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??

King Kong

Well well. This one has certainly been hyped. For the most part, King Kong lives up to its buzz. Peter Jackson (The Lord of the Rings trilogy) directs this blockbuster starring Jack Black (School of Rock, Shallow Hal), Naomi Watts (The Ring, 21 Grams) and Adrien Brody (most recently of The Jacket). All three do a fine job, though it's hard for me to look at Jack Black without laughing.

Set in the Depression era, Kong begins with a (presumably) realistic slice of Americana seen through the eyes of filmmaker Carl Denham (Black) and aspiring actress Ann Darrow (Watts). Both need a hit movie: Denham to save his fledgling career and Darrow to simply eat and survive. In search of a fresh face for his latest picture, Denham meets Darrow by chance and she agrees to do the movie. The only catch is that filming will take place in a remote location, accessible only by boat. The cast and crew, including Brody as screenwriter Jack Driscoll, find the island only to discover it inhabitaed by hostile and violent natives. They abduct Darrow and set the stage for the moment we've all been waiting for: the introduction of Kong. The only word to describe the beast is amazing. His expressions are nuanced and human-like, giving a strange quality of depth to the portrayal. Props to the folks at CGI, or whoever made this thing, because it looks real. The interaction between Watts and the beast is really very good, especially given that Watts was probably in front of a green screen during filming. She looks as if she's staring right at the gorilla and into his soul. Their interaction is a strange mix of love, fear, bewilderment and wonder. Kong seems genuinely in love with Ann Darrow, and she appears to have the beauty and gentility required to tame the savage beast.

The special effects are incredible, and there is a particularly long action sequence that lasts 10-15 minutes. No dialouge is necessary because Jackson has the audience riveted with what's taking place on screen. Suffice to say that Kong is one bad MF. One drawback, in my opinion, was that the first part of the movie prior to them arriving on the island was a tad boring. I had a few long blinks. At 3 hours and 7 minutes this movie is long as hell -- and you feel it in the beginning. Bring out the ape already. Overall King Kong was thoroughly entertaining, though I don't think it's good enough to surpass Titanic as the highest grossing movie of all time, as some are suggesting. King Kong: hot monkey love disaster flick with a heart.

Aeon Flux

I was looking forward to this one, and I must say that I was mildly disappointed. Charlize Theron (most recently of North Country) stars in the title role, which is based on the early 1990's MTV cartoon of the same name. I watched the cartoon a few times back in the day and it was hella weird.

Theron is not bad as Aeon, my complaint is just that the movie was inexplicably strange and unfulfilling. There is something about it I didn't like, I just can't quite put my finger on it or articulate it. I know this nebulous description is useless in determining whether or not you should check this movie out, but bear with me. The movie is set in the future (of course), where the government is controlled by Trevor Goodchild, a man who is trying to preserve life in the last known society on Earth. You see, a plague has eliminated nearly all of the world's population. The survivors reside in Bregna, a fortified city surrounded by a wall. Aeon is a member of a small rebel faction seeking to overthrow the administration. Goodchild seems to be up to something nefarious, and Aeon is dispatched to assassinate him. When she gets the opportunity to do the deed, she spares him. It seems they have a past connection. The rest of the movie explores the aforementioned connection and the underlying secrets of the Goodchild adminstration.

This movie is not as cool as it looks. There are a few good scenes, but you've seen most of them in the trailer. Aeon is cool, but she does not kick enough ass. The special effects and fight choreography also look cheesy. It's too acrobatic. I've seen more realistic fight scenes from The Bride in Kill Bill, and if you want to go for the implausible but sick, Trinity in The Matrix was better. Sooooo.....if I were you I'd wait until this little number is on DVD.

Get Rich or Die Tryin'

The s*it was terrible. Period. I will leave a little room for the possibility that my interpretation was skewed by the number of mojitos I drank at the bar before the movie, BUT I'm pretty sure it still sucked. I also went to the bathroom for two minutes, so maybe those were a really good two minutes that would've explained everything...somehow I doubt it. My date was snoring. If you like the straight- to-video rap movies advertised in the Source magazine, maybe Get Rich or Die Tryin' is just the movie for you. There are plenty of good hip-hop influenced movies out there, from Belly to 8 Mile to Hustle & Flow. Get Rich aint one of 'em. There are plenty of talented rappers turned actors, from Will Smith to Ice Cube and even DMX. Fifty aint one of 'em. Actually, his performance was better than I thought it would be and his acting wasn't even the biggest problem with the movie. The movie was just a bunch of random $hit happening. A collection of scenes. Terrence Howard (Crash, Four Brothers) has been in everything this year and the brother is talented, but this was a waste. Joy Bryant (The Skeleton Key, Antwone Fisher) is featured as Fif's girl, so the role was pretty basic. Homeboy from Oz plays the gangster who won't let 50 go straight. OK I'm done really trying to break this movie down like it was something. I didn't like it. Go see it if you want.

