The Good Shepherd

To paraphrase rapper Beanie Siegel, I’m going to be short and to the point like Steve Nash. The Good Shepherd? Didn’t care for it that much. Yes, it was a good film in the sense that it was well-made and well-acted, but there was something missing. The first 10-15 minutes almost bored me to tears. I’m not a child; my attention span is greater than that of a gnat, but come ON. Matt Damon (The Departed) is such a solitary figure in this movie, you really have to care about the story in order to care about the movie -- and I didn't. The subject matter was fascinating, I just don't like the way it was handled. This is the sort of movie that some critics adore because of its pedigree, but I was not too impressed.

The Good Shepherd tells the story of the founding of the CIA through the eyes of Edward Wilson (Damon), an ivy-league educated well-bred young man selected for covert government service while still at Yale. The movie spans about 25 years, showing us how Edward is the perfect man for the job: dispassionate in the course of duty, possessing both a keen intelligence and superb instincts. Sounds a lot more exciting than it is, but perhaps that’s the way it works in the real world. The only time we really see any emotion from Edward is when he spends time with his true love, a young woman he meets while at Yale. Their relationship is doomed, for reasons I won’t go into. Suffice it to say he ends up marrying someone else (Angelina Jolie) and is left to wonder about what might have been. The movie really isn’t about Edward's personal life beyond the way it’s impacted by his service to his government and country. He is driven by an unrelenting loyalty, sacrificing all others for his sense of duty and belief in America. The movie is all very cloak and dagger, but not in an interesting, captivating way. It’s all nebulous and more than a little long at 2 hours and 45 minutes. I feel like I am supposed to like this movie a whole lot more than I did. Deniro directed it for crying out loud. You’ve got two of my favorite movie stars in Matt Damon and Angelina Jolie…but I think it's one of the least satisfying political thrillers I've ever seen. I’d give it a 7/10, and that means wait for Netflix.

Edit: I never read other reviews before I write my own. After I wrote this review I went to rottentomatoes.com and it's rotten! I feel very validated now. I knew this movie sucked out loud. Nah, I exaggerate. It was just very OK.

Dreamgirls

To say that Dreamgirls is highly anticipated would be an understatement. Buzz has been building since word got out over a year ago that a big screen adaptation of the Broadway hit was on its way. Now there are Golden Globe nominations and Oscar buzz too. Dreamgirls has taken on a life of its own. Originally a Broadway musical, it’s loosely based on the rise and ultimate dissolution of The Supremes. The musical made quite a splash when it debuted in 1981, and the movie version is sure to please audiences even more.

Dreamgirls stars Beyonce Knowles (Goldmember), Jennifer Hudson (TV’s American Idol), and Anika Noni Rose, an actress best known for her work on Broadway. The three ladies portray Deena, Effie, and Lorrell, respectively. They comprise The Dreamettes, a girl group from Detroit aspiring for fame and stardom. When we first meet the ladies they are entering a talent contest, which they end up losing. It is here they meet their future manager, Curtis Taylor, played by Jamie Foxx (Miami Vice). He proposes that they tour as backup singers for James “Thunder” Early (Eddie Murphy), a charismatic ladies' man and soul singer. And so the journey begins, and it’s one filled with highs and lows as the girls navigate the pitfalls and triumphs of stardom. A budding relationship between Curtis and Effie is threatened by his growing attraction to Deena, and she eventually supplants Effie as lead singer, despite having a weaker voice. Rising tensions come to a head and the group dynamics change drastically. These principal plot developments reveal the movie’s core themes of following your dreams, remaining true to oneself, and perhaps most significant: forgiveness.

Okay, enough with all of that. Let’s get to the nitty gritty. The movie was wonderful. Period. Anyone who’s seen a live performance of the musical will tell you that the movie was about as on point as it could possibly be. It followed the script almost exactly, with the exception of a few artistic liberties that only enhanced the movie. The singing and acting were excellent. There were big shoes to be filled, and all of the players seemed to have welcomed the challenge. There were no weak links in the chain, but let me address the two strongest, Ms. Knowles and Ms. Hudson. For those who think the latter “stole the show,” this is only partly true. When Jennifer Hudson is on screen, it’s almost as if the other actors fade into the background. She dwarfs them with her presence, and with her voice – whether she is belting from her soul or giving Curtis a tongue lashing. She eats up the screen. HOWEVER, to say that she stole the show is to do Beyonce a disservice. If you are familiar with the musical and the original script, you know that the role of Effie is one that calls for more character development and depth. Deena’s role is more linear. Deena changes and evolves, but not like Effie. This is not Beyonce’s fault, this is simply the way the characters were created, and so it is a tad ignorant to assert that Jennifer Hudson outshone Beyonce, as some have suggested. She did a better job, but that is because she was called to do more. Her role required more, and she delivered. Having said that, Beyonce’s acting has vastly improved. Particularly, her non-verbal acting has become quite good. I always look for that, and she gave Deena all that the role demanded. I’m not so sure she deserves a Golden Globe nomination though. That’s a bit of a stretch.

Dreamgirls is a must-see for those who don’t mind the idea of movie adaptations of musicals. I attended an advanced showing with a group of friends, and the one person who disliked the movie was a friend who just detests the entire concept of the musical as movie. He also needed more character development, which is a fair complaint, but not if you’re familiar with the musical, which kinda throws you right in the mix with little exposition. If you didn’t like Chicago, Idlewild, Rent, Moulin Rouge…avoid Dreamgirls because you won’t appreciate it. Everyone else, prepare to be wowed by some powerhouse performances, especially that of Jennifer Hudson. Homegirl is on her way and I predict a #1 opening for Dreamgirls, if it can squeak by The Good Shepherd. Hell, go see it just because Little Ms. Perfect (Beyonce) drops the F-bomb and smokes a cigarette! I wonder what Mama and Papa Knowles thought about that. I knew there was a bad girl underneath that southern belle façade. All jokes aside, Dreamgirls is big, an instant classic like Cooley High, or Sparkle, or The Wiz or some shit. Don’t be that one person who’s outta the loop.

Bobby/Blood Diamond

I go to the movies for different reasons, and different things happen each time. That is the beauty and wonder of art. If you view music, poetry, literature, and film as expressions of art rather than mere forms of entertainment, you can gain a deeper appreciation and understanding of the world, of your own environment, and of yourself and those around you. When you gain that appreciation, these are the times when art speaks to your soul, when it achieves something great. I’m not trying to be melodramatic, but I’m a person who likes to think and to feel. When you do anything that makes you really think, or really feel, I think that is a wonderful thing, and that is one of the many aspects of art that I love. I saw two movies this weekend (Bobby and Blood Diamond) that made me think and made me feel something. Let’s look at Bobby first.

It’s hard to believe that the life and assassination of Robert F. Kennedy hasn’t been tackled yet, but I think actor and director Emilio Estevez (Judgment Night, The Breakfast Club) is the first to take on the task in Bobby. The movie is as much about Kennedy’s effect on the American public as it is about the actual man. Bobby is told through the eyes of the occupants of The Ambassador Hotel, where RFK was shot in 1968.

