Capsule Reviews from 2010

Vincenzo Natali's Splice (2010)

Natali deserves some praise for the unconventional and thought-provoking science fiction/sexual horror exploits of Splice. Adrien Brody and Sarah Polley give satisfactory performances, and the creature effects are convincing and, at times, downright disturbing. French actress and model Delphine Chaneacis is Dren, the genetically engineered creation of Brody and Polley’s scientists. The film begins with a bang and continues along an interesting and enjoyable path until regrettably devolving into the standard horror chase film by the third reel. Worth seeing due to it’s bizarre and disturbing themes, but don’t expect much more. 3 out of 5 stars.

Lee Unkrich's Toy Story 3 (2010)

Woody and Buzz (Tom Hanks and Tim Allen, as great as ever) are back in a near-perfect film that serves as the crowning achievement of what can now be called a classic trilogy. This time around, the toys end up in a preschool and must contend with unruly three year olds and tyrannical toys as they quest to return to their owner, the now college-bound Andy. In theaters, the film’s 3D was a wonder, but it is little more than extra incentive to see this great adventure of heartfelt storytelling. The funniest and also most harrowing of the three films, Toy Story 3 is able to make a deep emotional impact while entertaining people of all ages. The only thing that keeps this final adventure for a perfect score is an overly schmaltzy ending, albeit an ending that had the majority of the theater in tears, and rightly so. It’s been a great ride. 4.5 out of 5 stars.

David Fincher's The Social Network (2010)

David Fincher has done what I privately deemed to be impossible. He has taken the seemingly moribund subject of facebook and crafted what is perhaps the greatest film of the year. Technically perfect, The Social Network follows Facebook creator Mark Zuckerberg (a pitch perfect Jesse Eisenberg) through the inception and initial trials and tribulations involved in creating the social media site. This is all quite effectively told through Rashoman-style flashbacks during the course of two separate depositions. Fincher’s films have always had style to spare and his usual brilliance, along with a fine cast including young Andrew Garfield and the surprisingly good Justin Timberlake, helps to create a mesmerizing tale of one man’s rise to power during the dawn of social media. 5 out of 5 stars.

Johnnie To's Vengeance (2009/U.S. release 2010)

The latest crime thriller from legendary Hong Kong auteur Johnnie To contains all of the existential angst, style, and moodiness of his past work. Notable for being To’s first primarily English-language film, Vengeance was jointly produced by To’s own Milkyway productions and a French studio. This French influence extends to the cast as singer and actor Johnny Hallyday occupies the lead role as a visitor to Macau looking to avenge the shooting of his daughter, and the deaths of his son-in-law and grandchildren. He hooks up with three hitmen (reliable To regulars Anthony Wong, Lam Suet, and Ka Tung Lam) in a bid to take down Simon Yam’s Triad crime boss and have—yes—vengeance. Balletic gunplay, gorgeous cinematography, and strong performances anchor this above-average entry to To’s canon. 4 out of 5 stars.

Jeff Tremaine's Jackass 3D (2010)

Johnny Knoxville, Steve-O, Bam Margera, Chris Pontius and the rest of the beloved crew of idiots returns in this completely unnecessary third entry in the Jackass franchise. The big draw here is 3D and I must admit that the effect is often utilized quite well. Much of Jackass 3D was filmed with expensive phantom 3D cameras and the effects are stunning and a far cry from the shoddy post-conversion jobs appearing in theaters every Friday. Still, we’ve seen this all before and the bathroom humor and crotch hitting jokes have officially worn thin. The Jackass fellows remain likable enough, but it has been a decade now and their weariness is apparent. The film cleaned up at the box office, ensuring a sequel or two, but I can only recommended Jackass 3D for the diehards out there. 2 out of 5 stars.

Nimrod Antal's Predators (2010)

File this one under “useless” sequel. Director Nimrod Antal and producer Robert Rodriguez essentially recycle every halfway decent idea from the original film with less than satisfactory results. The film tells the story of several mercenaries and killers dropped onto a an alien planet game preserve as they are hunted down by the title creatures. Plenty of people die, the visual effects are lacking, and the whole thing seems like a waste of time. Kudos must be given to Adrien Brody, however, for effectively conveying an action hero without the usually requisite tough guy build. Still, he’s no Arnie or Carl Weathers. Through the film’s runtime, I continuously found myself wishing I could just watch the original. 2 out of 5 stars.

Ben Affleck's The Town (2010)

Ben Affleck returns to the crime genre that served him so well with Gone, Baby, Gone; the result is character-driven action film featuring a knockout cast led by Affleck himself and a superb Jeremy Renner as bank robbers run amok in Boston. The film reeks of authenticity (one character from the film would say it’s very authenticious). While lacking the emotional resonance of his first film, The Town still manages to make you care for the characters while providing some of the best action sequences of the year. The film hits all the expected beats - there’s really nothing new here; but damn, it’s well done. One of the better films this year. With Jon Hamm, Rebecca Hall, Blake Lively, Chris Cooper and Pete Postlethwaite all joining in the drama. 4 out of 5 stars.

