The Best and Worst Films of 2008

What a year 2008 shaped up to be in the world of movie making. This was perhaps the first time i've ever had the top 5 films nailed down by the mid point of the year, as nothing was going to change my love for these films. In fact, they quickly became the first 5 Blu-ray discs purchased in my household, confirming and reconfirming their greatness through the excellent visual display and the informative extras included on the discs. Three of the films i actually saw more than once in their theatrical release, as they were even better the second time around than what the other screens had to offer.

The only trick was narrowing down the final 5 films of the year, culled mostly from 2007 carry overs that i was able to catch on DVD. Perhaps it is this inability to catch flicks in their most fantastic format (the big screen) which skews my perception from time to time. In 2008, i saw nearly half as many movies (39) as in 2007 (61), and that still includes TMN premieres and DVD releases. However, the films of 2008 seemed so much better than the year prior, maybe due to the results of quality over quantity. Believe me, i still saw my share of sad sack films (the hazards of having a toddler susceptible to persistent advertising and a complete lack of any imagination in most studio attempts at children's films). Granted, if it weren't for the small fry, i probably would have missed out on some of the best 2008 had to offer. And with that being said,

The Top 10 Movies of 2008 are...

10. Juno

The little indie that could for 2007 (one of the first i saw in a theatre in 2008), Juno got a lot of praise and Oscar attention, as the independent entry with all the critical push behind it. Often times, these types of films are overblown, over hyped, and overpraised just so the movie going mass will actually go and see them. By the time they come out on video, the hype has reached such gigantic proportions, that the usual response from renters is, "Mmah, I don't know what all the hype was about. It was good, but not that good." Well, Juno was, and is, that good. Not just for getting the teen dialogue (somewhat) right (I credit Page's delivery over Diablo Cody's script--which gets a little too precious at times), but for tackling some very big moral issues at the level at which it happens, to a small town girl and her immediate friends and family. The supporting cast brings a lot, but Page's performance is a real tour de force.

9. The King of Kong: A Fistful of Quarters

Funny, irreverent, unbelievably bizarre, in one of those "you can't make this stuff up" kind of ways, The King of Kong is a documentary about the world record for the arcade version of Donkey Kong. The "players" are set up wonderfully as if they were wee Mario the plumber and King Kong himself. The challenger practices in his garage while his child screams from inside, and the reigning champion goes about his celebrity filled life, like he's King of his castle. What lends credence to this chase of an 80s record is the number of people hung up and impacted by the chase of the record itself, from the self-proclaimed referee to the entourage of geeks that follow the King and his record, to the family that supports the challenger, this is a human interest story told as a David vs. Goliath tale. If you never could care less before, after a few minutes spent in this record obsessed world, you'll be rooting for the little guy in no time!

8. Once

Even quieter than Juno, Once is what real independent film making is about. Non-actors, getting their roles for their musical abilities, end up making sweet music and an even sweeter film. The power of song propels these two strangers to confront their own fears, doubts and desires. Made with barely any budget at all, it's the love of a simple tune, sung with such heart that breathes so much life into this tale that you can't help but be uplifted. To watch these two on their journey is to spend some time with the street busker and flower peddler, as their dreams become our dreams. Nothing was more pleasurable than watching these two accept their Oscars at last year's ceremony for giving us the gift of their song.

7. Shoot 'em Up

My, oh-too-brief review of this film (click on the film titles to go to the original reviews) really says it all. As superlative as a review can get, this silly, appropriately named Shoot 'em up, takes the begging to be spoofed action genre and catapults it to the most ridiculous extremes imaginable. Even the stars are superlative, with Clive Owen's coolness so profound he makes carrots look carnal and evil. Not to be out done, Monica Bellucci brings the role of brunette bombshell to new heights, and Paul Giamatti makes all other screen villains seem like the Purple Pie Man by comparison. Once you've committed to going along for this ride, you won't be disappointed by the extremes they will go to surprise and shock you. You'll be too busy laughing to care how preposterous it all is. Check your brain at the door.