Derailed

This suspense thriller is an okay addition to the genre, but it's definitely not going to set the world on fire nor the box office. I suspect that moviegoers may want to see Jennifer Aniston (Along Came Polly, Bruce Almighty) shine in her first post-Friends role, so the movie may do well in its first week. After that, I expect it to sink. Who knows, maybe I'll be surprised.

Aniston stars as Lucinda Harris alongside Clive Owen (Sin City, Closer) in this somewhat predictable movie. Owen plays Charles Schine, a married man who encounters Lucinda on a train during his morning commute. She pays his fare when he comes up short, and the "sparks" fly. Except they really don't. But I can tell I'm supposed to think that they are flying. Sorry, Jennifer Aniston is not a knockout, so I'm not buying that she's this head-turner who has all the men on the train breaking their collective necks just to get a peek. Charles is open to the idea of getting to know Lucinda better because his marriage is strained. He and his wife are caring for a diabetic child and have stretched their finances to the limit. Thus the door is open for an affair, and Lucinda strolls right through it. The plot thickens when their seemingly impromptu meeting at a hotel goes violently awry. Suddenly getting busted on a late-night creep session by the wife is the least of Charles' problems. I'll stop right there. The rest of the movie is comprised of Charles trying to get his life back on track.

I dig these kinds of movies, so I figured I'd check it out, despite the fact that I'm not really a Jennifer Aniston fan. She did an okay job, but the role could've been so much more. I can't figure out if it was the writing or just her performance. She didn't do anything really wrong, but she didn't really do anything right either. I will need to see her in something else before I'm convinced that she has any depth or range to speak of. I like Clive Owen, so I think he did a fine job, although nobody will be winning any awards for this one. However, I must say that Vincent Cassel (never heard of him before this) was very good as the villain who terrorizes Owen's character. Xzibit (XXX: State of the Union) and RZA (of Wu-Tang for you non-hip hop heads) are in this too, so that was kinda interesting. X to the Z is a decent actor, although not much was required of him. RZA was sorta cute as the mail guy at Charles' job.

This movie was kinda cheesy. I had to laugh when Charles went to the "hood," and the filmmakers were sure to cue in the "gangsta" rap to make sure the audience knew that Charles was going to encounter some scary ethnic types. If you're a big Aniston fan, you'll probably like this. If you're a fan of really good movies, maybe you better wait for the DVD.

Check for this TV Show: Criminal Minds

This show is great. I don't really get into the new dramas the networks unleash on us every Fall, but Criminal Minds is like a mini-movie each week. Like Law & Order, CSI, and other prime time crime dramas, Criminal Minds is self-contained and doesn't require that you watch each episode, so jump in any week. The premise: a group of FBI profilers solve sadistic and heinous crimes through careful deconstruction of the victims' lives. This show isn't exactly breaking new ground in terms of the profiler plot, but it is uniquely entertaining in its darkness. It's like a psychological thriller done for the small screen, and each week the case is just as chilling as the last. CBS has definitely become the network for crime/mystery dramas and features the best: Cold Case, all of the CSIs, and Without a Trace. If you're not doing anything else, Criminal Minds is definitely worth a look. Wednesdays 9 PM EST on CBS. Starring: Mandy Patinkin (Dead Like Me) and Shemar Moore (Diary of a Mad Black Woman, The Brothers).

Jarhead

I was really looking forward to this movie, and I was not disappointed. Jarhead features a stellar cast in both starring and supporting roles. Jake Gyllenhaal (Donnie Darko, The Day After Tomorrow) stars as 20 year old Anthony Swofford, a real-life Marine who served in Desert Storm. The movie tells of his personal experiences dealing with the boredom, uncertainty, anxiety and disappointment that may come with military service.

Set in 1989(?), Jarhead paints a truly realistic portrait of Marine life, from the hazing rituals to the Marine vernacular. Anyone who knows a Marine or is a Marine themselves can see that director Sam Mendes (Road to Perdition, American Beauty) did his homework. I guess it's pretty easy to convey the authenticity since the movie is not fictionalized, although I assume some artistic liberties were taken. FYI, a "jarhead" is another name for a Marine and the name comes from the standard haircut which makes the Marine's head look like a jar.