Neil Marshall's Centurion (2010)

Neil Marshall has yet to recapture the magic he so effortlessly displayed with The Descent and unfortunately, Centurion is another missed opportunity. Offering his take on the fate of the mysterious 9th Legion of the Roman Empire, Marshall fills the screen with so much violence and gore that character development, plotting, and acting all seem to fall by the wayside. Michael Fassbender acquits himself nicely as the film’s hero and Olga Kurlyenko makes an impression as the mute and deadly warrior on his tale. It sure looks nice and Marshall can film an action sequence with the best of them, but the material could have been so much more. Instead we get one long chase sequence, filled with Roman characters we don’t care about who speak in an array of British accents. Worthwhile only for those with a strong bloodlust who wish to check their brain at the door. 2.5 out of 5 stars.

Joel & Ethan Coen's True Grit (2010)

My childhood was filled with John Wayne westerns. To this day, True Grit stands as Wayne's finest hour; so it was with both curiosity and apprehension that I first heard a remake was in the works. My apprehension soon gave way to excitement when I heard about the principals: The Coen Brothers, Jeff Bridges, Matt Damon, and Josh Brolin. I was still unsure that anyone could match the presence and impact of the legendary Duke, but who better to try than the Dude? The western genre has enjoyed a brief, but critically viable, resurgence in recent years and True Grit is a welcome, if unspectacular, addition to the genre. There are very few missteps, but I can't help but feel that we just missed witnessing something that could have been truly spectacular.

For those unfamiliar with the origins of the story, True Grit is a remake/reimagining of the 1969 Henry Hathaway film of the same name, which is in turn based on the 1968 book written by Charles Portis. Hathaway's film was notable for earning John Wayne only Oscar and Wayne's performance, though a bit on the hammy side, still stands as one of the high points of a legendary career. The Coen Brothers approached the material with the intent of delivering a more faithful adaptation of the book, and on that count they succeeded quite admirably. Told from the point of view of the young Mattie Ross (fantastic newcomer Hailee Steinfeld), True Grit tells the story of a young girl, dead set on finding and killing her father's murderer. She enlists the help of a drunken US Marshall named Rooster Cogburn (Bridges, clearly having a ball) and a boisterous Texas Ranger played by a riotous Matt Damon. Together, the three set out into Indian territory; what follows is a beautifully shot and often funny, if slight, journey.

The Coen Brothers are known for their quirkiness and it is somewhat disappointing that True Grit possesses so little of this trademark oddness. Indeed, the film is likely the Coen's first straightforward genre exercise; to their credit, they set out to make a western and they made a good one. This is primarily due to the quality of their assured direction, the beautiful cinematography by longtime collaborator Roger Deakins, and the excellent performances by a star-filled cast.

Bridges plays Cogburn as a drunken mess of a man, though a man still scarily competent when it comes time for bloodshed. As he staggers about, slurring his words and rattling off stories of past adventures, it's clear that outside of Wayne, Bridges is the only actor that could possibly inhabit the role. It is an Oscar-worthy performance, although one likely to result in only a nomination, given last years' win for Crazy Heart. Damon is hilarious as the cocky Texas Ranger, La Boeuf (pronounced La Beef, and repeated numerous times to hilarious effect by Cogburn), and Josh Brolin and Barry Pepper also turn in high quality performances in limited screen time as the villains. Those four actors comprise a murderers' row of talent, but the real star of True Grit is the young Steinfeld, who goes to toe to toe with Bridges and Damon and emerges unscathed. It is a remarkable debut, and while the role is admittedly one-note, it's certainly a promising start to what looks to be a long career. The 14-year old has garnered significant Oscar buzz, and deservedly so.

The direction and acting are excellent, but where the film falters is in both pacing and tone. While it is quite funny, I couldn't help but feel that it was almost too funny, as the darkly serious subject matter didn't seem to be treated with the proper weight. And although this is no fault of the Coen Brothers, the film seemed rather slight, as there simply wasn't a lot going on. There are only three major events in the film, and the villains only appear for five minutes or so. My biggest gripe, however, was the lack of John Wayne. Again, it's hard to criticize a film for something beyond its control, but when you enter the remake game, you must accept that you will be judged against those that came before you. While Bridges version of Cogburn is certainly more believable and far funnier than the character as played by Wayne, I couldn't help but wish Wayne would take over during the scenes involving gunplay. The climactic gun battle lacks the power and ferocity of the original's finale, and it was with some disappointment that I realized that even the Coen Brothers, armed with Jeff Bridges and a host of great actors, cannot always pull an ace from their sleeves. True Grit is a good film, and compared to most recent entries in the genre, a great western, but it fails to leave much of a mark. 4 out of 5 stars.

