity comes from the panda and his attempts at action. The animated fighting that ensues is fine martial arts, quite literally, as the animated format allows the audience to experience Kung Fu in a way like never before. The moves are straight out of a chop socky fight fest, but the angles are purely animated impossibility, making it quite awesome to behold. The tag line couldn't be more accurate: Prepare for Awesomeness!

Grade: A

Indiana Jones and the Kingdom of the Crystal Skull

Directed by: Steven Spielberg
Starring: Harrison Ford, Cate Blanchett, Karen Allen, Shia LaBeouf, Ray Winstone, John Hurt, Jim Broadbent
Running Time: 2h 04min

i fell asleep watching this, so as i get more of my memory of the movie back, i'll write more. As for now, it was a disappointment that couldn't keep me awake.

Grade: B-

Iron Man

Directed by: Jon Favreau
Starring: Robert Downey Jr., Terrence Howard, Jeff Bridges, Gwyneth Paltrow
Running Time: 2h 06min

Perfect casting has made a new slew of superhero films great beyond belief. A well cast role can give a film its pop, its flow, its rhythm. In Iron Man, Robert Downey Jr. is all this and more, as billionaire Tony Stark. He throws himself into the character, inhabiting all the facets that the role demands.

Iron Man has always been Marvel Comics' answer to DC's Batman. Like Bruce Wayne, Tony Stark is a rich playboy without mutant superpowers derived from a freak accident, (albeit with a gazillion dollars--much better than any chemical spill or radioactive spider bite). Unlike Wayne, Stark has a little less moral value, gaining vast wealth through the selling of weapons of mass destruction. When he is on business in the war zone, his own source of wealth almost costs him his life, and he is forced to construct a suit of armour that would put King Arthur to shame.

What ensues is a quick paced origin story that doesn't feel like a nostalgic retelling but rather an organic exploration and development of the natural life of Tony Stark. Downey's presence instantly makes Stark a complex character, and equally enjoyable both in, and out of the armour. His dialogue exchanges with supporting players Bridges, Paltrow and Howard are as exciting and exhilarating as the flight scenes, a testament to the Oscar worthy cast as much as it is to the directorial talents of Favreau, no stranger to slick dialogue himself.

The effects work to serve the story, but it is the actors that steal the show, perhaps more due to Favreau's strengths behind the camera. The film plows ahead with the speed of Downey's quick delivery, and doesn't let up. It has a drive equal to Stark's mechanical minded genius, and turns what is essentially a B-list superhero into one of the better superhero installments we've seen. Here's to an equally enticing sequel!

Grade: B+

Forgetting Sarah Marshall

Directed by: Nicholas Stoller

Starring: Jason Segel, Kristen Bell, Mila Kunis, Russell Brand, Bill Hader, Jonah Hill, Paul Rudd

Running Time: 1h 52min

Grade: B

What Happens in Vegas

Directed by: Tom Vaughan

Starring: Cameron Diaz, Ashton Kutcher, Dennis Farina, Queen Latifah

Running Time: 1h 39min

Grade: C

P.S. I Love You

Directed by: Richard LaGravenese
Starring: Hilary Swank, Gerard Butler, Lisa Kudrow, Gina Gershon, Kathy Bates, Harry Connick Jr., Jeffrey Dean Morgan
Running Time: 2h 6min

Creepy beyond belief, the words P.S. I Love You take on a whole new, ominous meaning in this film about a young woman whose deceased husband haunts her from the grave. Honestly, that's not the intention. In fact, the husband's messages delivered posthumously are intended to be romantic love letters from a thoughtful (really thoughtful, really, really thoughtful) and caring lover. Only, the film does a poor job establishing the relationship between Swank and Butler, which make these afterlife exchanges seem more like sadistic controlling behaviour rather than sweet eternal love.