Gyllenhaal has really grown on me. Swofford is wide-eyed but gutsy, and never tries to be something he isn't. He misses his girlfriend and wonders if "Jody" is keeping her company. He's proud to serve his country and is a good marine, but like a lot of Marines, his grip on sanity is a bit loose. His experiences in Desert Storm show the pointlessness of his purpose….he is a sniper who never even gets to fire his gun. I could feel his boredom and desire for some "action" in the desert. How does one "fight" in a war as a sniper and never fire his gun?? Particularly effective was a scene between Gyllenhall and Peter Sarsgaard (Flightplan, Shattered Glass) as they return from a mission to find that the war is over. The other members of their troop are partying, drinking, celebrating and dancing around a fire, happy to be returning home after months in the sweltering heat. Their euphoria and wild abandonment contrast sharply with Gyllenhaal and Sarsgaards's crestfallen faces. They should be happy, the war is over and we won! They can go home now. However, the unspoken question is "what was the point?" What did I do, why was I here?" And to top it off…I never even fired my weapon! This feeling dissipates as Sarsgaard's character tells Swofford to fire his weapon now. A great scene follows where Swofford fires his weapon in the air and sets off a chain reaction. Men. Gotta love 'em. They're so beastly and cute.

Anyway, suffice to say this movie was highly entertaining and gave a different account of the military. There are many great war movies out there (Full Metal Jacket, Born on the Fourth of July), but this one (I think) is the first one to capture the mundane aspects and real day to day experiences of a soldier who didn't see much combat. Gyllenhaal was simply great and Peter Sarsgaard is a supremely underrated actor. This man should be a bigger star than he is. Jamie Foxx as Staff Sargeant Sykes is also great. Foxx doesn't even seem like he was ever a stand-up comedian, this man is a real actor who can hang with anyone on the big screen. The cinematography and imagery were also beautiful. There's a scene where Foxx and Gyllenhall are shown in silouhette against the backdrop of a red and orange sky as oil fires burn in the distance. Good stuff. I put Jarhead in my top 3 of the year, behind Crash and ahead of Sin City. Check it out.

Domino

Yo, this movie was all over the place. Frenetic and stylish, director Tony Scott (Man on Fire, Enemy of the State) brings us the real life (sort of) tale of Domino Harvey, a former model and bounty hunter. Keira Knightley (Pirates of the Caribbean) stars in the title role, accompanied by a hodgepodge of other actors ranging from Mickey Rourke (Sin City) as sidekick/mentor to Lucy Liu (Charlie's Angels) as an FBI interrogator.

The story begins at the end and is interspersed with flashbacks throughout. The basic plot is that Domino, Choco (Edgar Ramirez) and Ed (Rourke) must retrieve 10 million dollars that was stolen from the owner of the Stratosphere casino in Vegas. Everything else that happens in the movie varies from comic (a Jerry Springer clip) to violent (can we say missing limb?) to erotic (impromptu lap dance). Was Tony Scott on acid when he made this? The lighting is stark and there are a million flashbacks – some as far back as Domino's childhood – some as recent as two years ago. Domino has been soundly trashed by the critics, and I can see why. The story has some pretty absurd elements towards the end, but I also think the writing is very smart in other places. Domino can be described as all of the following: Action, Crime Drama, and Biopic. The movie was scattered and random as hell but I thought it was pretty kick ass and entertaining. It's a little sad that the real life Domino died about a month before the movie's release, but we do get to see her for a second at the very end. This movie was cool and different: violent, funny, provocative and a bit trashy. Knightley seemed to relish the role and it comes across on screen. The humanity of the character is never lost. Domino: sloppy mess but a fun ride.

Two For the Money

I'm not gonna spend a lot of time on this one. It was not good. It wasn't bad either...it was just blah. That's right, I said it. Despite having the incomparable Al Pacino (most recently of The Recruit) and fine-as-hell Matthew McConaughey (Sahara), it was NOT good. Throw in Jeremy Piven (Entourage) and Rene Russo (The Thomas Crown Affair) and you have the ingredients for what should shape up to be a pretty good movie, right? Wrong.

I don't know who wrote this crap but it sucked. It was just boring, and I'm a person that watched The Constant Gardener and A History of Violence, so I know I don't have a short attention span. This movie gave you nothing to care about or root for, even McConaughey. I don't think Pacino could give a bad performanc if he tried, but I just don't think he had enough to work with. Although Pacino is a legend and I could eat McConaughey with a spoon, I need a little bit more from the movie than having the privilege of watching these two breathe on screen. Here's the plot: McConaughey is Brandon Lang, a former star college quarterback who suffered a career-ending injury. Pacino is Walter Abrams, a man who runs an agency that advises its clients on sports betting. He brings Brandon into the fold as his new star, and he excels making accurate picks that bring in loads of dough. Of course, Brandon's luck runs out and he starts to lose. That's the crux of the story. So what. I'm done talking about this one. It didn't blow totally, but it definitely sucked a little bit.