Darren Aronofsky's Black Swan (2010)

Critically-acclaimed horror films are a rare sight. Rarer still when they star a 95 lb ballerina. Darren Aronofsky's newest film, Black Swan, could be seen as a companion piece of sorts to The Wrestler. Both films center on individuals whose single-minded pursuit of their professions could be termed noble, maddening, and ultimately tragic. Where The Wrestler starred a 230 lb rock of a man, however, Black Swan gives us someone much different, and ultimately even more distressing; that would be the innocent and naive Nina, played with surprising fearlessness by Natalie Portman.

Nina is a ballerina, one of a bevy of dancers in a New York City company lorded over by the brilliantly egocentric director Thomas Leroy (Vincent Cassel in a riveting performance). The next ballet is to be Swan Lake and Nina is picked to be the company's next prima ballerina. Thomas knows that Nina has the technical skill needed to portray the White Swan, but openly questions whether she possesses the sexuality and passion to master the role of the Black Swan. We follow Nina as she prepares for the role, navigating her unstable mother (a disturbingly brilliant Barbara Hershey) and a new arrival to the company (the lively Mila Kunis), a fellow ballerina whose raw sexuality and unbridled passion pose a direct threat to Nina's ascendancy. All of this builds to a head in the film's final 40 minutes, which stands as one of the most intense movie finales in recent memory. To say any more about the film's plot would be a great disservice; suffice to say that it's doubtful you will ever look at clipping fingernails the same way again.

Aronofsky has long been known as a director whose principals display a madness of some sort, whether it be the heroin addicts of Requiem for a Dream or the mathematician of Pi. As Portman's Nina descends down these same narrow steps, so too does the film itself. Over 300 effects shots were employed in Black Swan, often to harrowing effect. The result is a surreal and dark world in which both Nina and the audience are never quite sure what is real and what is illusory. Featuring absolutely breathtaking cinematography by Matthew Libatique, the film is a visual treat the likes of which we haven't seen in theaters all year. The overarching story structure of the film is admittedly pretty conventional, however Aronofsky's committed direction and a bevy of knockout performances combine to elevate the material to near-classic status.

Portman has never been better and the ferocity with which she tackles the role is stunning. The power of her performance ensures that her tiny frame looms large over the entirety of the film; indeed, she appears in every scene. It is a demanding and difficult role and Portman knocks it out of the park; anything less than the Best Actress statue would be a crime. Not to be outdone, both Cassel and Hershey deliver fantastic performances, and the sense of unease that all three actors contribute to the proceedings cannot be overstated. Kunis also acquits herself well, although her role is perhaps the most one-dimensional of the film.

I'm aware that many people (mostly males) will discount Black Swan due to the ballet setting. This would be a mistake, as they will be missing a brilliant, twisted journey into the world of competitive ballet, replete with sex, violence, and disturbing imagery galore. This is one of the best movies of the year. 5 out of 5 stars.

Phillip Noyce's Salt (2010)

Salt is a Bourne film on speed -- that's the best way to describe it. Evelyn Salt, as portrayed by Angelina Jolie, is a super-spy who spends the vast majority of the movie running, jumping, fighting, blowing stuff up, and generally causing all sorts of really cool looking mayhem. This is an action movie, through and through. The suspension of disbelief is mandatory here, because without it the audience won't last more than 15 minutes. Salt tells the story of CIA agent Evelyn Salt, who is set up (or is she?) by a mysterious Russian agent. According to him, Salt is in fact a Russian spy planning to assassinate the Russian president, providing Russia with provocation to launch their own attacks on the United States. Convoluted? Sure. Ridiculous? Maybe. However, once Jolie launches into action, the film never stops for a breather and what follows are some of the best action sequences in recent memory.

The fact that Salt succeeds despite a fairly ludicrous central plot is a testament to the prowess of Angelina Jolie. With the Tomb Raider films, Mr. and Mrs. Smith, Wanted, and now Salt, Jolie has proven to be not only one of the biggest movie stars on the planet, but perhaps it's biggest action star as well. The fact that we are talking about a woman who probably tips the scales at 115 pounds is a testament to the charisma and power that Jolie conveys onscreen. You just believe that she could take on two armed secret service agents in a narrow hallway and leave them both unconscious. Angelina Jolie is one of the very few true movie stars left, and Salt would not work without her. Liev Shreiber and Chiwetel Ejiofor play the agents assigned to catch Salt and both do a predictably good job. Shreiber, in particular, has really come into his own lately and it's nice to see him working with good material after the dreadful X-Men Origins: Wolverine.