If you can get over this aspect (i couldn't), then you may enjoy the humour and heartbreak that this film manages to balance equally. I have to commend the director, LaGravenese, for his ability to explore middle aged women in a complete and honest fashion. Swank's character comes off a little less interesting than Holly Hunter in one of my favourite films from LaGravenese, Living Out Loud. Indeed, it is LaGravenese's past success (he also wrote The Fisher King, another favourite of mine) which makes this film a bit of a disappointment.

LaGravenese's scripts have a genuine sense of humanity. His dialogue is very honest (see Harry Connick Jr.'s role) and realistic, and covers the gamut of emotions that we feel throughout each and every day of our lives. He situates his characters in real life moments that are drastically stressful and follows them through on those journeys. It is in these moments that we connect to his films and characters, and this film is no exception. There is some superb acting here, especially from the supporting cast. Bates is a standout, and frankly, the supporting players put the leads to shame.

This is where it all falls down. Neither of the leads is exceptionally likeable, and it makes it hard for us to care where they are headed. Both are funny at times, but not sympathetic. Swank comes off as whinny and self centered, and even when she has a right to be that way, it still resonates with annoyance. Butler's character is too inconsistent, being all things at all times. Perhaps this was intentional, as we often remember people the way we wanted them to be, rather than how they truly were. However, it makes his letters seem borderline psychotic, and as Swank dwells in their past instead of facing her future, she seems prone to bouts of insanity.

Maybe I'm being too harsh and unsympathetic to the enormity of the movie's premise. I did enjoy the flow of the film, but felt it was too uneven and dreamt up at times to recommend. There are some humorous bits, and on its own, the film is worth a rental. Yet, in relation to his previous efforts, P.S. I Love You is nothing but a post script to a more endearing film resume.

Grade: C+

Sweeney Todd: The Demon Barber of Fleet Street

Directed by: Tim Burton
Starring: Johnny Depp, Helena Bonham Carter, Alan Rickman, Timothy Spall, Sacha Baron Cohen
Running Time: 1h 56min

A match made in horror movie heaven, Sweeney Todd: The Demon Barber of Fleet Street, is perhaps the only stage musical that begs for Tim Burton to adapt itself to the big screen. It's hard to call it a risk for him to adapt such dark macabre material, but it is quite a stretch to enter musical territory, even if it is a merry serial killer who sings about the cesspool of London, literally grinding his corpses into a pulp.

So, given the daunting task and risk at hand, it's no wonder Burton called upon two of his most trusted actors, his longtime collaborator and star, Johnny Depp, and the love of his life, Helena Bonham Carter. However, this proved to be an even bigger risk, considering neither had any prior singing experience. Thankfully, and surprisingly, the risk paid off, as the two carry the film wonderfully, seamlessly slipping between dialogue and song. The trust needed to allow all three of these established Hollywood players to stretch their comfort zone must have propelled them to this new found height.

Having never seen the stage play myself, i cannot comment on its adaptation. i was greatly amused and tickled by the lyrical content, and the delivery by all the actors, both in facial expression and musical tone, as it made the mayhem all the merrier. It's odd to have such a demonic lead character straddle the line between hero and horror, but Depp continues what he started with his Captain Jack character that earned him Oscar attention. i would argue that Depp couldn't have done this film without the success of his swaggering rock 'n' roll inspired pirate role, as it requires a similar amount of likable menace. He's a little bit Edward Scissorhands with a Travis Bickle mindset.

Paired with Carter, the two make the oddest screen couple in some time, yet very believable, and steeped with emotional turmoil. All the supporting cast lend themselves memorably, carrying the tunes and the darkness throughout the film. Though the story and set design is extremely dark, there is a bizarrely funny quality to it all, which Burton allows to shine through at times in that lovingly way in which his entire oeuvre of work pays homage to classic horror films. Perhaps the most telling example of this unique combination is when Sacha Baron Cohen and Depp share a shaving showdown that showcases their vocal, comedic, and theatrical ability. The scene is equal parts funny, tense, and musically gifted.

Unlike the deluge of sunshiny, toe tapping smiley musicals we are in the midst of, Sweeney Todd offers us something quite different. A film that is enjoyable while it is repulsive, stylistically brilliant and complex, yet brutally primal and raw in emotional undertone. This is perhaps one of Burton, Depp, and Carter's finest to date. Enjoy, but try not to savour the taste, as it's a little too Soylent for most.