A better movie about lies and greed: Boiler Room. A better movie about gambling: Rounders. I know it's hard to pass on Pacino, but skip this one. The cast was wasted.

Serenity

Sci-Fi movies are not really my thing...but this movie was pretty entertaining -- and not in a nerdy sort of way.

The only cast members I recognized were Chiwetel Ejiofor (Four Brothers) as the villain and that black girl that used to be on Alias -- Gina Torres. Anyhoo, the basic plot is that 500 years in the future Earth has been destroyed, leaving the mythical government/dictatorship, "The Alliance" to establish human life on various other planets. Human beings have been sanitized in the quest for a perfect, "sin-free" society. A young girl named River has psychic abilities, and The Alliance holds her captive, performing government-sanctioned experiments on her. She is trained to kill. Why, I don't know. Things like that aren't important in a movie like this. Soon, she is freed by her brother in a daring rescue. The rest of the movie centers on The Alliance's operative (Ejiofor) trying to get River back. She and her brother are passengers aboard the ship of Mal, some sort of intergalactic thief, and anti-hero (of course).

This movie was entertaining, containing all the basic elements of a watchable flick: action, mild violence (River single-handedly kicks the collective ass of an entire club full of people), and humor. There is enough of a plot to keep you mentally involved, and the cast is amusing and likeable. I don't really have any complaints...so check it out if you liked the following movies: Starship Troopers, any of the Star Wars movies (of course it's not as good). This movie has received very good reviews and is even ranked in the top 250 at imdb.com. Now it wasn't that damn good, but it was better than I expected.

A History of Violence

Whoa!……..When this movie was over I had a headache and I was speechless. Talk about a movie living up to its name! A History of Violence is R-A-W with a capital 'R.'

Viggo Mortensen (A Perfect Murder, Hidalgo) and Maria Bello (The Cooler, Coyote Ugly) are a happily married couple living in America's heartland. Their kids are cute and sweet as pie. Everyone knows everyone else by name in their sleepy town…a town that will be turned upside down in a random act of violence. Mortensen plays Tom Stall, the owner of a local diner bearing his name. One night, right before he is about to close up shop, two strangers enter. They request coffee…and then the horror begins. Events transpire that send our protagonist and anti-hero into a tailspin from which he and his adorable little family will never fully recover. I won't reveal any events that you cannot deduce from the commercials. Suffice to say that Tom saves his life and the lives of his customers from these monstrous drifters. He dispatches the villains with a ruthless, instinctive efficiency that belies a dark past and begs the question, Who is this guy? Former assassin? Ex-government hitman? It appears that Tom is not exactly who he claims to be. Enter Ed Harris (Radio) as a painful reminder from Tom's past who menaces his family and threatens to unravel the nice, neat little life that the Stalls have carved out for themselves. I think that's enough of a plot revelation to reel you in…

This movie was absolutely fascinating. It is NOT for the faint of heart. The violence is mind-blowing…never have I witnessed such a spectacle. The graphic footage never comes across as gratuitous or unnecessary, which is a testament to the quality of this movie. This is arguably the most violent movie I've ever seen, mainly because the violence is not stylized at all. Unlike the ultra-violent Kill Bill, or even Sin City, something about the brutality in A History of Violence seems all too real. It left me dumbfounded. I think a girl sitting a few seats down from me in the theater was actually crying.

Director David Cronenberg has painted a chilling and unnerving portrait of violence and a revealing look at the complexities of human nature in the face of psychological upheaval. Mortensen and Bello are nothing short of superb, particularly Mortensen as a man desperately trying to maintain his family-man façade. His character descends into darkness as bits and pieces of his former self are revealed. His once loving wife now wonders about the stranger sleeping next to her. We watch their marriage go from a passionate, vibrantly sexual union to a living hell, characterized by lies and mistrust. There is one scene between Bello and Mortensen that is too raw for words…think Monster's Ball (Berry and Thornton getting it on) or the 25th Hour when Monty asks Francis to "make him ugly" before he goes to jail. Get the idea now? Powerful shit, to say the least. If you can survive the following movies, you will be able to appreciate this one: American History X (cringe-provoking violence), Sleepers (uncomfortable themes involving children), Monster's Ball (raw but consensual sex). This movie was a real mind-f*ck. I needed a cigarette afterwards