6. Sweeney Todd: The Demon Barber of Fleet Street

Lush in production design, lavish in costume, and larcenous in acting talent, it's amazing that this Tim Burton musical didn't sweep up more Oscar gold, however, given it's serial killer subject matter, i'm amazed it got the attention it did. All the leads do not disappoint, but even more so, their singing is quite well suited for the score. Sacha Baron Cohen is especially good, stealing his scene from Depp, being part Bugs Bunny from the Rabbit of Seville and part Ricky Bobby villain, Jean Girard. This may not be for everyone's tastes, but if your tastes tend to be tailored to the darker side of things, this is a tasty delight to be savoured. Definitely better than the best pies in London.

5. Iron Man

This super hero flick has all the right things going for it. Spot on casting by director Favreau placed some of the most talented (yet underrated) actors in a summer F/X film and allowed them to do some of their best work. Jeff Bridges, Terrence Howard, and Robert Downey Jr. are all superb, and they even manage to make Gwenyth Paltrow come across as sweet and charming. Unafraid to shy away from what makes Iron Man a flawed superhero, Favreau gives us a super hero film that is fun, dangerous, and unexpected. Perhaps the best super hero movie this year. Or is it?

4. Tropic Thunder

Director/writer/actor Ben Stiller went out on a limb, once again, creating what very easily could have been a career killing comedy. Instead, his lampooning of Hollywood from his insider angle, actually gave us a war film that we wanted to watch this year. Like Zoolander and The Cable Guy, Stiller's risks can easily spell disaster, or comedic gold. In Tropic Thunder, there's more gold than ever, supplied by some of the most unlikely sources. Jack Black channelling Farley and Belushi. Obscenely funny. Best Tom Cruise cameo since Magnolia. Hilariously obscene. But the coup d'etat has to be Robert Downey Jr.'s OTHER career performance of the summer (even more fun than he was in Iron Man) as an Auzzie actor (think Russell Crowe) so method that he undergoes skin pigment surgery to play a Black man. What could surely have set cinema back about a century, instead gives us the best comedic performance of any actor in this century. Downright, gut wrenchingly hilarious, without seeming obscene. A must see if there ever was. That's why it's in our Blu-ray collection, and it's true, Kirk Lazarus doesn't break character until AFTER the DVD commentary.

3. WALL-E

At first watch, I actually wasn't all that impressed. I was expecting a more riotous, fun and silly time from PIXAR, much like they accomplished with movies like Toy Story and Monsters, Inc. Instead, this is a film not unlike Finding Nemo, and not surprisingly, from the same director. Similar in tone and scope, WALL-E takes us into a bleak future of an abandoned Earth, sole for the cleaning operative of the titular robot. His daily life passes by like any other, until he meets his technological counterpart, EVE, sent to search for life on other planets. The story seems simple, a love story on the surface, but the precision and execution is anything but simple. What PIXAR achieves is a near silent movie masterpiece, that delights and enthralls anyone from 2 to 102. The animation is spectacular, the minimal cast extremely effective, as is the wizardry of the sound and direction. This may just be the best animated film of the year. Or is it?

2. The Dark Knight

All the reviews that are calling this "the greatest super hero movie ever made" are really doing The Dark Knight a disservice. It is getting pigeon holed as the best of a genre, when in fact, it is perhaps the best of a medium. Dark and brooding, complex and compelling, director Christopher Nolan recreates every aspect of what makes the comic book franchise so superior to its peers. The film marries the best of the comic book lore (no better villains, and subsequently, performances, can compare to the film's Joker and Two-Face) with Nolan's own gift for subtlety layering his films with moralistic dilemmas and psychological underpinnings. The talent involved cannot be understated (Oldman, Freeman, Caine play supporting roles that show you why they are Hall of Famers if there ever were any) yet the Bat remains central to it all, and Bale does fine giving us both sides of the Batman/Bruce Wayne character. Each act brings dramatic tension, superbly shot action, and intense moments that seem relevant to our world, while firmly placed in the mythical fabled city of Gotham. So beautiful, it makes me want to cry, because I can't imagine it getting any better than this. A tough act to follow. Or to beat, for that matter. Which brings us to...

The number one film of 2008 is...