Grade: A-

The King of Kong: A Fistful of Quarters

Directed by: Seth Gordon
Starring: Steve Wiebe, Billy Mitchell, Walter Day
Running Time: 1h 19min

Filed under the category, you couldn't make this up, The King of Kong: A Fistful of Quarters is one of those documentaries that make you shake your head in wonder at the nature of humans and the way we are. What seems like a silly, fun premise, two men compete for the title of Donkey Kong champion, spirals out into an all out war of gorilla like proportions.

Reigning champ Billy Mitchell comes across as a self made man, embodying all that is the American Dream, capitalizing on his success in the eighties Pac Man craze to make a name for himself. With barrel loads of charisma and hot sauce, he wears the crown of Donkey Kong champ with much arrogance.

Which is why, when family man Steve Wiebe enters the picture, mailing in a (hilarious) video tape of his record beating score to the official record keeper Walter Day (who may be the most intriguing yet, bizarrely, the most grounded person in this documentary), it is very easy to root for Steve to beat Billy.

It's a testament to the filmmakers that they make this seem like a battle for the ages, but also keep it close and homey, by making the family man Steve feel like your next door neighbour. He really gets the more congenial treatment, though they do position him at times as a sad sack loser. His supportive family brings a number of laughs, in what is certainly not a laughing matter to them in real life.

Billy, on the other hand, gets positioned as the bully. The villain of the film, either through an honest lens or clever editing, he seems impersonal, despite his success and circuit of friends. In true sports dramatic fashion, we are treated to a showdown that is built up to mega proportions. It's almost a shock to eventually see how casually these video game events occur nowadays versus what it was like in the eighties hay day. However, it's the excitement in the hangers-on, the "crowd" as it were, that adds the interest that seems to be missing from Steve's own family.

Nicely paced, The King of Kong is one of the better documentaries i've seen in some time. The drama is brought forth with some humour, but also some sadness, and if you aren't captivated right until the final frame, then you must be a simian. There is no shame in dropping some quarters on this one.

Grade: B+

No Country for Old Men

Directed by: Ethan Coen and Joel Coen
Starring: Tommy Lee Jones, Javier Bardem, Josh Brolin, Woody Harrelson, Kelly Macdonald, Garret Dillahunt
Running Time: 2h 02min

The Coen Brothers don't seem to make films for audiences, they make films for themselves. How else can one explain how often they buck the current trend or opt for material that isn't fashionable at the time? Trendsetting, rather than following, No Country for Old Men is deserving of its Best Picture of the Year academy award. Just don't expect Forrest Gump.

Brolin turns in another fine performance, adding to what is a breakthrough year for him (excellent in American Gangster as well--not to take anything away from Harrelson's great year either). He plays an everyman cowboy, who stumbles upon the remains of a shootout, complete with dead bodies and a bag load of cash. What then starts to snowball is a very realistic, complex, and nail biting string of decisions that may or may not pan out for our anti-hero. Brolin is a decent man, not without his faults, who does what any of us would do. When he takes the money and runs, he oddly becomes someone to root for.

Why root for a guy who takes money that doesn't belong to him? Because if you see the guy who's hot on his heels, played by Bardem, a psychotic in every sense of the word, you know that Brolin's decisions can mean life or death. Cue the tense music.

Wait a minute. There isn't any music. Unlike the myriad of teen movies and pathetic romantic comedies, which use modern pop tunes as a substitute for driving the film's pace forward, No Country for Old Men needs only the fine actors and the exquisite scenery to tell its tale. The absence of music establishes an eerie, serene beauty, in contrast to the bloody situations these men find themselves in.

It takes a lot of directorial style and confidence to forego music and keep modern audiences riveted. Not since Butch Cassidy and the Sundance Kid has such little music resulted in so much mood. The Coens keep our eyes glued and our hearts beating through the staging of the lens, the intercutting of the actors, and the performances of the leads. Perhaps underappreciated is the support of MacDonald, as Brolin's girlfriend, and Tommy Lee Jones, in a role made for him.