Flightplan

First Red Eye, now Flightplan. I never knew flying could be so terrifying. Jodie Foster (Panic Room) returns to the silver screen as Kyle Pratt, lending her considerable talent to the story of a mother who loses a child on a flight from Berlin to NY. Suspenseful and harrowing, Flightplan was a satisfying movie experience. I see that this movie has been criticized by some...but I was sucked in from the beginning, due in large part to the fascinating premise. The audience can't help but be entranced from the start, because quite honestly, how in the hell can a woman lose her daughter on a plane? Where could she possibly be, and how come no other passenger remembers seeing her? Finding the answer to these seemingly simple questions is the driving force behind the movie, and it works. Like most flicks, Flightplan is not without its flaws. Namely, it makes NO sense that no other passengers remember seeing the kid, including two annoyingly nosey brats who are seated right in front of Kyle and her daughter. The other problem: a couple of red herrings. I know the director/screenwriter or whoever has to keep the audience guessing until near the end -- but spare me the cheap tricks please.

The aforementioned drawbacks are easy to accept when you have Jodie Foster and Peter Sarsgaard (The Skeleton Key) as part of the cast. Despite what you may have heard, Flightplan is hella good.

Roll Bounce

Malcom D. Lee (The Best Man) brings us "Roll Bounce," the tale of a group of young black kids coming of age in 1978, when apparently roller disco was all the rage. Starring Bow Wow (Like Mike), this movie is heartwarming and sweet, albeit a little disjointed.

Bow Wow stars as Xavier, aka "X", a young kid in Chicago. He spends his summer days at the local roller rink, but has to venture into new territory when that same neighborhood rink is closed down. He and his Southside crew must go to "Sweetwater's" if they want to skate: a rink located in a more affluent part of town. All of this is relatively insignificant. The point is: Bow Wow skates, faces off against the local playboy, romances Meagan Good, and comes to grips with the recent death of his mother. This movie is charming and cute. It's also cool to catch the 70s vibe, which I completely dig. My one complaint: some of the movie just comes across as shoddy. Some of the dialogue sounds forced and totally out of place. I'm going to venture a guess that 70's youth didn't use slang like "trippin'," nor did they refer to their area as "the hood." These colloquialisms are strictly 1990s at the earliest. Little missteps like this detract from the overall authenticity of the movie, which is a shame. The story also leaves a lot to be desired: it's rather corny. I'm not gonna beat this move up too badly, because all in all it's a cute little movie. I just wish it could have been more true to the era in which it took place.

G

G is a modern interpretation of the F. Scott Fitzgerald classic, The Great Gatsby. I read Gatsby in high school and remember liking it…but ask me if I can recite a word of it today.

Bearing this in mind, I'm not sure how true G is to its source material, so I will evaluate it on its own merits. The basic plot: Blair Underwood (Set it Off, LAX, L.A. Law) and Chenoa Maxwell (Hav Plenty, Girlfriends) star as Chip and Sky Hightower, a handsome black couple vacationing in the Hamptons. Chip is an inattentive philanderer who puts his wife on a pedestal. He discourages Sky's use of profanity, saying that she's too beautiful to use such language. Huh? Sky's cousin Tracy (Andre Royo of Shaft and The Wire), a writer, is in the Hamptons for a visit, and to interview Summer G (Richard T. Jones of The Wood and Kiss the Girls), a successful rapper and record company CEO. Summer has recently purchased a vacation home near the Hightowers. Here's the kicker/conflict: Summer and Sky go back like babies and pacifiers. Sky used to be Summer's girl back in college, before she was "stolen" by Chip. That's the basic gist of the movie.

This movie is difficult to describe…overall I enjoyed it, but I also could not ignore little implausible details and silly side stories that yielded no fulfilling payoff. Certain things happened as a matter of convenience to move the story along, which detracted from the movie. Director Chris Scott Cherot (Hav Plenty) also relies on the audience's common sense instead of taking the time to reveal and explore important details. I'm not sure what the budget was for this movie, but I read on its website that they shot it in a few weeks. Perhaps haste is the reason for some of the contrived situations in the movie. Regarding the players, Blair Underwood is always very capable and he did not disappoint. I haven't seen him play a snake since Just Cause with Sean Connery, and he was quite loathsome in G. Chenoa Maxwell was okay…some things she did well (subtle facial tics and expression changes) and some things not so well (cutesy delivery of questionable dialogue). Richard T. Jones was alluring as Summer and was the perfect contrast to Underwood. Andre Royo did a fine job as well. He usually functions as a character actor but showed some talent here. G is very slick and polished, clean and nice to look at it with its attractive cast and inviting setting, but I was left wanting more. I felt like the movie had so much untapped potential. Why did Sky vacillate so much between Chip and Summer? Especially when Chip was such a dog? Yes, we know it's difficult to just walk out on a marriage, but I needed to see more of a basis for Sky's inconsistent behavior. I'd like to see Cherot get more opportunities as a writer and director, and hopefully he will improve.