Estevez has assembled an impressive ensemble cast, including Martin Sheen (The Departed), Demi Moore (Ghost), Helen Hunt (As Good as It Gets), Nick Cannon (Drumline), Lindsay Lohan (Mean Girls), Christian Slater (Murder in the First), and Joy Bryant (The Skeleton Key), among others. You get the idea – there’s a gang of people in this movie. The people are not important; what resonates so deeply from Bobby is the powerful effect RFK had on American citizens from all walks of life. People just don’t feel that way about politicians nowadays. I’m looking at the movie and I’m struck by how much people LOVED this man. Estevez interspersed the movie with actual footage of RFK, and there is no denying that the man was absolutely adored and that he had a good heart and a good soul. During a tumultuous time for our country, he offered some semblance of hope for the future, and not in that cheesy bullshit way we see now, but like he really gave a damn. I’m not trying to sip the Kennedy kool-aid, I’m just trying to convey to you what the movie conveyed to me. The man next to me in the theater was crying, and when the closing credits rolled over a Kennedy montage – no one got up to leave. That means that this man had more than just a passing effect on people. There has always been something sad and tragic about not knowing what might have been. That is the legacy of RFK: untapped potential, untold possibilities. He was a truly good man who was snuffed out during a time when the country seemed to be going crazy in a perfect storm of tragedy: the assassinations of JFK, MLK, the Vietnam War, etc. Bobby uses its ensemble cast of characters to convey this turbulent and desperate time.

The movie is not without its flaws, as the script is plodding in places and the dialogue borders on sappy. The transition between scenes and characters was less than smooth, a flaw which was magnified by the intersecting storylines and characters. Many scenes felt choppy and disjointed. All of these flaws were erased in the electrifying final 30 minutes of the film, which depict the actual assassination and its chaotic aftermath. Here the ensemble cast shines in its delivery of collective pain, suffering, comfort, and finally: despair. Emilio Estevez’ Bobby is ambitious and deeply meaningful in its portrait of a fallen paragon of hope, taken too soon as the great ones always seem to be.

Blood Diamond

Now, let’s take a look at Blood Diamond, starring Djimon Honsou (The Island), Leonard DiCaprio (The Departed), and Jennifer Connelly. This film was truly amazing. It tells the haunting story of a man named Solomon Vandy, forced to mine for diamonds. He has been literally torn from his family by rebels who use the diamonds to finance a civil war in Sierra Leone. They have kidnapped his son and forced him into combat. Rebels, the African government, and large diamond retailers are all in bed with one another for the sake of profit, and the consequences are shockingly savage. Enter DiCaprio as Danny Archer, an opportunistic smuggler. Solomon knows the location of a 15-carat pink diamond which he has hidden in hopes of bartering for the safe reunion of his family. Archer, who must deliver diamonds to his “employer,” needs the gem to stay alive. Now the two are in a race to recover the diamond without being killed in the process, becoming reluctant and unlikely allies. DiCaprio and Honsou turn in brilliant performances, and their scenes are truly captivating. DiCaprio’s role is layered and complex, as his character shows vulnerable humanity one minute, and callous viciousness the next.

Blood Diamond is a movie which cannot be done justice by mere words. Before I can describe the movie any further, let me pose a question or two. What is human suffering? What does it mean to feel pain? I’m sure we all have our personal answers and thoughts. Perhaps it is the death of a loved one, like a spouse, child, or parent. Perhaps it is surviving a crime, or a debilitating illness. All of these answers are valid, and who am I to question the things that make another person suffer? I say all that to say this: Blood Diamond made me rethink my concept of pain and suffering. I sit in my little corner of the world with no idea about the shit that happens on planet Earth. Blood Diamond isn’t just a movie; it is a fictionalized portrayal of REAL events. The characters are subjected to unspeakable horrors, all in the name of the almighty dollar. It raises questions about human nature and the forces that drive us all. For Archer, it is greed. For Solomon, it is the unconditional love of a father for his child. Blood Diamond is not a pretty movie, it is the type of movie that serves as a mirror --- hold it up and you might not like the face staring back at you.

Deja vu

Question: If the great Denzel Washington (Inside Man) stars in a bad movie, is the movie still bad? Answer: YES. If, like my mother, you believe that any time Denzel graces the screen it’s a cause for celebration, by all means – walk don’t run to your nearest theater to check out Déjà vu. However, if you need more than a handsome face to make your movie-going experience worthwhile, I’d think twice about it.

Déjà vu reunites director Tony Scott (Man on Fire) with Washington and super-producer Jerry Bruckheimer (Con Air, The Rock). If these two are on board we at least know that a whole lot of shit is going to blow up. And it does. Washington plays ATF agent Doug Carlin, who is assigned to investigate an explosion that kills hundreds on a Naval Ship in New Orleans, during Mardi Gras. Simultaneously, he must solve the murder of Clare Kuchever (Paula Patton of Idlewild), whose death is linked to the explosion. To borrow a line from the script, if he can find Clare’s killer, he can find the person responsible for the blast. After this initial puzzle is established, we are introduced to the main concept which drives the film. The government has stumbled upon technology that allows it to not only record the past, but to manipulate it as well. As a matter of fact, they are able to send objects and people into the past in order to change the future (present). Agent Carlin is now looking at Clare’s last few days in order to uncover her killer’s identity and foil the terrorist plot.

This premise is acceptable, perhaps even intriguing, but its execution is flawed. I’m talking major plot holes and piss-poor writing. Have you ever been unable to comprehend something, not because it was so “deep” or “over your head,” but because it was just plain dumb? That’s Déjà vu! I don’t go to the movies to pick them apart, but I’m not an idiot either. Some of the things that happen in Déjà vu make absolutely no sense; it’s like the writers expect the audience to accept certain truths about this time travel technology although they directly conflict with other elements of the technology that have been presented. The implausibility level is 9 out of 10 in Déjà vu. Can the mere presence of Denzel Washington overcome these glaring flaws? Well, that depends on the viewer. Denzel will always be Denzel, but Déjà vu’s problems are bigger than him. In addition to the poor writing, the cast is wasted as the actors are relegated to one-dimensional beings that only serve to advance the plot. Jim Caviezel (Frequency, Passion of the Christ) is featured as the villain and prime suspect, while Val Kilmer (Heat, The Doors) is a federal agent assigned to the case. Neither one of these actors will be remembered for Déjà vu. If you want to see a movie that deals with concepts of time travel, fate, destiny, or government surveillance in a manner that is genuine and thought-provoking, I would suggest any one of the following: Frequency, The Butterfly Effect, Minority Report, or Donnie Darko. Despite a provocative premise, Déjà vu is ultimately disappointing, although Mr. Washington makes a valiant effort. He can’t do it alone though, and even if you put a diamond on a turd, it’s still a turd, feel me?

Casino Royale

As a fan of the James Bond franchise, I make sure to catch every new installment. Like many other fans, when I heard that Pierce Brosnan would not be reprising his role I eagerly awaited his replacement -- and like many other fans I was completely disappointed with the naming of Daniel Craig (Layer Cake) as 007. Quite simply, I just didn’t think he looked the part. Normally one might think that “looks aren’t everything,” but when it comes to Bond I beg to differ. Let’s take a look at the previous Bonds, starting with the original, the irreplaceable Sean Connery. Connery was the best Bond. He was tall, dark, and handsome. He was smooth and debonair, and when he entered a room, women melted. Roger Moore, Timothy Dalton, Pierce Brosnan, hell even the short-lived George Lazenby all looked the part, to varying degrees. But Daniel Craig? Yuck. I’ve given this whole spiel to say one thing: I stand corrected. Not only was Craig fantastic in the role, but he managed to leave a unique stamp on our favorite spy.

Casino Royale takes us back to Bond as he is first given “double-oh” status. He is passionate, reckless, and simple. He has not matured into the experienced spy we are used to seeing; he’s raw. His impulsivity frustrates M (Judi Dench of The Chronicles of Riddick, Shakespeare in Love), who tries to corral James before he compromises the mission to stop the funding of global terrorism. The title refers to the casino where James must play a high-stakes game to win the money used to finance the aforementioned terrorism. We have some familiar Bond themes: the requisite Aston Martin, martini, beautiful women, the even more beautiful locales, etc. However, something is a little different this time around. Gone are the bells and whistles and fancy gadgets, along with the cheesy commercialism that pervaded the last Bond movie, Die Another Day. Everything is darker and understated. We don't experience some of the mainstays of the franchise until the very end, like the theme music for example. Nor does Bond order his martini "shaken, not stirred." We've all heard it a million times before, and there's no need to trot out every corny Bond cliche'.