Indeed, it is Jones' small town country sheriff that lends the film a quietness and beauty, as he reflects on all he's seen with barely an iota of urgency, in contrast to the two counterparts lusting after the money. His low key monologues give the film a poignancy and flavour that is characteristic of Coen films. Funny, irreverent, yet completely captivating.

Grade: A-

I Am Legend

Directed by: Francis Lawrence
Starring: Will Smith, Alice Braga, Charlie Tahan, Salli Richardson, Willow Smith
Running Time: 1h 41min

Genuinely scary, with equal parts humour and horror. I Am Legend does an excellent job setting up its scenario, with an eerily quiet beginning of Will Smith travelling around an urban New York jungle, interspersed with flashbacks of Smith and his family before the catastrophic event that left him the sole survivor of his surroundings. An atmospheric mood permeates throughout the beginning, giving the audience great payoffs on account of the tone set forth.

Smith has said he wants to star in genre defying films, which show his acting strengths as a comedian, a romantic lead, and a dramatic Oscar contender. He valiantly tries for all three of these, and does succeed in striking a balance. Unfortunately, genre bending has its difficulties, and the creepy psychological horror that unsettles the viewer so well in the first half, gives way to more conventional action horror zombie type flick. Pairing the two makes a lot of sense, as each has a piece of the other. The question that remains is which genre to end it in? Choosing one style of finale over another is sure to polarize audiences. The path chosen this time around will certainly divide viewers, but should prove satisfying.

It is quite a feat for an actor to carry a film all on their own, and surprisingly, Smith is up to the task. Like Hanks in Castaway, Smith manages to wrap us in, as he speaks his thoughts aloud, sometimes to himself, and sometimes to his faithful canine companion. These exchanges make the zombies seem even less human, as they shriek and shuffle their way towards our hero. It's always a conceit in zombie films as to how super or subhuman to make the zombie. Do they have super strength, but no brains? Are they evolving at a rate that shows rapidly increasing intelligence, with equally quick foot speed? The zombies in I Am Legend are some of the better incarnations of the genre, even if they do seem plucked from a video game.

Overall, I Am Legend is a solid, cinematic experience. Smith has attached himself to another project that is sure to satisfy and entertain his growing fan following. He is establishing a certain kind of quality to his films, even if he is a bit delusional about this film's dramatic punch. As a genre piece, it is of the highest calibre. As a pivotal piece of film making, worthy of Oscar status, it is certainly not the stuff of Legend.

Grade: B+

Mr. Magorium's Wonder Emporium

Directed by: Zach Helm
Starring: Natalie Portman, Zach Mills, Dustin Hoffman, Jason Bateman
Running Time: 1h 33min

Marketed as a children's film, stylized like a Willy Wonky wannabe, Mr. Magorium's Wonder Emporium does have a lot of heart and magic to offer its audience, if only it could decide on just exactly who that audience is.

Hoffman plays the titular role of an old crazy coot who owns a magical toy store, employing the youthful and whimsical Portman since high school, and welcoming an odd, borderline autistic child, played by Mills, each day. Mr. Magorium (a name simply created just so it could rhyme with emporium) is ready to pass the store onto his protege, much to her chagrin and disbelief.

The theme surrounding never growing up and refusing to face the harsh realities of this world by trusting in the magical and surreal is about all this film shares with the world of Willy Wonka. It lacks the humour of Dahl's stories, though it tries desperately to be funny. Hoffman comes off as more of a creepy codger close to dementia, than a fantastical purveyor of magic and wonderment. His choice of body language and voice, normally so spot on in every film role he chooses, just seems discomforting to both he and the audience.

Mills, as the precocious boy who somehow has greater privileges and responsibilities at the store, and apparently an absentee mother who exists solely as a disciplinarian, devoid of any love for her child, is both irritating and grating. His line delivery is so sad, his earnestness so sickening, that if i were a young person watching this film, i would totally disengage, as i would not wish for him to be the conduit with whom i interpret the film.