Aside from the breakneck pace and star power of Jolie, the greatest thing that Salt has going for it is the mystery of Evelyn Salt's true intentions. Is she really a Russian spy? Or is she playing both sides? Just who is she working for? The screenplay by Kurt Wimmer (Equilibrium) does a good job of keeping the audience guessing right up to the finale. Yes, the screenplay can get a bit ridiculous, but that's par for the course in this type of film. It should be stressed that this is not Syriana, or even a Bourne film. Phillip Noyce previously brought us both Patriot Games and Clear and Present Danger and this time around he largely ignores the political machinations and double-crosses of the Jack Ryan films for a more action-focused entry. Nevertheless, the pedigree is there and Salt remains a damn fine political thriller. Noyce takes it to the next level, a level filled with more explosions, more car chases, and more hand-t0-hand combat. If that doesn't sound like your cup of tea that's fine, but for the rest of us, this is the action movie of the summer, thus far. Enjoy Salt for what it is. This reviewer did. 4 out of 5 stars.

Christopher Nolan's Inception (2010)

The power of an idea. Just as Christopher Nolan's latest epic centers around this concept, so too does this review. Inception is a completely new and original idea - no small feat in a Hollywood overflowing with sequels, reboots, and retreads. Over the past fifteen years, Nolan has proven himself to be a fine director blessed with the ability to craft epic thrillers with no shortage of intelligence, style, and technical virtuosity. Much was made over 2008's The Dark Knight and rightly so, but with Inception, Nolan has upped the ante in nearly every regard. This review will be extremely light on plot details as I firmly believe one should go into the theater with as little knowledge as possible - the experience of discovery is so great, that to take that away, even just a small amount, would be a cinematic travesty. I, for one, won't be the reviewer to do it. So if you must know all about the events that fill Inception's 2.5 hour run time, look elsewhere.

There is so much that I could mention here that it's difficult to know where to start: the technical wizardry on display in nearly every frame, Hans Zimmer's bombastic score, and the murderer's row of acting talent all merit their own discussion. However, I must start by describing, in broad strokes only, the concept of Inception and how this complicated film springs forth from such a universal act - the act of dreaming. This is one of Nolan's many masterstrokes throughout the film. By creating a world in which perhaps 80% of what we see takes place in various dreamworlds, Nolan has captured the imagination of everyone. This is not The Matrix or eXistenZ, there is no computer knowledge or enthusiasm required; everyone dreams, and therefore every single member of the audience is able to live out various scenes of the film, because we know many of these rules. Do you ever remember the beginning of a dream? No. All of a sudden you are right in the middle of it. And how often do you wake up right as the killer is closing in or the bullets begin to tear through your chest? These are basic concepts ripped from the dreams of all the people in the world and then woven into a narrative so deep and complex that it makes The Prestige (Nolan's other masterpiece) seem as complicated as a Care Bears episode.

So yes, Inception is a complex film, but that doesn't mean that's it's inaccessible or overly complicated. Far from it, in fact. Those who simply wish to see a glossy heist movie will not be disappointed, just as those in search of something far deeper will leave the theater happily shaking their heads at the sheer enormity and ambition of Christopher Nolan's vision. This is the ultimate thinking man's blockbuster. It is filled to the brim with magnificent action set-pieces including a zero-gravity fight in a hallway and an assault on a snow-covered hospital fortress, both of which must be seen to be believed. The academy might as well send the best special effects and art direction statues right over to the Warner Brothers lot, as both categories should be a lock after the insane display put on by Nolan and his talented crew. It's an enormous task to translate dreams to the big screen, but Inception passes every test with flying colors. This is a beautiful movie, just as The Prestige and both Batman films before it.

I also must mention Hans Zimmer's score. Rumor has it that Nolan would not permit Zimmer to see the film as he wrote the score, and this only enhances the impact of Zimmer's deep and booming music. Not since Up and The Dark Knight, have I been this impacted by a film score. The music adds the perfect amount of grandiosity and emotion to the proceedings. Nowhere is this more apparent than the film's climax, a gut-wrenching finale that assaults the senses on every conceivable level.

Finally, I must mention the terrific ensemble cast of Inception. Utilizing many actors he has worked with before, Christopher Nolan has brought together what is arguable the greatest cast in years and there is not a dud in the bunch. Leonardo Dicaprio, Joseph Gordon-Levitt, Tom Hardy, Ellen Page, Ken Watanabe, Marion Cotillard, Cillian Murphy, Michael Caine, and the list goes on. It's an astonishing collection of talent, each of whom is utilized perfectly. There is no filler here; no characters written simply to take up space. Everyone has a part to play and the actors fill these roles perfectly. Dicaprio once again proves that there is no one better working in Hollywood today. He has come a long way since his Titanic days, and just as in Shutter Island, he commands the screen with such vigor and intelligence that it's impossible not to identify with the guy.

Watanabe and Murphy, both villains in Nolan's Batman Begins again prove that they can absolutely command the screen whenever they want. Watanabe is an absolute marvel here, the guy's gaze could back down a pack of hungry wolves, I swear. Ellen Page continues to move away from her Juno persona and into young-Jodie Foster-territory and Marion Cotillard nails one of the most difficult roles in the film, portraying a figure both sympathetic and terrifying without seeming to break a sweat. Caine's role is not much more than a cameo, but damn he's good. I really don't know what else to say about Michael Caine, he just adds such gravitas to any film he lends his name to.