I think diehard Bond enthusiasts will be begrudgingly pleased with Casino Royale. Daniel Craig gives Bond the masculinity that Connery infused into the character, coupled with an earnest simplicity and honesty. He makes Bond seem like more than a mere spy, he's almost like an assassin! Craig is far and away the most athletic actor to portray Bond, and his body is sick. He’s no fancy-pants pretty-boy; he’s a man’s man and I like that. What he lacks in overt attractiveness he makes up for in sophisticated swagger. Call it the Jay-Z effect. Bond’s allure was always that men wanted to be him and women wanted to be with him. I'm glad to say nothing's changed.

The Departed

The Departed is a movie-lover’s wet dream. It was impossible for this film to be anything less than fantastic, and I think it’s an instant classic. The cast is absolutely stellar, reading like a virtual who’s who of Hollywood. You’ve got Martin Sheen (Apocalypse Now, The West Wing), Mark Wahlberg (Four Brothers), and Alec Baldwin (Malice, Glengarry Glen Ross)…and that’s just the supporting cast. Any one of these actors could carry a movie on his own, but perhaps the most important name attached to The Departed is that of its legendary director, Martin Scorsese. Scorsese is responsible for some of the greatest movies of the last 30 years, and it ought to be a crime that he hasn’t won an Academy Award yet. Goodfellas, Casino, Taxi Driver, Raging Bull…I dare say that the man is at least partly responsible for making Robert Deniro one of the finest American actors of our time. I think you get the idea.

The Departed’s premise is an enticing one: the Irish Mafia, led by boss Frank Costello (Jack Nicholson of Batman, As Good As It Gets) has placed a mole in the Massachusetts State Police Department. Conversely, the police have one of their own deep undercover in Costello’s organization. Matt Damon (The Bourne Identity, The Talented Mr. Ripley) plays Colin Sullivan, Costello’s unofficially adopted son, and Leonardo DiCaprio (The Aviator, The Basketball Diaries) stars as Billy Costigan, the undercover officer. I still think that Matt Damon is rather underrated, but hopefully that’s a notion that can be dispelled permanently. He lends his character a charming craftiness, giving Sullivan a resourceful arrogance that permeates the film. DiCaprio is simply masterful in his portrayal of Costigan as tortured but courageous. His character must reveal and exploit his own weaknesses in an attempt to curry Costello’s trust. Costigan is sympathetic without being weak, fearful without seeming cowardly. Nicholson is tailor-made for his role as ruthless mobster, and he does it as only he can do it. He’s got the eyebrows raised in his trademark sneer, and he has the same demented look he wore in The Shining. The Departed is also cleverly-written, with lots of salty dialogue and ‘F-bombs’ aplenty. I loved it! By the way, I think Mark Wahlberg has replaced Vin Diesel as the #2 bad ass MF in the movies. Of course Samuel L. Jackson is #1, but I digress. Bottom line: The Departed is a must-see movie, and easily the best of ’06 so far.

Little Miss Sunshine

Unlike most comedies, Little Miss Sunshine teaches a lesson, albeit an unintentional one. This movie is as much about family as it is about laughs. It follows the Hoover clan in its trek across country to enter its littlest member in a beauty pageant. Mom (Toni Collette of In Her Shoes) and Dad (Greg Kinnear of As Good As It Gets) are in charge of this lovingly dysfunctional bunch, which includes Grandpa, Uncle Frank (the always hilarious Steve Carrell of The 40-Year Old Virgin), son Dwayne, and the aforementioned Olive. Wanna know how messed up this family is? Dad is a washed-up motivational speaker, Frank just attempted suicide, Dwayne hasn't uttered a word in months, and Grandpa is a cokehead. Oh yeah, let the good times roll. Yet somehow it works, because when the chips are down the Hoover family is there for one another - reminding us that you can't pick your family, but that's probably what makes them so special. Little Miss Sunshine might be the funniest movie of the year, because the laughs aren't cheap, they're heartfelt. There are no sight gags, no gross-out humor...just a touchingly funny portrayal of a family that isn't so strange after all.

Hollywoodland

I enjoyed this noir movie. With a dash of mystery and plenty of old-Hollywood glamour and sophistication, Hollwoodland harkens back to an era where actors and actresses were icons. The women were beautiful, the men were handsome, and a cigarette dangled elegantly from every pair of lips. Much like L.A. Confidential, Hollywoodland depicts 1950s Los Angeles as an alluring but dangerous place.

The movie is based on the life and brief career of George Reeves, the actor who portrayed Superman in the original television series. Ben Affleck (Paycheck, Pearl Harbor) plays Reeves, a charming, charismatic, and naively sincere actor looking to branch out from the character of Superman. As you know, Reeves allegedly committed suicide. The movie explores a variety of competing theories as to Reeves’ cause of death. The story is really told through the perspective of Louis Simo (Adrien Brody of The Jacket), a seedy private investigator looking for a quick buck by selling a sensational cover-up story to the newspapers. While investigating Reeves’ death, Simo realizes that there are many people who had a motive to bump him off, including his mistress Toni Mannix (Diane Lane of Unfaithful), his bitchy fiancée, and the husband of his mistress--the powerful head of MGM studios.

Adrien Brody is very convincing in his role, as Simo’s quest for the truth begins to erode his life. Diane Lane is good in just about anything she does, and she plays Toni with just the right amount of love, lust and venom. Now for Ben Affleck. I noticed that the commercials for Hollywoodland fail to mention his name in connection with the movie. Three years ago he would have received top billing. Now he’s relegated to third place, billed behind Brody and Lane. Just an observation. I think Affleck did a good job in the role. Say what you will, but he’s charming, tall, and handsome if nothing else. He doesn’t do it for me, but he’s got the movie star thing going, and I think that star quality serves him well, especially in the scene where he first meets Toni. He’s the boy toy to her seductive older woman, and it works well. Hollywoodland is a lot of things rolled into one: drama, mystery, and most importantly: a sad commentary on the ruthlessness of an industry that thrives on the believability of facades and lies. You’ll leave with the same unanswered questions you had at the beginning, but I guess that’s the point.

Crank

Absolute garbage. That's all I can say. Despite starring the super-sexy Jason Statham (The Transporter), the only man ever to look good with a bald spot, Crank was just terrible. The movie's creators seemed to have done a wholesale ripoff of director Tony Scott's (Domino)movie-making style, with much less success.

Statham stars as Chev Chelios, a hitman with one hour to live. He's been injected with a poisonous concoction that inhibits his body's ability to produce adrenaline. He must do any and everything possible to boost his adrenaline, because [paraphrase] "if he stops, he's dead." Okay, I know the plot sounds like it has the potential to make for a good movie, but it's just an excuse to watch Chelios run around half-cocked on a revenge mission. Don't get me wrong, Crank has its perversely entertaining moments. He snorts coke, chops off a guy's hand, and literally screws his girlfriend (Amy Smart of Road Trip, The Butterfly Effect) in the middle of Chinatown, all to increase his adrenaline. This movie was just terrible. I didn't expect much to begin with, but it was worse than I ever imagined. The teenage boys who sat in front of me in the theater thought it was great, but if you don't fall into the 16-19 male demographic, I suggest you take a pass on Crank. It was an hour and a half of my life I can never get back.