Rather, it is Portman and Bateman's characters who steal the show, making the aforementioned characters seem more like window dressing. Both actors continue to prove that they can do no wrong, excelling in both great films (Closer and Juno, respectfully) and even poor films (Star Wars and The Ex, regrettably). They have an odd sort of chemistry that suits the film's direction perfectly, and they truly inhabit the dilemma we have, growing old and losing that part of us that lets us believe in magic and the unexplainable. With Portman's character, that crux is tied to believing in oneself, and in conjunction with Bateman's plot line, explores how we tend to lose ourselves in our daily lives, forgetting what life was once like when we were kids.

This message is wonderfully relayed, with just enough sentiment and conflict, that most adults will be hard pressed to not feel warm and fuzzy after viewing this film. Which brings me back to my original point. Had this film been marketed for adults, it surely would have failed, as it's subject matter would come across as too light and fluffy to attract serious moviegoers. However, as a kids film, it just doesn't entertain enough. Sure, there's a ridiculous amount of pratfalls and runaway animals attacking people, but these scenes seem hokey and forced amongst the real heart of the film. A heart which 10 year olds just won't quite understand, as they are the exact embodiment of what the film wishes we could all yearn for, that child like wonder in our grown up years. By shooting for all things, Mr. Magorium really misses the mark, even if it has a wonderful core we can all root for.

Grade: C+

Horton Hears a Who

Directed by: Jimmy Hayward and Steve Martino
Starring: Jim Carrey, Steve Carell, Carol Burnett, Will Arnett, Seth Rogen, Dan Fogler, Isla Fisher, Jonah Hill, Amy Poehler, Jaime Pressly
Running Time: 1h 28min

The nice thing about the explosion of animated films in the mid 90s was the permanent focus by several studios on establishing ongoing animation excellence. No longer would Disney be the sole provider of animated entertainment, with Dreamworks having some great initial success and 20th Century Fox continuing to put some serious effort (and cash) into their own projects, with limited success.

Thankfully, Fox finally had some smash hits with its Ice Age series, paving the way for this month's release of Horton Hears a Who. The reason i say thankfully, is that Fox has taken great care of its animation properties, foregoing an attempt to steal (and therefore, mimic) Disney's market share, but rather establish a more mature approach to its animated ouevre (its initial release of Anastasia, for example). The result is an excellent adaptation of the Dr. Seuss property, faithfully recreated to appeal to children of all ages, meaning the 2-102 year old appeal of the Seuss audience.

Horton Hears a Who captures the Seuss world and drawings rather spectacularly, turning the 2-D weirdness into a 3-D wonder world. Less concerned with realistic detail (leave that to PIXAR), the movie pops with storybook colour and clean lines. Carrey has fun inhabiting Horton, who's discovery of an entire town of Whos, living on a speck of dust, causes him to raise the ire of a crabby Kangaroo, voiced wonderfully wicked by the legendary Carol Burnett. Her uncomparable pipes make us believe a personality like Carrey, in the guise of an elephant, would truly be frightened by this killer kangeroo.

The rest of the voice cast is a veritable who's who of current comedic talent, and they all manage to give great performances, without being characatures, just ready to wear out their welcome (i'm talking about you, the entire cast of Shrek!). Carell's voicing of the Mayor of Whoville is brilliant casting, as he brings a sadness that has been his hallmark of his surging career, while reacting hilariously to the catastrophic events around him. The peaceful life of Whoville, previously a speck of dust nestled in a cave, is now in danger of destruction, blown out into the big wide open.

Which brings us to the layered morals embedded in the Seuss story, that lie nicely beneath the surface of all the imagery (and marketing) of this movie. Without pounding us over the head (in fact, some children probably won't even realize the message until they're much older--as with most great Seussian works) the film teaches us that speaking up for what you believe in is never wrong, even if it can seem daunting and difficult. It also tells us that there are strength in numbers, and that every voice counts, no matter how big or small, and that collectively we can make a difference. Thirdly, it warns us that we must open up our eyes to the greater problems that face us, because losing ourselves in the present distractions of entertainment and fun may be great now, but it won't save us in the end, a rather timely message considering our environmental obligations to ensure our planet's future survival.