1. Kung Fu Panda

WHAT!?!?, you say? A cartoon about a panda who does kung fu? Number one film? Better than The Dark Knight? Don't knock it, until you've tried it. Though it may not be cinematically better than The Dark Knight, Kung Fu Panda, for all intents and purposes, is my favourite film of 2008. Remember, this is MY list. And i love Kung Fu. And i love to be surprised. And each and every time i sit down and watch this with my wife and daughter, i am continually surprised at just how good it is. How the animated characters actually mimic the kung fu styles they are created after (or is that the other way around?). How awesome the awesomeness is of the awesome action scenes. How the gags and one liners manage a chuckle each time i hear them, not unlike the best Zucker-Abrahams-Zucker films. But most importantly, i am amazed at how faithful the film is to a classic Kung Fu storyline, complete with every element of the genre, yet in an animated form that allows for the fighting to be just that much more awesome. Sure, many of the other films on this list may appeal to others more, have more prestige or credibility. But for me, the most rewatchable, the most entertaining, and the most wonderfully surprising film for my entire family this year, without a doubt, is the Kung Fu Bear. Best animated film. Best film period.

Honourable mentions: The Darjeeling Limited, Balls of Fury, American Gangster, Horton Hears a Who, No Country for Old Men, Madagascar 2: Escape to Africa, Gone Baby Gone, I Am Legend, Forgetting Sarah Marshall, The Incredible Hulk, The X-Files: I Want to Believe, Journey to the Center of the Earth and Bolt (both in 3-D). All worth renting.

And now, the 5 Worst movies of 2008 are...

5. Indiana Jones and the Kingdom of the Crystal Skull

The exact opposite of Kung Fu Panda, this film was a total letdown, an event that failed to be eventful, a franchise that failed to deliver on the franchise's promise. A movie sequel so anticipated and anxiously awaited that it was the biggest disappointment since the second coming of Star Wars. At least Harrison Ford wasn't involved in that Lucas fiasco. Shame on you, Ford, for allowing Lucas (and Spielburg for that matter) to trash yet another beloved treasure from our collective childhood, to the point where we don't even care anymore. Hell, i wouldn't have minded if they just cast LaBeouf as Indy himself and went in a new direction. At least my expectations wouldn't have been crushed.

4. Wanted

A film that wanted to be so cool, that you could almost hear the cool points being counted. Or was that the seconds ticking by, as "bullet-time" after "bullet-time" from the Matrix was revisited in Fight Club wanna-be narration, while sucking the life out of the fine pairing of Jolie and Freeman. Maybe with a better leading man, or a less earnest desire to be liked, Wanted could have succeeded in delivering on the promise of its trailer. Instead, it was more like Sally Field's bridesmaid, reminding us of the films we liked, we really, really liked, better than this one.

3. Beverly Hills Chihuahua

So, two unexpected disappointments that looked promising in the number four and five slots. Number three, Beverly Hills Chihuahua, had stinker written all over it before i even walked into the theatre. Just read the title. Taco Bell ads have more cinematic integrity and comedic promise. I had absolutely no expectations for this film, other than inane dialogue synced to canines that resemble rats more than dogs. So how bad could it get? Believe me, despite my limited (nay, zero) expectations, Beverly Hills Chihuahua managed to be insulting to entire ethnic groups, the audience's intelligence, and several different species. Quite an accomplishment if you ask me. It wasn't even that entertaining for the three year old. My new year's wish is that studios release something family oriented worth watching at least once every season in 2009. Otherwise, i'm taking my child to see Shoot 'em Up 2. It can't be anymore psychologically traumatizing or damaging as this sorry excuse for a film.

2. What Happens in Vegas

Back to disappointing flops that deserve better. Though Kutcher and Diaz aren't regularly recognized for providing the most thought provoking performances in films with serious subject matter, they have proven rather reliable in the romantic comedy genre. Diaz triumphed in There's Something About Mary, while Kutcher usually illicites laughs at his co-star's expense. Both actors have seen better days alongside Bernie Mac (Charlie's Angels 2 and Guess Who), so to have these two go toe to toe in a sadly contrived rehash of arranged couple comedies, while exhibiting zero chemistry and even less plausability as a couple, was real torture to watch. What is even more painful is that there were several directions this film could have gone, moments that seemed funnier in the viewer's imagination, that simply went unattempted or misguided, in favour of the lowest common denominator joke. In order to enjoy two people tussle, it helps to either want the two of them to fall in love in the end, or be able to root for one over the other. 15 minutes into this film, I wanted both of them to die and leave their Vegas winnings to someone more deserving. Like the chihuahua in Beverly Hills.