Random Rant/Pop Quiz: What killed the victims of Hurricane Katrina?

A. Water, they drowned
B. Lack of food/water in the aftermath, they starved
C. Red tape, they were strangled by it
D. All of the above


ANSWER: Do I really need to tell you?

The Constant Gardener

This is a dramatic political thriller with a few love story elements as well. It is the love aspect that is prevalent in the commercials, and that is what made me hesitant about viewing this film. I don't particularly enjoy love stories. As I began to hear that this movie was suspenseful, I reconsidered.

Starring Ralph Fiennes (Maid in Manhattan) and Rachel Weisz (Constantine), The Constant Gardener unfolds against an African setting. Filmed in stark colors, Gardener is visually arresting-both for its insight into African culture and its gifted cast. The story begins with Justin (Fiennes) and Tessa Quayle (Weisz) preparing for Tessa to depart for Nairobi(?) with Justin to join her later. Before he is able to join Tessa, Justin learns that she was murdered, along with her doctor and friend Arnold Bluhm (Hubert Kounde'). Almost instantly we are made aware that there is a surreptitious reason for Tessa's death. The intricacies of her marriage to Justin are revealed though flashback, and we see that Tessa kept many secrets from her husband: from her relationship with the good Dr. Bluhm (merely friends or more?) to her everyday activities.

Fiennes and Weisz give amazing performances, especially Fiennes as the grieving and indulgent husband. His character is sensitive, almost to the point of being weak. We rarely see flashes of anger, even as various people admit to different roles in his wife's murder. Weisz is the passionate wife, ardent in her humanitarian goals and uncaring about the corporate feathers she ruffles in Africa. This film is layered and interesting, definitely not for everyone, but worth checking out. If you enjoyed these movies, maybe you will like The Constant Gardener: The Interpreter, Frantic, Three Days of the Condor.

KANYE WEST: LATE REGISTRATION

Please do yourself a huge favor and purchase the sickest hip hop album of the year. West narrowly edges Common to take the crown for best of '05.

Heard 'Em Say featuring Adam Levine of Maroon 5
This is a sweet beginning to the album. Kanye waxes humble about his success, saying "Nothing's ever promised tomorrow today." He reminds us why we love him: he's equal parts asshole and wide-eyed nice guy.

Touch the Sky featuring Lupe Fiasco
This song is triumphant, featuring a prominent horn sample, courtesy of Curtis Mayfield's "Move on Up." Kanye raps about his success, saying that he's "sky high." When we hear about from whence he came, we can't be mad at him for bragging about where he is now. At least he remembers how it all began.

Gold Digger featuring Jamie Foxx
You've heard this one. Kanye laments the bane of a rapper's existence. Jamie Foxx channels Ray Charles on the hook. The subtext is that black women stick with a black man's broke ass until they get famous, then the man turns around and "leaves her ass for a white girl." Speak on it Kanye!

Drive Slow featuring Paul Wall and GLC
This one is rather unremarkable but it's cool. West does a little something for the dirty dirty. Paul Wall lends a verse and the end of the song is "chopped and screwed."

My Way Home featuring Common
Kanye lets Common get a track to himself. The beat is steady, a continuous loop of Gill Scott-Heron's "Home Is Where The Hatred Is." Common is his usual poignant and political self.

Crack Music featuring Game
This is the best, most powerful track. Kanye analogizes crack and rap music: both addictive, both used as a means of financial escape by its purveyors, and both are craved by the masses…well not quite. I've never done crack, have you? Anyway, this beat kicks ass and just stirred something in my soul. West raps about Bush and Reagan and how crack destroyed the black community, then asks God how He could let this happen. This song is very moving. Kanye stylistically departs from his first album by beginning some songs in a certain rhythm, then morphing the song into a new and distinct beat at its conclusion: I like it. If you don't like "Crack Music," you must be on crack yourself.

Roses
When rappers allow themselves to be introspective, the payoff is usually good. Nas and Jay-Z (in his later work) come to mind. Here Kanye raps about his grandmother and how he and his extended family feared for her life after a medical emergency placed her in the hospital. He paints a vivid image, and one can almost picture the scene. He says that he and his family are the roses. Interesting metaphor.