All these messages are present in the film, without losing any magic or visual appeal for kids. There's even an arguement for a higher power, if the religous philosopher wanted to examine the story, as the Mayor tries to convince the people of Whoville that there really is a great big elephant in the sky. Oh, and by the way, he's invisible, so don't bother looking for proof. It gives new, literal meaning to the old adage, talking around the 1,000 pound elephant in the room.

Like said elephant, this film can't be ignored. It is a colossul money machine, that is sure to stuff Fox's coffers for future animated fare, and quite possibly more Seuss adaptations. Which is fine by me, if they continue to keep the fantastic vision, the simple beauty, and the witty writing that is loved by all who have grown up with Dr. Seuss. This is a Seussian success!

Grade: B+

Semi-Pro

Directed by: Kent Alterman
Starring: Will Ferrell, Woody Harrelson, André Benjamin, Maura Tierney, Will Arnett, Andy Richter, David Koechner
Running Time: 1h 30min

Definitely not an Anchorman, nor a Ricky Bobby, and not even of Dodgeball quality or laughs, Semi-Pro is still a bit of 70s fun, basketball nostalgia, and profanity. And, of course, plenty of Will Ferrell in weird costumes doing insane things. i hope that one day Ferrell receives a lifetime achievement award, just so we can see the 3 minute film clip retrospective. Imagine the outrageous costumes and hilarious blow ups packed into those three minutes.

Unfortunately, these moments can't sustain an hour and a half, as this movie shows. There isn't as much Will Ferrell in this movie as the previews would like you to believe. He's in it about as much as he's in Old School, with only about a tenth the laughs. Which is still pretty funny, just not pee your pants funny. Still, there are plenty of Ferrell type moments, quick ad libs, over the top emotional reactions, and straight faced shenanigans to please most Ferrell fans.

What there is a lot of, which i didn't expect based on the trailer for the movie, is a lot of sports movie moments. This is truly more of a sports film than a comedy. The storyline pokes fun at the "this final game means the world to us and we have to pull it out against insurmountable odds" yet maintains an emotional core so you care enough about it all to stick with it to the end. Surprisingly, Harrelson is the centerpiece for the movie's emotinal punch, reminding us how adept he is at both comedy and drama (don't forget his performances in both Kingpin AND The People vs. Larry Flint). It's a shame that Harrelson's personal progressively environmental politics seemed to limit his roles in the past, as he is such a talented actor. Strangely, he doesn't garner many laughs in this film, leaving the comedic moments to Ferrell and friends.

There are quite a number of Ferrell's regular co-stars in this film, though most of them aren't as funny as they are in previous outings. It's a strange balance struck, between sports drama and sports parody, and it appears as though a little less improvisation was utilized in comparison to films that Ferrell penned himself. One can't expect a home run every time a Ferrell movie comes out, but it's nice to get our fix of Will until he comes through with one of his classics. Semi-Pro is more like one of the filler films they stick in a box set that contains one hit and a few misses. Good enough to justify the purchase, but not a selling point on its own.

Grade: B-

American Gangster

Directed by: Ridley Scott
Starring: Denzel Washington, Russell Crowe, Chiwetel Ejiofor, Josh Brolin
Running Time: 2h 37min

An engaging and titillating gangster flick that tries whole heartedly to enshrine itself amongst the gangster elite, like Scarface, The Godfather, and more recently, Blow. Only time will tell whether or not it succeeds, but i'm betting on this true story of Frank Lucas to deservedly rest upon the same shelf as those gangster classics.

What's extremely interesting about American Gangster is that it really has two stories to tell. One is of the titular antihero, Frank Lucas, a self made millionaire from the late 60s, early 70s, who ran Harlem through his imported, potent brand of heroin. Washington plays him with some charisma, yet also much menace, delivering a scary yet dutifully controlled performance.