That being said, in my mind this movie really belongs to two actors: Joseph Gordon-Levitt and Tom Hardy. Both are young up-and-comers in the film world, and I'll be damned if this movie doesn't launch both to stardom. JGL has come a long way since his 3rd Rock from the Sun days, exhibiting the confidence and charm of a young Brad Pitt with the range to match. His zero-g hallway fight is a sight to behold and throughout the film, Gordon-Levitt exhibits a cool factor that would be unmatched ... if it weren't for Tom Hardy. Previously confined largely to British cinema and thus unseen and unappreciated in the states, Hardy exploded onto the scene with last year's Bronson and continues his ascent with a wise-cracking bad-ass role which he tears into with unabashed enthusiasm. Hardy was a crowd favorite at the screening I attended and I dare you to feel any different. The man simply oozes charisma and he possesses the physicality necessary for any role. Indeed, he will next be seen in the remake of The Road Warrior, and as much as I detest remakes, this one will be on my radar for one simple reason: Tom Hardy.

If you haven't figured it out by now, let me spell it out for you. I love this movie. As I left the theater I was struck by a sensation very rare for the jaded would-be film critic: pure and genuine excitement. I couldn't get Inception out of my head all night long and when I woke up the next morning, it was the first thing to enter my mind. I simply can not give any greater recommendation than that. Christopher Nolan has truly outdone himself this time around. Inception is a masterpiece, plain and simple. What an idea. 5 out of 5 stars.

Jon Favreau's Iron Man 2 (2010)

Iron Man was quite an act to follow. Jon Favreau and Robert Downey Jr. created a hip, funny, action-packed origin story to one of the greatest superheroes around. Expectations for the inevitable sequel were sky-high; there was even talk of the film breaking The Dark Knight's opening weekend record ($158.3 million). With the introduction of several new characters, some were worried that Iron Man 2 would turn out to be more like Spider-Man 3, a disjointed and overstuffed mess that left the audience disappointed and bewildered. Well, everyone can relax -- Iron Man 2 is one hell of a way to open the summer box office.

The film picks up six months after the events of the original and little time is wasted in introducing us to the tattoo-covered, gold teeth-filled physicist Ivan Vanko aka Whiplash, played by the surging Mickey Rourke. You see, Vanko's father had been partners with Tony's dad, but was eventually deported and never received the credit he (may or may not have) deserved. So begins Vanko's quest for revenge, aided by the swarmy Justin Hammer (Sam Rockwell), a kind of poor man's Tony Stark who's never been able to escape the shadow of his smarter, richer, and more successful competitor.

Rourke has few lines in the film, half of which are in Russian, but he completely owns the film during every second of his regrettably short amount of screen time. Rourke's hard living during the past twenty years has been well-documented, and oddly enough, it seems to have been serving him well in the past few years. As with The Wrestler, he is hulking slab of muscle and each line and crag in his well-worn face helps in his performance. Rourke has always been an incredible actor, and now that his matinee idol good lucks have given way to a rough and weathered face, he is more interesting than ever before. As Whiplash, Rourke snarls and laughs his way through the film, his thickly muscled frame covered head to toe in Russian prison tattoos as the man exudes not only menace but intelligence as well. The role is rather one-dimensional and the film would have suffered for it, had any other actor been cast in the role, but Rourke manages to turn the character of Ivan Vanko into one of Iron Man 2's real strengths. Here's hoping that he continues to pick good projects and catapult himself back into the limelight of which he is so clearly deserving.

Equally impressive is Sam Rockwell as the slightly pathetic arms tycoon Justin Hammer. It's quite a treat to see Rockwell in a big-budget studio picture these days, as he generally prefers indie roles (Choke, Moon, etc.). As any fan of his would expect, Rockwell knocks it out of the park. Armed with a series of three-piece suits and pompadour hair cut, Rockwell imbues the character with a humanity that is rare for such a role. You almost feel bad for Hammer at times, as it's clear he just wants to be like Tony. He wants to be Tony's friend and equal; both of which he will never attain. As with Mickey Rourke, it is a great performance in what could have easily been a cookie-cutter role. When Hammer does his bizarre shimmy across the stage to open the film's third act, you will know exactly what I mean. Rockwell is a welcome addition to the franchise and one can only hope that this will open more doors for him in Hollywood, as the man is one of the five best actors in the world today.