Bring Me Down featuring Brandy
As I said previously, this album is nearly flawless. So, this song is good---but Brandy annoys me sometimes, so I skip it when it comes on. Kanye raps about haters, and he has a lot of them. Moving on. Next!

Addiction
This track features Kanye's trademark sped up drum sample. He raps about those things that conflict him, stating "Why everything that's bad for me makes me feel so good?" I hear you brother. I would elaborate more, but my family reads this page and I've already said too much.

Diamonds from Sierra Leone(remix) featuring Jay-Z
Balance. I can tolerate rappers talking about the overdone topics of gold diggers and haters if they throw me a bone every now and then that makes me think. Here Kanye raps about "blood diamonds," or "conflict" diamonds, and how people crave these beautiful stones that literally costs people life and limb in Sierra Leone.

We Major featuring Nas and Really Doe
This song is a mess. I was particularly disappointed in Nas, I expected so much more. Believe it or not, his verse is weak and he only has one good line. The beat is good, although it too is all over the place. Perhaps it confused Nas and that’s why he couldn't bring his A-game. Kanye is alright. Really Doe—who the hell is that? I don't care enough to find out.

Hey Mama
An ode to Mama. It's so sweet! I'm a Mama's girl, so I like it. I can't picture the local hard ass driving around blasting this one through the speakers, but you know you like it!!

Celebration
This one is unremarkable. It's cool, though. Kanye raps about getting in some girl's pants and partying: not exactly profound.

Gone featuring Cam'ron and Consequence
Nice Otis Redding sample and West and Cam'ron switch up their vocals to match the fast tempo. Prominent keys enhance the beat: thumbs up.

Bonus track: We Can Make it Better
This is a good one. It probably sounds good under the influence. Not that I would know, Mom! Kanye effectively captures the college experience, even though he dropped out. We get tired of hearing songs with drug references and misogynist lyrics, kudos to 'Ye.

To sum it up, this CD is great. Kanye challenges himself musically and steps out on a limb with co-producer Jon Brion (he's done stuff for Portishead) who had never produced a hip hop song prior to Late Registration. The production is stellar, and this album is the most creative since Outkast's last project. I know, I know that sounds extreme but it's true. Think about the music that has come out since Speakerboxx/The Love Below. It's been good (Nas, Game, Common, Jay-Z) but truly creative? Nah. Common is the shit, don't get me wrong: but Kanye has got it with this one. It's a masterpiece and in the words of Nikki Giovanni, "it's so hip even its errors are correct."

Red Eye

Red Eye is like having only one bite of your all-time favorite dessert: good but ultimately unsatisfying. The "master of horror" Wes Craven (who can forget A Nightmare on Elm Street?) brings us a psychopath on an airplane, and believe me: this guy's name isn't on any government terrorist list.

Starring Rachel McAdams (The Wedding Crashers) and Cillian Murphy (Batman Begins), Red Eye takes place in the not-so-friendly skies. McAdams plays Lisa Reisert, the manager of a Miami hotel returning home after her grandmother's funeral. While in the airport she has a "chance" meeting with Murphy's character, Jackson Rippner. Can you imagine? A psycho named Jack Rippner? Oh yeah, at this point Lisa doesn't know Jack's a psycho. He seems like a friendly stranger. They share a drink while they wait to board their delayed flight. Once the two strangers happen to be seated next to each other on the flight, the fun begins. Turns out Jack has a little assasination to carry out. One of the guests at Lisa's hotel, a political bigwig, must be taken out. Jack needs Lisa's assistance. If she fails to cooperate, Grandma won't be the only relative needing a funeral: she can kiss dear old Dad goodbye. That's the premise of the movie, and I think it's a good one. Here's my problem: The movie has excellent, taut pacing but ends too quickly. The resolution, although an intelligent one, is all too neat and comes too soon. The only thing missing is a cherry on top or a big red bow. 85 minutes! That's short by movie standards, or at least it is to me. The movie spends too much time in the beginning trying to make the audience fall in love with McAdams. OK, we get it: she's cute, lovable....blah blah blah. Move on. The writer didn't need to spend so much background time on Lisa. I always point out the implausible, and I'll just say this: Jack is a sorry ass assassin. I won't reveal anymore, see for yourself. Some positives: Red Eye is VERY smartly written. McAdams and Murphy also make the most of their roles: she as plucky, resourceful heroine--he as twisted but inept villain. Murphy seems to have quite the knack for playing the meanie. This makes his second badguy role of the summer, and it suits him. He looks scary as fu*k, in my opinion. He has the most amazing/ugly/pretty/scary clear blue eyes. They look unreal and hella creepy. Like a teensy weensy bite of your fave dessert, Red Eye is good while it lasts but after it's done you feel a little empty and wish you had more.