And the worst movie of 2008 is...

1. Across the Universe

This is everything the other worst films are and then some. Full of promise, like Indy and Wanted, this film's imagination and style is more than enough reason to enjoy it. Visually splendid and choreographed, it confirms the director, Julie Taymor, as a unique artist that paints with celluloid. Sadly, even the finest artist can do wrong when asked to paint with the materials of classic artists such as the Beatles. Normally, it would be a dream job to be handed the musical library of pop gods and given free reign to weave their magic with a cinematic lens. I mean, how can you screw up the fab four's timeless melodies? A chihuahua movie is screwed from the beginning. A Beatles film is almost impossible to screw up. But indeed, Taymor does everything in her power to desecrate and destroy all the power and pleasure found in the Beatles' catalogue. From weepy renditions of peppy tunes sung through whiney voices of good looking but bad singing actors to tripped out remixes of songs that need not be touched, ruined by honest to goodness rock stars (apparently Bono can perform acts that border on human rights violations), Across the Universe doesn't exactly fail on it's individual parts (though some moments are horrific). Rather, it's the sum of the parts, the overall arc of the film, that leaves us wanting for something more, something better, something more worthy of the film's soundtrack. Despite some good artistic flourishes and some decent renditions (Martin Luther and Dana Fuch's songs create new and bold stylistic impressions), as a whole, Across the Universe leaves a sour taste in our mouths and an infection in our ears. I wouldn't mind seeing this film again, with the volume turned down and the original versions blasting through my stereo. Now that would be something worth seeing and hearing, rather than the nauseating effect this film had on me, not unlike my eyes feasting on candy while my ears are slowly bleeding from an aural assault of sinful proportions. A visual feast, but an audio attrocity.

Dishonourable mentions: P.S. I Love You, Jumper, Igor, The Tale of Despereaux

The Tale of Despereaux

Directed by: Sam Fell and Robert Stevenhagen
Starring: Matthew Broderick, Dustin Hoffman, Emma Watson, Tracey Ullman, Kevin Kline, William H. Macy, Stanley Tucci, Robbie Coltrane, Richard Jenkins
Running Time: 1h 40min

Grade: C-

Hamlet 2

Directed by:  Andrew Fleming

Starring:  Steve Coogan, Catherine Keener, Elisabeth Shue, Amy Poehler

Running Time:  1h 32min

Grade:  C+

X-Files: I Want to Believe

Directed by:  Chris Carter

Starring:  David Duchovny, Gillian Anderson, Amanda Peet, Billy Connolly, Xzibit, Callum Keith Rennie

Running Time:  1h 44min

Grade:  B

Bolt

Directed by:Byron Howard, Chris Williams

Starring:John Travolta, Miley Cyrus, Susie Essman, Mark Walton, Malcolm McDowell

Running Time:  1h 36min

Grade:  B-

Madagascar: Escape 2 Africa

Directed by: Eric Darnell, Tom McGrath
Starring: Ben Stiller, Chris Rock, David Schwimmer, Jada Pinkett Smith, Sacha Baron Cohen, Cedric the Entertainer, Andy Richter, Bernie Mac, Alec Baldwin, Will i Am
Running Time: 1h 29min


Grade: A-

Beverly Hills Chihuahua

Directed by: Raja Gosnell
Starring: Drew Barrymore, Piper Perabo, Andy Garcia, George Lopez, Cheech Marin, Paul Rodriguez, Plácido Domingo, Edward James Olmos, Loretta Devine, Jamie Lee Curtis, Luis Guzmán
Running Time: 1h 31min

Grade: D-

Igor

Directed by: Anthony Leondis

Starring: John Cusack, Myleene Klass, Robin Walsh, Matt McKenna, John Cleese, Steve Buscemi, Sean Hayes, Eddie Izzard, Jennifer Coolidge, Jay Leno, Molly Shannon

Running Time: 1h 27min

Grade: C+

Tropic Thunder

Directed by: Ben Stiller

Starring:Ben Stiller, Robert Downey Jr., Jack Black, Brandon T. Jackson, Jay Baruchel, Steve Coogan, Nick Nolte, Bill Hader and some great cameos.