Also joining the fun this time around are Scarlett Johannson and Don Cheadle. Johannson appears as Black Widow, a Russian secret agent for S.H.I.E.L.D., the mysterious agency from the first film. Although her screen time is brief, Johannson brings the proper amount of intelligence and sexiness to the role. When she finally gets a chance to engage in some fisticuffs, the result is perhaps the best action sequence in the entire film -- dressed in an eye-popping skintight leather bodysuit, Johannson demonstrates a surprisingly high acuity for action, as she takes on a hallway full of bodyguards. Cheadle takes over for Terrance Howard in the role of Lt. James Rhodes and I have to say that I much prefer the character this time around. It always helps to have Cheadle, a world-class talent on hand, but it helps even more to stick that talent in the War Machine suit and allow him to wreak havoc. Yes, War Machine finally gets a chance to shine, as was so tantalizingly hinted at in the first film. With his shoulder-mounted mini-gun and tactical knowledge, Rhodes proves a worthy sidekick to Iron Man and I'm already excited to see where the third film takes this new dynamic duo.

Gwyneth Paltrow and Samuel L Jackson also return to round out what may be the single most impressive cast of any of this year's movies not named Inception. Oh, and of course there's that Downey Jr. guy. What more is there to say? Robert Downey Jr. completely owns the role, inhabiting the character of Tony Stark with such charm and gusto that the audience can't help but love a character who, on paper, has zero redeeming qualities. We are seeing a fantastic actor at the top of his game, and as with Rourke and Rockwell, it's an absolute thrill.

Jon Favreau's direction has improved, most notably during the action sequences. The number one complaint many had with the original Iron Man was the poorly shot action sequences. What good is Iron Man blowing things up and beating the tar out of the bad guys if we can't make out what's going on? Luckily, the actions sequences are much easier to discern in the sequel. Unfortunately, there seem to be far fewer action scenes this time around. The vast majority of our time is spent with Tony Stark as he battles his narcissism, alcoholism, and various other -isms that present themselves to billionaire playboys. And while watching Robert Downey Jr. strut his stuff as Tony Stark is an absolute ball, it still doesn't measure up to watching Iron Man fly around and blow things up, the movie is called Iron Man 2 after all, not Tony Stark 2. Still, this is a relatively minor complaint, as when the action does hit, it hits so hard and fast that you won't even realize it's been 40 minutes since we last saw Tony suit up and kick ass. The true unveiling of Whiplash, during the Monaco Grand Prix no less, is a fantastic sequence and perhaps the single most thrilling and creative action scene we are likely to see this year. However, for this reviewer, nothing can compare to seeing Iron Man and War Machine, standing back to back, fight off a small army of robot drones, the bullets and motor oil spraying across the screen as both of our metal heroes scowl. This was the moment where I achieved movie nerd nirvana. You know what I mean -- that moment where you can't help but smile and think "Wow, this is $@#%ing awesome."

And really, that's what the Iron Man films are all about. Christopher Nolan has already mastered the serious dark tone with his Batman films. And now with Iron Man 2, Jon Favreau is proving that he can provide a lighter, yet still serious enough, companion series. Of course, having a stable of world class actors never hurts. And of course, when all else is in doubt, just have Iron Man blow things up. Here's hoping there's a bit more of that next time around; either way, Iron Man 3 should be a hell of a ride. 4 out of 5 stars.

David Twohy's A Perfect Getaway (2009)

A Perfect Getaway is a problematic film to review. Like the recently released The Book of Eli, it comes complete with a fairly ridiculous third-act twist; but I guess many twists are ridiculous these days. After all, how many twists can there be out there? Unfortunately there are also numerous problems with David Twohy‘s direction, which is, to put it bluntly, generally shoddy and haphazard. And finally there is Milla Jovovich, who while seeming pleasant enough, once again proves that she’s only worth casting if she is killing zombies or scaling futuristic skyscrapers. For whatever reason, Jovovich seems to have difficulty delivering a believable performance when cast as a normal woman. This problem rears its ugly head once again in A Perfect Getaway. Having said all that, I’m still recommending this film. Between the lush jungle setting, intriguing and suspenseful premise, and a charismatic and magnetic performance by one Timothy Olyphant, A Perfect Getaway still manages to deliver despite some questionable directorial decisions, one bad lead performance, and a rather lame twist.

The film begins with hand-held footage of the recent wedding of our protagonists, Cliff and Sydney, played by Steve Zahn and Miss Jovovich, respectively. Luckily, the footage lasts only through the credits before that tired trope is abandoned in favor of a largely-traditional filming style (more on that later). The newlyweds are honeymooning in Hawaii and it’s not long before they are headed off to a long hike through the Hawaiian jungle, complete with waterfalls, beaches, and all manner of magnificent scenery. Along the way they meet two other couples, a sketchy pair of free spirits who they come in to conflict with almost immediately, and a second pair, Nick and Gina, portrayed by Olyphant and Kiele Sanchez. This couple also intends to hike the trail and the four of them decide to stick together. It’s not long before they come across a group of hysterical young women who are claiming that vacationers have been murdered on a neighboring island. The rumor is that it was a pair of killers, a man and a woman. With the set up complete, both couples continue their descent into the jungle, unsure of who they can trust, or just how far they will make it.