The other story centres itself around Crowe's cop character, a real boy scout who personifies what a good cop should be, even if he can't get his own life together for the sake of his family. For one, it's all about the job. For the other, it's about balancing family obligations and the business. For us, it's two and a half hours of dynamite entertainment.

Though there are no real highs or lows, or "you gotta see this" moments, director Ridley Scott has crafted a great gangster film, that doesn't take sides so much as it tries its best to present things as they were. Crowe and Washington give superb performances, making you wish they'd brought this to the decade old Virtuosity. The two share little screen time together, but much like Pacino and De Niro in Heat, their combined star power may have melted the screen if they weren't allowed to burn so brightly within their own scenes.

Thankfully, brother Ridley Scott hasn't succumbed to the stylistic tendencies of brother Tony, making this film seem like an honest to goodness throwback to the films of the era it is set in. French Connection and Serpico vibes are felt throughout, and it only adds to the grit and seediness of the film. It's almost unbelievable that this is based on a true story, as these two people seem like archetypes found only in the movies. No better pair of an antagonist and protagonist could a screenwriter dream up.

Scott has to be applauded for guiding these two story lines deftly, with little wasted energy or film. Had one side of the story been chosen to follow more closely, we would have been asking for more of the other side. Instead, it's perfectly balanced, never stoops to sensationalizing the violence or drugs, and keeps family and relationships at the centre of it all. American Gangster is a film that will be remembered for a long time.

Grade: B+

Gone Baby Gone

Directed by: Ben Affleck
Starring: Casey Affleck, Michelle Monaghan, Morgan Freeman, Ed Harris, John Ashton, Amy Ryan
Running Time: 1h 54min

From the person who brought you Gigli, Armageddon, and Pearl Harbour, comes a surprisingly good film, that has more emotional impact that those three aforementioned films combined.

Gone Baby Gone takes place in Affleck's hometown of Boston, and he allows the setting to breathe it's way into the film, situating the plot of a missing child in a neighbourhood that protects each other's secrets. Ben's younger brother Casey and Monaghan play young private investigators for hire, who try to assist the police in areas where police aren't welcome. This allows for some action sequences that remain suspenseful and tense, because you know the cops won't be barging in seconds later to save their bacon.

Casey's teenage boy appearance lends itself well to the character, as he is often misjudged or prejudged based on his innocence. He plays his role well, as he come across believable when he has to play tough, yet remains sensitive in his search for the young missing girl. Freeman and Harris continue to show why they are the best supporting actors money can buy, giving their characters every shade of grey needed to be full, rounded out characters, straight out of a novel.

Indeed, it is Gone Baby Gone's source material that really drives this film. From the same author that Mystic River was based on (one of Clint Eastwood's finer films), also set in Boston, Affleck has chosen wisely to adapt this for his directorial debut. It has a lot going for it, and all one can hope for is to not screw it up. It is a pleasant surprise to see how well Affleck captures the moral dilemma at the centre of the book, when he could very easily made a sensationalistic film about a missing child, necessitating chase scene after ransom call after parental meltdown.

Rather, Affleck turns up the emotional dial, allowing us to feel the characters' pain, angst, passion, fear and loneliness. Using Casey as the conduit, we are immersed in the story on a very personal, emotional level. One could argue that Affleck could not have made this film a few years ago, before he became a father. At this stage in his life, he truly understands the horrible crux which hovers over this film like a darkening seaside cloud. He pushes aside all the media portrayals of missing children, and gets to the heart of a parent's most horrendous fear, while asking us to ponder, is there something worse?

Dark, disturbing, yet never contrived, Gone Baby Gone is a stunningly good film, succeeding on several levels. A great cast giving their all for a new director, presenting a frighteningly perplexing story with a lot of love for the content and the setting. You will not be disappointed.