The Illusionist

It was a pleasure to watch this enchanting movie, starring Ed Norton (The 25th Hour, The Italian Job) as an early 20th century magician. Norton plays Eisenheim, a quietly charming stage entertainer. His sold out performances feature a mix of both standard slight of hand tricks and supernatural feats. The story opens with a glimpse into Eisenheim's childhood and the forbidden friendship he shares with Sophie (Jessica Biel of Stealth), a member of the royal family. When the two are forced apart as teenagers, Eisenheim flees and travels the world, perfecting his craft. He returns to his home of Vienna 15 years later and is reunited with his lost love at one of his performances. Sophie is planning to marry the Prince, but must confront the feelings she never stopped harboring for Eishenheim. The Prince is ruthless, and the two lovers must devise a plan for Sophie to escape his violent grasp.

One part love story, one part murder mystery, The Illusionist is a captivating movie that shouldn't disappoint. It is clever and well-acted, with very good performances from Norton, Biel, and Paul Giamatti (Sideways, Lady in the Water) as an intelligent but conflicted police chief. Definitely not your run-of-the-mill movie, and worth a look.

Idlewild

I don’t know how to begin to describe Idlewild, which stars Andre’ “3000” Benjamin (Four Brothers) and Antwan “Big Boi” Patton (ATL) of Outkast. Set during Prohibition, the movie spins the tale of Percival (Benjamin) and Rooster (Patton), two childhood friends who have matured into a hustler/musician and a piano player, respectively. Written and directed by novice filmmaker Bryan Barber, Idlewild has its moments of amateurism, but remains a lovely, endearing and truly special movie throughout. This is due in large part to the performances of Andre, Big Boi, and newcomer Paula Patton, who stars as the beguiling Angel Davenport, a singer who casts a love spell on Percival.

The plot centers on Rooster’s troubles running a popular jook joint/speakeasy while juggling his family responsibilities. Meanwhile, Percival yearns to escape his demanding father, a mortician for whom he works when not playing the piano at the club. Problems arise when Rooster becomes indebted to a local thug and bootlegger, played by the ubiquitous Terrence Howard (Crash, Get Rich or Die Tryin’). Here I must give a word about the amazing visuals. Director Bryan Barber is most well-known for music videos, and it shows. He is masterful at creating the musical performances, as well as using song to stir emotion and create mood. This is particularly evident in the love scene shared by Percival and Angel. It is viscerally beautiful: understated yet passionate. Idlewild has an avant-garde flair that will be lost on some people, which is unfortunate. I think the movie’s minor flaws, such as its occasional predictability – are outweighed by the truly unique and creative storytelling approach. Again, the performances are wonderful. I think we expect this from Andre’, but Big Boi is almost a scene stealer, in my opinion. Andre got the meatier scenes, but I appreciated the subtle authenticity of Big Boi’s portrayal of Rooster. They both push the envelope creatively, and are one of the few groups in hip hop that have transcended the game and are truly making art. Okay, enough of my rambling, I think you get the message. Idlewild is not a movie, it’s a film – and there is a difference. It should be appreciated on the big screen. Check it out.

The Night Listener

This was a weird little movie. Robin Williams (Good Will Hunting) stars as Gabriel Noone, a late-night talk show host who befriends a young writer named Pete Logand (Rory Culkin), via telephone. Pete has written a book about the abuse he suffered at the hands of his caregivers. That same abuse resulted in him becoming infected with AIDS. Gabriel is first introduced to the boy by his publisher, and he also has conversations with the boy’s adoptive mother Donna, played by Toni Collette (In Her Shoes, The Sixth Sense). Eventually, Gabriel and Pete make plans to finally meet. Shit gets creepy when Gabriel starts to suspect that Pete and Donna are the same person, after detecting similarities in their voices. Add to this the fact that no one has ever seen mother and son in person together, and you have a regular little mystery. This movie is inspired by a true story, so I guess we can assume that nutjobs like Donna exist in the real world. Are you confused yet? Don’t worry, it’s not that complicated – it’s also not that rewarding of an ending either. I started this review thinking I would mildly recommend The Night Listener, but on second thought, I’d have to say it’s a bit too strange to spend your money on. Wait for it on cable, at least you won’t be disappointed. Don’t get me wrong, I think Toni Collette can act her ass off, and Robin Williams is fantastic also – but this movie was just okay, despite its intriguing plot. Next!

Danity Kane

Okay, I'm not mad at these girls at all. Their album is good! They aren't setting the world on fire or changing the game -- their self-titled debut is just some good ole R&B. They're more pop than soul (duh) but the production is crisp and they ride the tracks nicely. This is probably the only Bad Boy album purchase your girl will be making for a while. I don't mess with Young Joc, and as for Cassie? I'm embarassed I have two of her songs on my I-pod as it as -- there's no way I can buy the entire album. I hope this chick doesn't make a dime. Oh wait, this is supposed to be a Danity Kane review. Like I was saying - I would cop this if I were you. You can just put this shit on in your car and ride out. If your musical tastes run toward the more sophisticated and meaningful, just consider Danity Kane a guilty pleasure. We're all entitled to a few of those every now and then.

Miami Vice

This is probably the sexiest movie I've seen in a while. Jamie Foxx (Ray, Jarhead) and Colin Farrell (Phone Booth, Alexander) star as the infamous Crockett and Tubbs, two undercover vice detectives originally played by Don Johnson and Philip Michael Thomas in the 80's tv series. Director Michael Mann (Collateral) was responsible for the series, so I guess it was only natural for him to direct the movie. The tv show became popular for its hot locale and even hotter storylines. I was a kid back then, but even I knew about Miami Vice.

Having said all that, I'm sure the move has a built-in fan base of late thirty and early forty-somethings who remember firsthand the decade of excess and indulgence that was the 1980's. The big screen adaptation of the series is very dark, both literally and figuratively. Filmed in high-definition, the movie is gritty and realistic. As a viewer, you feel like you are watching video footage of events that actually happened. The city of Miami is a character in and of itself, and frankly it is breathtaking. Deep blue water, purple and pink skies, and lush palm trees serve as a backdrop, but not in a cheesy commercialized way. It looks authentic and will make you want to book a plane ticket tomorrow.

The movie throws us right in the mix: there are no opening credits, no corny theme music, nothing but Crockett and Tubbs immediately. These are two cops who immerse themselves in the underworld. There are no laughs and jokes, no witty banter a la Martin Lawrence and Will Smith in Bad Boys. Shit's real in the field of Miami and Crockett and Tubbs don't crack a smile once. The storyline intially involves the pair going undercover (of course) to find out about a gang of white supremacists, but ends up touching on Miami's drug world (of course again). From what I understand, drugs were a recurring theme of the original tv series. Foxx and Farrell are compelling and completely believable in their roles. They are cooler than a polar bear's toenails. There's one part where Crockett drives a speedboat to Havana for mojitos as if he's hopping in the car to run to the grocery store for orange juice. Sick. My only complaint with the movie is that there was NO character development. It was just like BAM, here's the movie. Here's a day in the life of Crockett and Tubbs. It was like a two hour episode of the tv show with an 'R' rating. That may or may not be a problem for some people, but it's just my opinion/observation. At two hours and twenty-five minutes, it's also a wee bit long. Once again, I was accompanied by a date who dozed off and started to snore. Where do I find these guys? I digress. Bottom line: Miami Vice is a cool way to spend a hot summer night. Meow.

Meaningless Plug #2

I don't often mention tv shows, but I have to give a quick plug to the best show on the little screen: Entourage. New episodes on HBO every Sunday at 10 p.m. Fuckin' AWESOME. Okay, that's all.

The Devil Wears Prada

I think everyone can enjoy this movie, despite its decidedly female slant. I’m sure that women are the intended audience, but there were plenty of men in the theater, and their laughs rang out the loudest.