Nick (Olyphant) has all sorts of crazy and unbelievable stories from his time as a Special Forces commando/Navy Seal/spook, and Olyphant has a ball with the character who “is really hard to kill.” When given the freedom to let loose, as he is here, the underrated Olyphant is capable of delivering an insanely charismatic performance, a performance in which you simply can’t take your eyes off him. Nick’s not the biggest guy in the world, but he’s incredibly ripped and when combined with his violent background and devilish grin, the audience will feel both drawn to him and threatened by him. The fact that he’s such a mysterious, dangerous, yet strangely endearing figure only adds to the performance. It’s safe to say that without Timothy Olyphant this film simply would not work. He is that good, and while it’s no award-winning performance, it is exactly what’s desired in a popcorn thriller such as this. I have been a fan of Olyphant’s since 1998’s Go, and it’s nice to see his profile rising as his career moves forward.

Steve Zahn also does a great job in the comparatively thankless role of our hero Cliff, the rather square screenwriter who hikes through the jungle complete with glasses, dorky ball cap, and camcorder. Also of note is Chris Hemsworth, seen previously in Star Trek and soon to hit the mainstream as the title character in Marvel Studios’ Thor. Hemsworth cuts an imposing figure as half of the aforementioned sketchy couple and his presence looms over the proceedings like a dark storm cloud.

So the setting is highly appealing, the premise intriguing, and Timothy Olyphant’s screen presence alone makes up for Milla Jovovich’s subpar acting. What about the direction? The glue that holds everything together? Unfortunately, this marks the film’s weak point as David Twohy makes several questionable artistic decisions which end up detracting from the film. During the film’s third act there are several instances when the screen inexplicably switches to a split screen view, sometimes with up to 3 or 4 screens. This occurs when lots of action is taking place and the effect is disorienting, jarring, and confusing. It can be really tough to tell just who is doing what and I can’t help but think that Twohy would have been better off just leaving it alone. This unfortunate tendency to rely on gimmicks pops up again a cringe-worthy and awkward chunk of exposition. Planted firmly in the middle of the third act, he decided that the audience needed a nearly ten minute long blue-tinted flashback. Not only is the blue saturation deeply distracting, but the awkwardly placed exposition is meant to be a shocking moment, when instead it just conveys Twohy's lack of confidence in his own script. And then of course, there is the twist. I’m sure many people will see it coming from a mile away, yet I did not (I have never been too good at guessing twists). To say anymore would be to give away a pretty decent surprise, but it’s only really decent in the moment. Once the movie ends, you will find yourself second-guessing the logic behind it and that’s never a good sign.

A Perfect Getaway is in no way a perfect movie, yet it somehow remains engaging and exciting. Much of this can be attributed to the sheer overwhelming charisma of Timothy Olyphant, who at times seems to hoist the entire film on his back as he treks through the Hawaiian jungle. Sure some of the director‘s decisions were questionable and the ending is a bit bizarre, but honestly, you probably won’t care too much. As far as thrillers go, this one is entertaining and above average. 3.5 out of 5 stars.

Capsule Reviews

For the time being, this blog seems to be focusing on new films, or at least films that are still in theatres. As such, in an effort to add more content and more reviews, this entry marks the first in what will hopefully be a series of ‘Capsule Reviews’ segments. All new films will continue to get the full treatment, but any films I watch on DVD or the like will appear here.

Bottle Shock (2008)

A lightweight and forgettable yarn about a family owned Napa Valley vineyard and how, with the help of a stuffy English wine expert (an enjoyable Alan Rickman), they managed to forever change the wine industry. Chris Pine gives a pleasant performance, but the rest of a good cast is wasted in forgettable roles. Underwhelming direction by Randall Miller only further subtracts from what is a relative waste of a considerable amount of acting talent. Not a bad film, but not a good one either. 2.5 out of 5 stars.

Changeling (2008)

Based on the incredible true story of one woman’s battle to find her missing child while also fighting rampant police corruption in 1920s Los Angeles. Angelina Jolie delivers an excellent performance and Clint Eastwood’s direction is steady and proficient, if unremarkable. The production design and acting, in particular, are worth a mention. John Malkovich and Jeffrey Donovan both turn in solid performances as the righteous minister and the devious police captain, respectively. A film that is good in all areas, but somehow fails to be great. 3.5 out of 5 stars.

Pandorum (2009)

An atmospheric, but formulaic horror/thriller set in space aboard a giant vessel headed for a new planet with the intent of colonization. The first half of the film shows a lot of promise, but it soon devolves to the now standard space monsters, quick-edit fight scenes, and MTV editing sensibilities. Directed by Christian Alvart and starring Ben Foster, who gives a restrained and relatively subdued performance for a change, and Dennis Quaid, who bugs his eyes out and barks orders in increasingly familiar fashion. Worth seeing for the atmosphere and effects, but pales in comparison to the similar and far superior Event Horizon. 3 out of 5 stars.