Running Time: 1h 47min

Grade: A

The Dark Knight

Directed by: Christopher Nolan
Starring: Christian Bale, Heath Ledger, Aaron Eckhart, Michael Caine, Maggie Gyllenhaal, Gary Oldman, Morgan Freeman, Monique Curnen, Cillian Murphy, Eric Roberts, Anthony Michael Hall
Running Time: 2h 32min

The Dark Knight gets everything right. From top to bottom, it is cinematic bliss, comic book eye candy that thrills, chills, and promises to make a Batman lover out of you! Structured and tailored like a crime movie, yet thematically rich in the sense of the original comic books, Nolan has delivered what could very well be the untopable film of the franchise.

Slightly attached to its predecessor, Batman Begins, but very much its own film, The Dark Knight dives right into the action and never lets the audience look back. Free from the unnecessary need of retelling origins, the script is very tight and well layered, to please fans of the character, and fans of thought provoking films. The war allegories are apparent, and nicely thread into the myths surrounding Batman and his conflicting status as hero or vigilante, crime fighter or crime agitator.

Utilizing the Joker and Harvey Dent/Two-Face as the main protagonists enables the aforementioned theme of good and evil, justice and anarchy, to be fully played out throughout the cast. Casting two fine actors like Ledger and Eckhart only adds to the phenomenal cast from the first film, (Oldman, Caine, Freeman), who surprisingly get a lot more screen time and more fully fleshed characters. Oldman is especially amazing as the most down to earth, everyman hero in the film, Gordon, who is heroic in his family ideals and lieutenant role. Caine nails the wisdom and sauciness that is Bruce Wayne's butler, Alfred, and Freeman does great work, almost like Q from the Bond films, in his disapproving manner of Wayne's way with toys and gadgetry. Another big plus is the casting of Gyllenhaal in place of Katie Holmes from the previous film, as she is much more convincing as a love interest/legal eagle than Holmes could ever hope to be.

Still, the film belongs to Ledger and Eckhart, who embody their premier rogues gallery villains to a tee. Eckhart has enough charisma and menace to form the dual personality of Two-Face, while Ledger turns in a career performance, crafting a Joker that is unlike any psychotic we've seen on film. His mannerisms, tics, and vocal styling are unnerving and frightening, yet he still manages to find the sick humour and fearlessness that makes the Joker so enjoyably dangerous. Just when you think he's down, he gets back up, and his unpredictable nature is what makes him such a match for the Bat.

Now all this and nary a mention of the dark knight himself, which was cause for alarm as the first run of films fell into the trap of the ever decreasing Bat part. However, Nolan knows to keep the Batman at the center of it all, developing him as he rethinks his reason for existence, and keeps his intelligence featured as his greatest weapon. Sure, all the toys he has make for an amazing amount of stunts and chases (the batmobile/motorcycle is a wicked machine) but his cunning and puzzle solving remain key, just as they are in the comic books.

The beauty of the film is that it packs a powerful amount of visual excitement, while staying true to the essence of the characters. It comes across as a well crafted film, that just happens to be about a guy in a bat suit. There's plot twists and surprises, great lines and tense moments, and gorgeous camera work, but underneath it all is a brilliant script that has comic book elements, but plays like a psychological thriller, in the vein of Nolan's already great resume of films. Though it seems to run long, there isn't a moment that isn't worth the wait. Prepare to be blown away, because pop culture icons have never been this good on film.