The incomparable Meryl Streep (The Manchurian Candidate) stars as type-A super-bitch Miranda Priestly, editor-in-chief of a popular fashion magazine. She changes personal assistants like she changes clothes, because no one has the heart to tolerate such a demanding job. Enter Anne Hathaway (The Princess Diaries) as Andy, a wide-eyed journalist hoping to get her feet wet at the magazine. The only problem is that Andy has no clue about fashion. Her status as fashion victim is a major hindrance in her professional development and a source of resentment from the other chicks at the office. After a makeover, Andy goes from dud to diva and her confidence soars. Now she embraces the fashion world that she used to frown upon as meaningless and superficial. Unfortunately, Andy begins to change internally as well, nearly losing her friends and boyfriend (Adrian Grenier of Entourage) in the process. The Devil Wears Prada is a charming little movie that everyone can enjoy. Now ladies, all you have to do is drag your man to the theater. Just tell him he’ll get to look at Giselle Bundchen (Victoria's Secret supermodel). If the men in my theater were any indication, he’ll enjoy this movie -- even if he won’t admit it!

Superman Returns

Newcomer Brandon Routh makes his debut in Superman Returns, directed by Bryan Singer (The Usual Suspects) and co-starring Kate Bosworth (Blue Crush). Routh is fetching in the role, and fills out those famous tights quite nicely. Physical attributes aside, he brings a quiet, contemplative quality to the role. Superman has always been a corny superhero, and there’s only so much that a writer can do to change that perception without completely abandoning character loyalty. Despite the aforementioned constraint, Superman Returns is well-written, and the corny one-liners are kept to a much-appreciated minimum. Kevin Spacey (American Beauty) is featured as our hero’s nemesis, Lex Luthor. Spacey is wonderfully nasty as Luthor, and this movie marks a reunion with Bryan Singer, who directed him in The Usual Suspects. Of course, the action is superb. I especially enjoyed watching Superman stop bullets – even a bullet fired straight into his eyeball crumples like a piece of paper. There’s also a great plot revelation that sets up the inevitable sequel. This movie reminded me that while other superheroes like Batman or Spiderman are a bit cooler than Superman, he’s still the freakin’ man of steel. Superhuman strength tops spider webs and Batman’s utility belt any day. In sum, fine performances + good writing = a very entertaining day at the movies.

BET Awards Commentary!

Damon Wayans: Was he poppin' pills? He was not funny, at least not intentionally.

Beyonce: She killed it!!! I can't hate at all. She looked good, she and Jay did their thing. She had the all-girl band and they DID that shit. Who's messin' with that? Nobody. In case you missed it: http://www.youtube.com/watch?v=0x4Hh7siItw&search=beyonce%20bet%20performance

TI: What was up with the sound? Why was he performing a capella, was that on purpose? Not very good. Still love you Tip. EDIT: I found out (when Diddy mentioned it) that BET screwed up the sound. I gotta give TI credit for hangin' in there.

Jamie Foxx: Of course I was too distracted by his spit-swapping with Fantasia to pay attention to much else. Did you see it??? I wanted to gouge my eyes out. Fantasia looked country as hell in that unflattering dress. Just a hot ass mess in every conceivable way, and that kiss was gross! There was even a spit string when she pulled away. I think I threw up in my mouth a little bit. Thanks BET, for turning stomachs and dropping jaws everywhere.

Busta Rhymes: Bus-a-bus always brings the energy, and this was the biggest club banger of the year. Everybody came out and ripped it, except for DMX. He performed during the pre-show, but managed to miss the actual award show. How is that possible? Maybe he had some probation terms to comply with somewhere. I don't know what's up with that dude. Eminem was the surprise special guest, and I wanna say that he killed it, but I'd be lying.

Keyshia Cole: I fux w/ Keesh. She does more yelling than singing, but it's all good.

Chris Brown: This little boy will land me in jail. Don't let me get my hands on you Chris! Ok, I feel dirty now.

Prince: Genius. I have got to see this man in concert before I die. EDIT: After watching his performance of "3121," I was less than enthused. I feel so horrible for saying that Prince was anything other than fabulous, but I just wasn't feeling the song.

Chaka Khan: A living legend, a diva, and very deserving of a lifetime achievement award. I love Chaka, respect due. Prince, Stevie, and Chaka performing on stage together: that is real black music, for any of you born after 1983. But Chaka, what were you wearing honey? Nevermind, it was your night. Do yo thang Chaka.

Harry Belafonte: Still a handsome man, in his old age. A true leader, and he had the quote of the night: (paraphrase) "While we're at the party, the enemy is knockin' at the door, and he's not going to wait for us to say 'come in'." Say word.

Click

This was not quite what I expected. I don't expect to shed tears at an Adam Sandler movie. Maybe my hormones were in overdrive, but Click was surprisingly sweet.

Adam Sandler (The Longest Yard) plays Michael, an overworked but well-meaning architect who routinely neglects his wife and two small children in favor of his career. The title refers to Michael's use of a "universal" remote that actually controls his universe. He discovers the remote in the "Beyond" section of Bed, Bath and Beyond, courtesy of Christopher Walken (Suicide Kings) as a quirky employee named Morty. Soon Michael can fast forward through arguments with his wife Donna (Kate Beckinsdale of Underworld), annoying family dinners, and even through sex, although I'm not quite sure why he wants to do that. Michael's initial discovery and use of the remote allows for some cool special effects, as he can view any moment from his life, even conception. In this respect, Click is like one part Bruce Almighty, one part Eternal Sunshine of the Spotless Mind.

The remote has a "memory" feature, and it begins to fast forward through entire chunks of time. Michael realizes that it's the little moments in life that really matter -- not the big promotion and accompanying salary. Click is very funny, because its premise allows for many easy jokes, i.e. slow-mo shots of the female neighbor jogging in a sports bra, and Michael using the pause button to smack around his defenseless boss (David Hasselhoff, Baywatch). We know it's going to be funny, but I was pleasantly surprised at how touching this move was. There are some truly heartfelt scenes that show Michael's life slipping away as his children's lives become a blur. So yes, I can admit that I cried at an Adam Sandler movie. It had something for everyone. All in all, Click was a very good movie in what has thus far been a disappointing summer movie season (I expect Superman Returns to change that). For an example of a movie to avoid like the bird flu, look no further than the review below.

Waist Deep

Ok, y'all know that when a movie sucks, I don't mince words, I get right to it. Chocolate boy wonder (Tyrese Gibson, Four Brothers) cannot save this poorly-written ridiculous movie about a father trying to rescue his kidnapped son. We've seen countless variations of this hackneyed plot before, but I was willing to go along for the ride. Soon, I found myself waist deep in the biggest pile of crap to hit the screen since When A Stranger Calls.

Co-starring with Tyrese is Meagan Good (You Got Served, Biker Boyz) as Coco, a wrong-place, wrong-time witness to the kidnapping. Remember Martin Lawrence's t.v. show? Well, Tyrese actually plays a security guard named Otis...nevermind. This movie was so stupid that I'm actually going to do something I never do, which is reveal a big part of the movie. I have to do this to prove a point to demonstrate the suckage of this movie. If you don't want me to give anything away, stop reading now. Do you remember Thelma & Louise, when Geena Davis and Susan Sarandon drive off the cliff, committing suicide in order to evade the police? Ok, now imagine that they reappear, unscratched and alive. That's what the hell Tyrese does in this movie. The absurdity of it all made me laugh out loud. The numbskulls in the theater actually applauded at the end!! WTF? The only clapping I would've done would have been as a show of gratitude that it was finally over. Eye candy be damned, please do not get waist deep in this garbage. As a matter of fact, the only good thing about my movie-going experience was that I got to see the trailer for Outkast's movie Idlewild. Check it out here: http://movies.yahoo.com/feature/idlewild.html

X-Men: The Last Stand

There were three summer movie trailers I saw at the beginning of this year that gave me chills: M:I3, Miami Vice, and X-Men: The Last Stand. So far I'm 2 for 3. Needless to say, I was really looking forward to the latest installment in this franchise, and I was not disappointed. Director Brett Ratner (the Rush Hour movies) did a masterful job of creating a bleak sense of finality.