Punch-Drunk Love (2002)

P.T. Anderson’s somewhat forgotten romantic comedy starring Adam Sandler and Emily Watson. Anderson brings his delightfully unique and offbeat perspective to this tale of an emotionally stunted small business owner who, when a love interest walks in to his life, does not know how to react. Featuring a solid and understated performance by Sandler as well as fantastic cinematography and editing. Doomed to be lost among Anderson’s greater works, but no less worthy. 4 out of 5 stars.

Rachel Getting Married (2008)

Anne Hathaway delivers a tour-de-force performance in this tale of a young woman, fresh out of rehab, who is dropped back into the family setting as her sister prepares to get married. Self realization and uncomfortable moments abound. The film is helped along greatly by the intimate, almost-documentary like camera work and a litany of fantastic performances, most notably by Hathaway and Rosemarie DeWitt. Jonathen Demme’s direction deserves praise as well. An excellent film. 4.5 out of 5 stars.

Super High Me (2007)

An amusing but unoriginal and unnecessary remake of Super Size Me; starring comedian Doug Benson, who abstains from marijuana for a month before, you guessed it, getting high all day every day for the following 30 days. Benson is a likable enough fellow and the film does provide it’s fair share of laughs. However, there’s really nothing new on display here and when the credits roll, you’ll probably wonder how you can get your hour and a half back. Directed by Michael Blieden and featuring a plethora of comedian cameos. Useful as a mindless diversion; nothing more. 2 out of 5 stars.

Synecdoche, New York (2008)

The mind-bending story of a playwright (an excellent Phillip Seymour Hoffman) who sets out to create a life-sized production of his own life. Charlie Kaufman (who wrote Being John Malkovich, Eternal Sunshine of the Spotless Mind, and Adaptation) takes his first stab at directing and the result is a brilliant but messy epic of one man’s life and the struggles he has, and we all have, with trying to organize and pigeonhole aspects of human existence. Featuring a marvelous array of actresses and a truly ambitious premise, it is a testament to Kaufman’s vision that he largely pulls it off. 4 out of 5 stars.

2009 in Review

I am not a film critic. I don't have the luxury of seeing every film that passes through the cinema. As such, I was unable to see (and review) Up in the Air, A Serious Man, A Single Man, The Road, 500 Days of Summer, and Precious among others. That being said however, I did manage to see a fair amount of films in 2009 and the following is my own personal list of the best films of the past year, along with a random assortment of other awards.

10. Drag Me To Hell

9. Star Trek

8. Bad Lieutenant: Port of Call -- New Orleans

7. Public Enemies

6. Moon

5. District 9

4. Up

3. Avatar (3D)

2. Inglourious Basterds

1. The Hurt Locker

Best Lead Performance: Jeremy Renner in The Hurt Locker

Honorable mention: Nicolas Cage in Bad Lieutenant, Sam Rockwell in Moon, Sharlto Copley in District 9

Best Supporting Performance: Christoph Waltz in Inglourious Basterds

Honorable mention: Anthony Mackie in The Hurt Locker, Marion Cotillard in Public Enemies

Best Ensemble Performance: Star Trek, Funny People (tie)

Best Direction: Kathryn Bigelow for The Hurt Locker

Best Screenplay: Up

Biggest Surprise: The box-office success of Paranormal Activity/The Hangover

Biggest Disappointment: Terminator Salvation. Butchered in nearly every way and completely undeserving of the Terminator name.

Most Overrated: The Hangover. Yeah, it was a decent comedy that made a ton of cash while starring pretty much nobody, but now there’s talk of a possible Best Picture nomination – which is, quite frankly, totally insane. In my mind, The Hangover is a clear cut below such recent comedies as Pineapple Express, Superbad, and Tropic Thunder, to name a few.

Best Franchise Entry: Star Trek. What the Star Wars prequels should have been: well-acted, funny, exciting, and most of all, fun.

Best Visual Effects: Avatar. District 9, Star Trek, and even Terminator Salvation all showcased fantastic effects, but it speaks to the huge leap forward by James Cameron that this category was the easiest call.

Best Cinematography: The Hurt Locker, Public Enemies (tie). The camera is never in the way in Katheryn Bigelow's intense war-time character study. Nevertheless, several perfectly framed sequences are forever seared into my brain due to the understated and extremely effective camera work on display in The Hurt Locker. Equally impressive was the handheld digital photography and traditional filming techniques which combined to create a strikingly handsome and immersive look in Michael Mann’s period crime drama, Public Enemies.

Best Use of Iguanas: Bad Lieutenant: Port of Call -- New Orleans. A darkly comic film that deserved to be seen by far more people. The random shots of hallucinated iguanas are just one example of the insanity permeating this bizarre and often hilarious film.

Best Ending: Public Enemies. Michael Mann knows his endings. The combination of music, handheld cinematography, and slow motion creates an ending as poetic as any you are likely to see.