Grade: A+

Journey to the Center of the Earth

Directed by: Eric Brevig
Starring: Brendan Fraser, Josh Hutcherson, Anita Briem, Seth Meyers, Kaniehtiio Horn
Running Time: 1h 32min

Brendan Fraser must be crowned the new king of goofy fun, if he hasn't been crowned already. He established himself as a dashing leading man, with a little Harrison Ford wink, in the the Mummy series (which he returns to this month) and can't help but be liked in this similar B-movie effects film, Journey to the Center of the Earth. Note, this film is available in 3-D, a trend which is being revived as of late.

Based on the Jules Verne novel, but cleverly not an outright adaptation of the text, the movie begins with Fraser's scientist character agreeing to have his deceased brother's son come visit for awhile, just as his laboratory is being shut down due to minimal results coming out of his seismic activity research. Thankfully, the film doesn't bog us down in too much back story, or too much scientific hoo-ha, and just lets it rip right into the journey at the center of the film.

Soon the uncle nephew team find themselves in Iceland with a young guide that they both claim "dibs" on. This silliness continues throughout the film, and it's a good thing that it doesn't take itself too seriously. The three discover the same hole in the earth that Fraser's brother must have a decade ago, and chaos ensues. The imagery from Verne's book is used as a guide and the audience is treated to mutated life form after another, all in eye popping grand visual effects. Unfortunately, the theatre i saw this in did not have 3-D capabilities, but the shot selection made it pretty apparent what glasses wearing audiences would be in for. And it's a whole lot of fun.

Sure, the movie is a throwback to another era of film making. This could very well have been made in the late fifties/early sixties and you wouldn't know it from the script. But the modern effects and stunts make it an enjoyable ride, as it briskly moves from scene to scene, and the three leads are neither too irritating nor too interesting to make you care either way. They mostly get out of the way or react fervently to the wild surroundings. Pure cheese, and a tasty one at that, Journey to the Center of the Earth is worth the time, as long as you check your brain at the door and dive right in.

Grade: B

WALL-E

Directed by: Andrew Stanton

Starring: Ben Burtt, Elissa Knight, Jeff Garlin, Fred Willard, John Ratzenberger, Kathy Najimy, Sigourney Weaver

Running Time: 1h 43min

Pixar has become synonymous with excellence, so one comes to expect nothing less when it comes to their first foray into space, with the futuristic tale of WALL-E. Rather different in tone than typical Pixar fare, WALL-E starts out almost in a silent film style, with the small titular robot cleaning up an uninhabited Earth. Sight gags pepper the start while we are fed a brief explanation for what has happened to our planet, and the human race. These are quickly done through old video footage and contain some clever and funny comments about our society, as all good science fiction pieces do.

What amazes me the most about Pixar's films is how they realistically and stunningly recreate new worlds with each successive film. The animation is incredible, in the way that Finding Nemo captured the colours of the ocean, and A Bug's Life looked as lush as the green scenery it was set in. Pixar's animators have made a spectacular depiction of outer space, while remaining true to realistic properties of robotic development as we know it today. They sure do dream at Pixar, but they are always conscious of realism and context.

WALL-E is a prototypical Disney lead. Cute, fumbling, and prone to mischief, the tiny robot spends his days on Earth alone, save for a cockroach companion, and has gathered an extensive collection of oddities from his garbage collecting/sorting. His robot functions allow for only so much original behaviour, and once he meets the sleek, Mac inspired sex tech of a robot, EVE, he is in love at first byte (sorry, couldn't resist). This unlikely relationship drives WALL-E to new heights, and the film begins to whiz along at an incredible rate, packing in a lot of robot mishaps and shenanigans that are classic comedy routines, lovingly played out in a new forum.

Tonally, the movie is a little darker than you'd expect, but the slapstick and childlike behaviour of WALL-E nicely keeps the film on target for the younger audience. A little bit Johnny 5, and a little bit the lovestruck Buster Keaton, WALL-E is set in the future but feels like a film from the past. Building on themes and scenes we've seen before, the animation takes us places we haven't been, and crafts a tale of caution, romance, friendship and fun. Though not as entertaining or enjoyable as recent fare like Kung Fu Panda, or previous Pixar achievements like Ratatouille or Monsters, Inc., WALL-E can proudly sit upon the same shelf of high standards that Pixar continues to aspire to.

Grade: A-

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+