All of our heroes return, with the exception of Famke Janssen as Jean Grey. This time she is re-incarnated as the Phoenix, Jean's power-hungry altar ego. The plot involves a mutant "cure,"a drug that will restore mutants to homo-sapien status. The X-Men must appeal to Jean/Phoenix and stop the government from using the cure as a weapon. Meanwhile, Magneto (Ian McKellan, Apt Pupil) has his own designs for the cure, and he has attempted to harness the immeasurable power of Phoenix to assist him.

Here's what I liked: Phoenix. She was awesome. Evil, but awesome. She is basically the most powerful mutant ever. More powerful than Professor Xavier, Magneto, you name it. She gets a taste of unbridled power, and the consequences are tragic for the X-Men. Can Jean Grey be saved, or is she lost forever? Like its predecessor, The Last Stand addresses our notions of normalcy, tolerance, and acceptance. In a great scene Storm (Halle Berry, most recently of Catwoman) questions the need for a cure. Nothing is wrong with being a mutant, she asserts. Easy for you to say, says the Beast (Kelsey Grammer of Frasier). Storm is beautiful. Beast is....well, a beast for cryin' out loud. A hairy blue beast. The majority has margianalized the mutants to such an extent that they assume the mutants would jump at the chance to become "normal." It's interesting to see which of the X-Men have accepted their existence, and those who would change it, if given the opportunity. Psychological aspects aside, The Last Stand is an all-around great flick. I cannot understand why some critics disliked it. Oh well. To each their own, but take my word for it: a deep, darkly entertaining movie. I'd say it's the best of the summer, so far.

Mission: Impossible III

After much fanfare, negative publicity, and overall inundation with all things Cruise, M:I3 hits theaters. This latest installment in the franchise is directed by J.J. Abrams, the man responsible for the television tales of super-spy Sydney Bristow on Alias.

Abrams reportedly wanted to focus more on character development and less on stunts and gadgetry in this one. Mission: Accomplished. In MI:3 Tom Cruise (War of the Worlds, Collateral) returns as Ethan Hunt, only now he is semi-retired from the covert IMF agency. Hunt has a pretty fiancee' Julia and anticipates a low-key future and normal existence. Of course it's never that easy in the movies. Hunt is sucked into a recovery mission involving a former protege Agent Lindsey Ferris, played by Keri Russell (Felicity). When Ferris is compromised the stage is set for Hunt and his team (Ving Rhames of Baby Boy, Jonathan Rhys Meyers of Match Point, and newcomer Maggie Q) to take action against the requisite villain Owen Davian, played by the fabulous Phillip Seymour Hoffman (The 25th Hour, Capote). Davian is part of some nefarious scheme involving a mysterious "rabbit's foot," which is apparently some chemical component to a nuclear weapon or whatever. Basically it's just some bad $hit. What it is exactly doesn't matter, but Hunt must get the rabbit's foot to stop Davian.

Despite Tom Cruise's recent reputation as a nutjob, I will still go see his movies, if they look good. I've been a fan since Top Gun, and I actually think he is underrated as an actor. Having said that, I will admit that he is not the same guy I liked so much in the past. Watching him on the screen I was reminded that this is "Crazy Cruise," and I found myself thinking of Katie Holmes and Scientology. These are the thoughts that will keep some people out of the theater, but at the end of the day it is what it is: Tom Cruise doing his thing. You get what you expect and you get what you pay for: lots of action and a pretty good storyline. Corny one-liners aside, it was a good flick and hopefully a preview of Hollywood's summer blockbusters to come.

The Sentinel

Michael Douglas (The Game, A Perfect Murder) returns to the silver screen alongside Kiefer Sutherland (most recently of 24), Kim Basinger (L.A. Confidential), and Eva Longoria (Desperate Housewives) in her big screen debut. This political thriller is set in D.C., offering a glimpse inside the elite world of the Secret Service.

Douglas is Pete Garrison, a seasoned agent assigned to protect the First Family. Kiefer Sutherland plays David Breckenridge, a former protege of Garrison, and Longoria is the rookie who was trained by Garrison and now works under Breckenridge. There is an inside plot to assassinate the President and Garrison is being framed. He must save the Prez, find the mole, and clear his name while eluding the Agency. One part cat and mouse, one part political intrigue, The Sentinel, is entertaining and suspenseful. The early part of the movie offers an interesting look at the intricacies of protecting the President on a daily basis. The President and First Lady (Basinger) have their every move shadowed and their schedules are meticulously planned. The agents seem to possess the unyielding loyalty required to sacrifice their lives without a moment's hesitation, and it's kinda cool to get a behind the scenes look at the whole thing, although I'm not sure the depiction is totally accurate.

Without revealing too much, I'll say that this is vintage Michael Douglas. The man has a knack for playing the guy who always gets in trouble behind a woman. See Disclosure, Fatal Attraction, and Basic Instinct for evidence of him letting his johnson get him in hot water.

The one crticism I have of The Sentinel is that the identity of the mole is not quite as mysterious as it could have been. There have been some outstanding political thrillers set in D.C. over the years like the classic No Way Out (Kevin Costner, Gene Hackman) and Suspect (Dennis Quaid, Cher). The Sentinel is not on the same level as these two, but it's a pretty solid movie and worth a look.

Lucky Number Slevin

Hell yeah. This is my kinda movie. Slick, cool, and complicated with a twist. Fast-paced and violent, Lucky Number Slevin features clever dialogue (sans one offensive religious reference) and a charismatic ensemble cast. The rundown: Josh Hartnett (Hollywood Homicide, O) is our wrong place, wrong time title character Slevin. This guy is anything BUT lucky. Bruce Willis (Sin City) is an emotionless assassin. Morgan Freeman (Million Dollar Baby) is "The Boss." Ben Kingsley (Sexy Beast) is "the Rabbi." Lucy Liu (Domino) is sweet on Slevin. Let me set it up real quick for ya. Slevin is going through a shitty little phase of his life, so he goes to visit his buddy Nick for some R&R. When he arrives at Nick's place he discovers he's not there. The next thing he knows two goons show up to collect on a debt that Nick owes. They think that Slevin is Nick (since he's in Nick's apartment) and cannot be convinced otherwise. Slevin would show them some ID if he had it, but he was mugged shortly after arriving in the city and doesn't have his wallet. Didn't I tell you this guy was unlucky? Slevin finds himself up shit's creek with a boat and no paddle after The Boss proposes a most unappealing way to settle the debt that Nick owes. Confused? Good. It may seem like I've told you too much about the movie, but trust: I did not spoil it for you. This movie twists and turns like you wouldn't believe.

Lucky Number Slevin has the coolness of a Tarantino flick mixed with the pacing of a Guy Ritchie (Snatch) film. I was about a half-step behind the entire time, but I figured out most of the twists right before they happened. The commercials depict Slevin as slick and funny, and it is-- but it is also darkly violent. The transition of Hartnett's character is something to behold. I imagine that the critics may not like how the movie switches gears, but I thought it was great. One minute I think it's clever and funny, the next minute they go and get all Usual Suspects on me. Shit was ill, check it out.