Four Brothers

A man's movie. Chicks will dig it too. Director John Singleton (Baby Boy, Boyz n The Hood, 2 Fast 2 Furious) doesn't disappoint. Whoever said that revenge was a dish best served cold never met the Mercer boys. The tagline for this flick reads, "They came home to bury mom... and her killer." Hellz yeah, kick ass and take names!! And let me tell you, there is plenty of ass to be kicked when four adopted brothers return home to Detroit after their mother is ruthlessly gunned down in a convenience store robbery.

I have so much to say about this movie I don't know where or how to start. Mark Wahlberg (The Italian Job), Tyrese Gibson (Baby Boy), Andre' Benjamin aka Andre 3000 (1/2 of rap duo Outkast and most recently featured in Be Cool), and Garrett Hedlund (Troy) are a ragtag band of brothers, united by their troubled childhood and the unyielding love of their foster mother, Evelyn Mercer. Wahlberg as "Bobby" is the unofficial leader and the hothead of the bunch. He's followed closely in machismo by Gibson as "Angel." Andre' 3000 as "Jeremiah" is the most level-headed and stable of the group, serving as the lone voice of reason as the Mercers unleash the fury. Rounding out the foursome is Hedlund as "Jack," the youngest and most sensitive. I don't want to paint a picture of the brothers as bloodthirsty and mean…quite the opposite. They are suffering the loss of their mother (neighborhood sweetie pie and all around good lady) and quickly realize that her death was not random at all. Particularly poignant is the aftermath of her funeral, when the brothers attempt to have Thanksgiving dinner without their mother. They each stare wistfully at her now-empty chair and reminisce about the loving way in which she guided them. These four actors had great chemistry together and really conveyed a sense of family, despite the fact that 2 are Black and 2 are White. It doesn't matter. Wahlberg particularly is the perfect blend of swaggering, roguish masculinity and sensitivity. I think all of the performances were strong. However, the movie is not without its flaws. Detroit is depicted as the Wild Wild West…and I can dig that the neighborhood is rough as hell, but are we supposed to believe that the Mercer boys are kickin' ass all over town and the cops aren't getting involved any quicker?

Powered by a '70s era soundtrack, Four Brothers has a no-nonsense throwback vibe. It's also interesting to see how the brothers piece together the motive for their mama's murder. There's one scene in the movie…man you gotta see it! The tension/fear/adrenaline are completely palpable. We want these boys to win. Also featured are Terrence Howard (Hustle & Flow) and Chiwetel Ejiofor (Dirty Pretty Things). Payback's a bitch!

The Skeleton Key

I'm getting old. I just don't have it in me anymore. I used to be able to go see creepy movies and enjoy them. Now…I'm literally on the edge of my seat, cringing from the screen. Don't get me wrong, I still love a good scare – but sometimes I don’t know if my heart can take it! The suspense of The Skeleton Key absolutely killed me. I don't know if that's a testament to how good the movie is or a reflection of how soft I've become. While watching, I had to remind myself that the movie is PG-13, so how scary could it be? Enough rambling, let me tell you what the movie is about.
Kate Hudson (Almost Famous, How to Lose A Guy In 10 Days) stars as Caroline, an aspiring nurse who accepts a position as live-in caretaker for a dying elderly man, deep in the Louisiana bayou. I found myself resisting the urge to yell out, "Stop! Don't go in there!" Unless you were born yesterday, you know that in order for spooky movies like Skeleton to chug along, our heroine must be doggedly curious and meddlesome – just like those rascally Scooby Doo kids. So when we see Caroline persistently poking around in the attic despite being warned not to do so, we have to just sit back and accept this plot device for what it is: a means to an end. Caroline was hired by the old man's wife to care for him after a stroke. She's the third or fourth caregiver to quit: shouldn't that clue her in to something? The man's wife claims he had a stroke, but Caroline grows suspicious as she learns the history of the house. Let's just say the previous inhabitants met with a rather unfortunate demise. I don't want to give away too much, but there are references to voodoo, hoodoo, spirits and the like. Unsettling and atmospheric, The Skeleton Key begins strong, dips into absurdity, and then finishes with a bang. Overall, pretty good. I would say more, but I'm not gonna spoil it for you. I applaud the filmmakers for attempting an original ending. I think movies can be saved or ruined in the last 10 minutes, and this one went out on a high note.