Grade: B+

The Darjeeling Limited

Directed by: Wes Anderson
Starring: Owen Wilson, Adrien Brody, Jason Schwartzman, Bill Murray, Anjelica Huston
Running Time: 1h 31min

Anderson returns with yet another meticulously designed film, this time set in India, starring a few of his favourites, joined by Adrien Brody, who fits in well with Anderson's quirky cast and script.

Strange is not quite the word for Anderson's films, as they are immensely inviting and delightful to watch. There's just something un-Hollywood about them, without losing any of the production values. Rather, one could argue that there is a timeless quality to his films that surpass most Hollywood fare, as his directorial canvas is not merely splashed with Hollywood magic and glamour, but more hand crafted, ornate and detailed to a degree unheard of in the facade of Tinseltown.

Which is what Anderson does, and with The Darjeeling Limited, continues to do wonderfully. He pulls back the facade that families have and gets to the truth beneath it all. This film, focused on three brothers taking a spiritual journey through India to meet with their mother, who was absent at their father's funeral, is all about peeling back the layers and finding the peace beneath.

At first, the three brothers distrust each other, revealing little by little, their own personal problems, mostly centered on their own relationships, independently, as well as with each other. Wilson's character drives the film, hoping for this magical spiritual journey to heal them of their wounds. This manifests itself physically for Wilson, as his head is bandaged from a motorcycle accident. Brody perfects Anderson's familiar stone faced stare that populates many of his films, suggesting an inner confusion and fear of an inescapable impending future. Schwartzman's character gets a little more back story, through a short film preceding the movie, which allows us to connect with him a little quicker as the three travel by train through India.

Filled with metaphoric images and dialogue with double meaning, the film chugs along like an Orwellian short story, slowly developing the characters and their connection, while painting beautiful pictures of India with scenic shots and amusing happenings that undermine Wilson's quest for spiritual renewal. The film manages to deromanticise India, while evoking a wonder for the country and its gifts. It is almost uncertain what it is that these three hope to find, though it is a given that they will definitely be changed by their adventure.

Though not nearly as funny as Anderson's previous films, The Royal Tenenbaums, The Life Aquatic, and Rushmore, The Darjeeling Limited includes much of the same style, with a mood setting soundtrack and a spectacular lens for the spiritual and emotional beauty of the locale. It tackles themes similar to his prior work, family bonding and forgiveness, yet it seems to have a greater philosophical air, buoyed by the mysticism we imbue the Eastern continents with. As with all of Anderson's work, you will be immersed in the journey, and equally captivated and perplexed by the outcome. Sit back and enjoy the ride.

Grade: A-

We Own the Night

Directed by: James Gray
Starring: Joaquin Phoenix, Eva Mendes, Mark Wahlberg, Robert Duvall, Alex Veadov
Running Time: 1h 57min

We Own the Night is a rather traditional cop/crook drama, with a nice family twist to it all. Phoenix plays one of Duvall's sons, the prodigal one that got into the fast life of party scenes, drugs and nightclubs. He feels equally at home with the scene's elder statesmen and is as much a part of their family than he is his own. Wahlberg plays his brother, who follows their father's footsteps in the police department, making Phoenix's lifestyle seem like a blight on the family.

When the squeeze comes down on the nightclub revelers, it puts all family members in a compromisable position. Loyalties are questioned, tested and betrayed and well played by the cast. Phoenix and Wahlberg can play explosive with ease, but their ability to play tenderness as well makes this film rise above its obviousness. Mendes also gets to play more than eye candy, but is better at conveying deliciousness than seriousness. Duvall is his usual good self.

Another factor that puts this film above the regular cop fare is how the director plays with sound and perspective during the action scenes. The usual shootouts have stylistic flavour, opting for a realistic POV of one character over the typical gunfire. By blocking out sound or forcing the camera to take a disoriented perspective, it makes the action seem more real, which really ups the consequences and ramifications the violence has on the family at the centre of the action. Without this interesting directorial take and the solid acting, We Own the Night would be very run of the mill, a Goodfellas wannabe. However, it makes a place for itself in the cop genre and is worth a rental.

Grade: B-