V for Vendetta

Brilliant. This was a fantastic movie. I was somewhat reluctant to see it…it looked a little Zorro-ish or whatever, but boy was I wrong. Vendetta stars Natalie Portman (Golden State, Closer) and Hugo Weaving (The Matrix) as the masked vigilante/freedom-fighter "V." It was written by The Wachowski Brothers, the ingenious duo responsible for The Matrix trilogy.

V for Vendetta weaves a complicated Orwellian tale, borrowing intermittently from the overall themes and concepts of 1984. Set in the near future in England, the movie paints a frightening picture of a country controlled by a fascist chancellor. Art and music are not permitted. Citizens are monitored and speech is controlled. The government was empowered after a series of deadly plagues killed thousands of citizens and the powers-that-be produced a cure, at a cost. The cost is freedom. It is against this bleak backdrop that our hero V emerges, determined to awaken the people from their slumber. Natalie Portman stars as Evey, a young woman with a revolutionary spirit who is inadvertently sucked into V's world. Portman is a truly wonderful actress, and is nothing short of excellent, as usual. Weaving is similarly great, which is no small feat considering we never see his face.

Vendetta is not the first film to address conspiracy theories and police states, and I imagine that it won't be the last. What makes Vendetta provocative is the realism that is conveyed, thanks to an intricate script and stunning visual effects. It examines unbridled thirst for power, apathy, courage, and the driving forces behind human nature and complacency. A "thinking man's" popcorn flick, Vendetta is not for everyone; however, if you have an open mind I think you'll enjoy.

ATL

I need to release my inner teenager, the one that urges me go see movies like ATL and You Got Served. I entered the theater feeling slightly embarrassed that I was probably one of the oldest people there, at the ripe age of 26. Oh well, at least I didn't go alone, I drug two other old souls with me.

Loosely based on the adolescent experiences of music producer Dallas Austin, ATL tells the story of four high school friends and the ups and downs they endure as they prepare to enter adulthood. Rapper T.I. stars as Rashad, leader of the pack and level-headed mentor to a cute knucklehead little brother Anton, played by Diana Ross' youngest son, Evan Ross Naess. "Brooklyn" can't keep a job, "Esquire" is the college-bound member of the crew, and Teddy (Jason Weaver of Drumline) is a perpetual senior whose true age is a mystery. Rounding out the cast is Mykelti Williamson (Forrest Gump, Waiting to Exhale) as Rashad and Anton's uncle and caregiver, "New New," the sassy object of Rashad's affection, and Big Boi (one half of Outkast) as Marcus, flossy drug dealer. The city of Atlanta is practically a character as well, because first time director Chris Robinson captures its culture and residents so vividly.

ATL is a difficult movie to critique...I think it should be credited for a somewhat positive depiction of black life, despite the fact that Anton's character is tempted by the criminal lifestyle. The negative aspects of the movie are tempered by Rashad's integrity and sense of responsibility to his brother, and also by the light-heartedness we see in the boys' interaction with each other. At times the movie treads on clichéd ground with familiar themes of remaining true to oneself and the conflict between Rashad and New New, but I enjoyed it despite these shortcomings.

Every rapper thinks he can act nowadays, but T.I. and Big Boi are decent enough. T.I. actually brings a certain endearing sincerity to his role. However, there is room enough for only one toothpick in my life, and Pharrell already has that spot, sorry T.I. Pardon me for getting off track for a second, but T.I. is so skinny this dude actually manages to make a wife beater look baggy. It looked like a friggin' basketball jersey on him!

I'll try to help you make up your mind about going to see this one. Did you see Roll Bounce? What about You Got Served? If so, chances are you'll like ATL. If the thought of either of these movies made you throw up in your mouth a little, then maybe you should take a pass. ATL has more substance than Roll Bounce if you can get past the surface comparisons, but that's hard to do if you aren't inclined to see it in the first place. Give it a shot.

Inside Man

Spike Lee's (25th Hour, She Hate Me) latest joint is a caper flick starring the always charismatic Denzel Washington (Out of Time), Clive Owen (most recently of Derailed), and Jodie Foster (Flightplan). This movie was a pleasure, obviously. It's a no-brainer, a recipe for a hit: add Academy Award winners Washington and Foster, pour in a little Spike Lee, and stir. Voila.

The movie opens with Owen's character explaining the bank heist that has presumably landed him in jail. We know that he executed the robbery, and we know where it took place. The story attempts to explain how and ultimately why it happened. The obvious motive is money, but the film takes an interesting turn when it appears that the events taking place inside the bank may not have anything to do with theft at all.

Regarding the performances, Washington can do no wrong, and neither can Foster, so you won't find any criticism of them here. As long as they have a decent script to work with, they can act circles around almost anyone. Neither of them will be adding another Oscar to their mantle with this movie, but that's not the point. Inside Man is clever and entertaining throughout, and Spike gets the most out of everyone. It was particularly nice to see Foster on screen in a departure from her recent pattern of freaked-out hero mom roles (Flightplan and Panic Room).

I'm also glad that Spike Lee, in my opinion, cannot be pigeon-holed as a director. Yes, he is THE premier black filmmaker of our era, and has been a pioneer in portraying the black experience—but Lee has demonstrated that he can tell ANY story, not just those involving African-American themes. He first showed the ability to branch out with Summer of Sam, which featured an entirely white cast, and also with 2002's 25th Hour, one of my absolute favorites. In sum, Inside Man does not take the caper flick to a whole new level, but it's a nice addition to the genre and well worth seeing.

Dave Chapelle's Block Party

Dave Chapelle brings us documentary footage from his summer 2004 block party in Brooklyn, New York. There isn't much to analyze about this movie, because it is what it is: Dave's favorite artists assembled together in the name of good old-fashioned REAL music. I think it's cool that Dave documented the concert/party because it shows that the music he appreciates is a reflection of what he believes in: an expression of truth at all costs. We know Dave is a straight shooter and that he pulls no punches, and this is mirrored by the musical company he keeps: Dead Prez, Common, Jill Scott, Badu, etc. We also see how Chapelle is a man of the people, both black and white. The concert was a soulful celebration of real music and black culture and quite simply just a dope-ass show. I love watching us do our thing, I wish I could've been at the show, it looks like it was epic for the Fugees alone. Even though Chapelle has a huge following on Comedy Central, I don't expect this movie to be a commercial success because it's not Dave doing comedy, it's about the music and Dave giving back to the people. Everybody can't get with that. If you liked Jay-Z's Fade to Black, you definitely should show Chapelle some love because Block Party is much better.

16 Blocks

Bruce Willis (most recently of Sin City) and Mos Def (The Hitchhiker's Guide to the Galaxy) star in this action thriller about a cop who must transport a witness 16 blocks to the courthouse so that he may testify against corrupt NYC police officers. The only problem is that New York's finest are determined to make sure Eddie (Mos Def) never reaches his destination.

I believe the premise of this movie is an exciting one, and I also enjoy Willis and Mos as talented actors. However, I don't think this movie is great. We as viewers know pretty early on what this movie is going to be about. The problem for me was that despite a good plot, I don't think the movie did an effective job of sustaining suspense and maintaing a tense, edge-of-your-seat feeling. A good example of a movie that pulled this off successfully was Speed. I know I reached back a little bit with that one, but Speed managed to do what 16 Blocks could not: introduce a great dilemma in the beginning but keep the audience entrenched in the movie the whole time. It just didn't deliver for me: overall a fairly decent movie but nothing spectacular. Mos Def is a charming and appealing renaissance man, and I am a fan of his acting and music; HOWEVER, he had the most annoying voice in this movie!! Oh my God, it was so irksome. I didn't like it at all and it took me a while to ignore it. There were also some plot holes that I don't feel like getting into, chalk it up to poor writing. All of Bruce Willis' Die Hard movies put this one to shame, and Mos Def's charm couldn't save his performance. Not a bad movie, but by no means is this a "must see."

Running Scared

I LOVED this movie, I don't care what anyone has to say about it. Much like last year's Domino- which I also really liked despite its horrible reviews - Running Scared is a hectic and harrowing tale, spilling out on the screen like a stream of consciousness. With frenetic pacing and an erratic storyline, I hated to leave for the bathroom for fear I would miss something critical. Blasted apple martinis.

Paul Walker stars as Joey Gazelle, a low-level mob guy who has the task of disposing of dirty guns. When one such piece gets away from him before he has the chance to dump it, Joey has to track it down before his bosses and/or the cops find it. Who has the gun? It was last in the hands of Oleg (Cameron Bright of Birth), the next door neighbor and best friend of his young son Nicky. Running Scared lives up to its title as Walker frantically combs the city for the burner. It passes hands from one low-life to another, and Joey always seems to be one step behind. The story takes an interesting turn when his wife goes on a chase of her own to retrieve Oleg, who is on the run for reasons I won't reveal so I don't spoil it for you. What makes this flick interesting is the atmosphere, cinematography, and the performances. The director makes use of slow-mo shots, reverse techniques and interesting camera angles. The film is visually appealing, starkly colored with lots of washed-out imagery. Now, for the performances: Paul Walker might be my new obsession. His Jersey accent was great and I was surprised he was able to ditch his natural surfer-boy intonation. He showed some grit, which I believe is a departure from his more recent roles. Plus I aint gonna lie…he is hella sexy. He's hot! I tried to save that for the end so it won't seem like that's the real reason why I liked this movie, but I have to put it out there. Paul, I aint mad at 'cha. Now as for this kid actor Cameron Bright, he is kinda deep. I've only seen him in one other movie, 2004's Birth, and he was good in that one also, although it was a bit disturbing. This kid takes on some heavy roles and I give him credit for it. He's no Haley Joel Osment or Dakota Fanning but hey, he's good. If you liked Domino or you dig Tarantino, I think you'll like Running Scared. One thing's for certain: you won't be bored.

Freedomland

You can always count on Samuel L. Jackson for some hilarious profanity-laden quotes. He doesn't disappoint in Freedomland, but the movie is otherwise unmemorable. Guess what profane gem Sam Jack drops on us this time? He actually calls a guy "brotherfucker!" Get it? Instead of mother...ok, enough.

Freedomland begins on a night in the summer of 1999 in inner-city New Jersey. Brenda Martin, played by Julianne Moore (Hannibal, The Forgotten) has been carjacked by the omnipresent criminally-inclined young black male, with her 4 year old son still in the backseat. The largely white police department of the neighboring suburb of Gannon begin their shakedown of the neighborhood project where Brenda works as a teacher. Sam Jack plays Lorenzo Council, a badass (big surprise) cop who knows the projects and its residents intimately. The first half hour of the movie is great: the pacing is taut and the racial tension is palpable. Jackson is commanding in the role and his character is tough but tender. However, the project atmosphere is quickly exhausted and goes from tense to tiring.

Moore is a talented actress, but I personally found her character to become more annoying and less sympathetic as the story unfolded. She is essentially a bird-brained basketcase for the entire movie. When she goes to the hospital after the jacking she doesn't even say immediately that her son was still in the backseat of the car. I guess she's supposed to be in shock, but that just doesn't fly with me. Also, she has this gross lip-licking thing that she does. Ugh.

This movie had the potential to be really good, but ends up being tiring and unremarkable. There are solid performances from Jackson and Edie Falco (The Sopranos) as a missing children's crusader -- but Freedomland ultimately fizzles.

When A Stranger Calls

I can't believe this is the #1 movie in America right now. Wow. I can save you a trip to the theater. Have you seen the commercial? Ok, good. You've seen the movie. That's it, there's nothing more. I'm not exaggerating. I will admit that the director did a good job of building and sustaining tension in a confined space, but after a while it just became boring. I can't find one other remotely redeeming thing to say about this movie. There were no twists. There was no big payoff. You have the obligatory, "what the hell are you doing you stupid ass??" moment, followed by your "don't go in there!" scene. Complete teeny-bopper drivel.

Annapolis

Well, I had low expectations for this movie, and I wasn't disappointed. Or I guess you could say I WAS disappointed, because this one was USA Movie of the Week quality. I went for the eye candy (James Franco and Tyrese Gibson), but they weren't quite worth the price of admission.

Franco (Spiderman) stars as Jake Huard, a young man who dreamt of joining the U.S. Naval Academy as a boy. He aspires to surpass the blue collar lifestyle of his father and friends, who build naval ships for the Academy. The only things standing in his way are self-doubt and the character of Lt. Cole, played by Tyrese (Four Brothers). Cole is supposed to be the antagonist, but as a viewer I found myself disliking him because I knew I was supposed to, rather than because he was the bad guy everyone made him out to be. Writer David Collard (Out of Time) simply did a poor job of constructing a compelling story. Everything about the script was corny and underdeveloped, from Huard's silly interactions with love interest Jordana Brewster (The Fast and the Furious) to his relationships with boyhood friends. The only mildly endearing character was "Twins," an overweight but sweet cadet whom Huard befriends at the Academy. Riddled with clichés, Annapolis is one to skip. Skip it at the theater. Skip it at Blockbuster. Skip it on cable. I think my work here is done.

Something New

What a sweet and charming little movie. I guess this one can be classified as a "chick flick," but I hate that term. Think of it as a warm and fuzzy Jungle Fever in reverse. Actually that was a pretty bad analogy, but you get the picture -- this time it's a black woman stepping outside of her comfort zone by dating a white man.

First time director Sanaa Hamri gives us the story of Kenya, a successful, uptight and disappointedly single accountant played by the always lovely Sanaa Lathan (Out of Time). Like many educated black women, Kenya is seeking a man to compliment her ambitious lifestyle, but finds the pickins' to be quite slim. Enter Brian, (played by Simon Baker, most recently of Land of the Dead) a handsome landscaper who "takes hard earth and makes things bloom." Wink, wink, nudge, nudge. There aren't many surprises here, but this one is a winner because it realistically deals with the issues that face an interracial couple without becoming a one-trick pony (like last year's Guess Who). Lathan is dead-on in her portrayal of a sista who "doesn't do dogs, spiders, or hiking." Particularly authentic (in my uninformed opinion) is a scene where Kenya vents about a hard day at work dealing with "the man." Brian asks for one night without a discussion of race and Kenya tells him you don't "get a night off from being black." I thought this was a great scene, because it seems like a real concern that would face a black woman in a relationship with a white man. Kenya has an image of what she considers her "IBM" (ideal black man), but she learns that what you think you want is not always the best thing for you. Sometimes the real gift is not in the package we expected.

Another thing I really liked about the movie is that Kenya is a real sista, she's not a black Barbie wannabe. Brian is comfortable in his own skin as well, he's not some white boy trying to "act black" or fulfill a black girl Jezebel fantasy. These are just two people who have made a connection in a world where true love can be rare. Although Brian is a prize (he paints her toenails for cryin' out loud!), director Hamri does not tout the virtues of white men at the expense of black men. There is no bashing of black men, which I'm sure we can all appreciate. If you're looking for a sweet and refreshing take on the old "boy meets girl" premise, check this one out. Check it out anyway because we need to support a departure from the same old black date flicks that recycle some combination of Gabrielle Union, Morris Chestnutt and Taye Diggs. A white dude providing the diversity and spice, who woulda thunk it??