Why Did I Get Married?

Let me say something about myself before I talk about the movie. I don’t try to be snobby about the movies I like. I’m no more qualified to critique a movie then the next person. However, let me pose this question…does a person have to know how to sing to appreciate a beautiful voice? Hell no. I’m no Whitney Houston or Mariah Carey, but I know lousy singing when I hear it, and I know a good voice when I hear it. Similarly, I’ve never written or directed a movie (yet), but I know good movies when I see ‘em. And I know bad ones…so keep that in mind as you read this review.

When it comes to writer/director/actor Tyler Perry, I think his motto should be “If it ain’t broke, don’t fix it.” He has a loyal fanbase, and has been a cash cow for Lions Gate the past few years. Black folks are gonna show up for Tyler Perry’s movies, period. My friends and I had to try not one, not two, but three theaters before we were able to find a show that wasn’t sold out. I’ve never seen any of Perry’s films before, and I was looking forward to taking in this movie, largely because of its appealing ensemble cast. I was hoping for an entertaining and thoughtful drama that explored the difficulties that married couples face. Why Did I Get Married? has drawn obvious comparisons to the 1980’s drama The Big Chill, which also involves a group of married friends who reunite at a vacation home, where secrets are revealed and relationships are tested. Perry admits he hasn’t seen The Big Chill. Maybe he should have. If he would’ve ripped it off he might have turned out with a better movie.

Why Did I Get Married? is pleasing to look at it, well-intentioned, and entertaining. However, the characters and the storyline were utterly predictable, and completely one-dimensional. The movie is about four couples who gather periodically for a retreat/vacation to bond, reflect, and learn about one another. This year the group agrees to meet at a cabin in the snowy mountains of Colorado. Terry (Tyler Perry) and Diane (Sharon Leal of Dreamgirls) are a doctor and lawyer, respectively. Janet Jackson (The Nutty Professor) is Patricia, an award-winning psychiatrist and author. Her husband is Gavin (Malik Yoba), a successful architect. Angela (Tasha Smith of ATL) and Marcus provide the comic relief as sharp-tongued shrew and hen-pecked hubby. Rounding out the cast are Mike (Richard T. Jones of The Wood and Kiss The Girls) and Sheila, played by the lovely Jill Scott. The couples suffer from varying degrees of dysfunction, from the obvious to the hidden. Mike is a grade-A asshole, berating Sheila at every turn. It’s unbelievable that the two were ever married in the first place. And that’s the problem. Terry’s characters are unnecessarily overdrawn and completely over-the-top. It’s like he dumbed it down. I wanted to say, we get it, Mike’s a jerk! His character was almost a caricature, and it detracted from the movie by adding a degree of absurdity. Speaking of detractions, there were SEVERAL times during the movie where a microphone could be seen in the shot. Apparently this only happened in my particular showing (go figure), but it was a major drawback. It was hard to take the movie seriously when in the middle of a dramatic scene the damn mic is hanging down. Back to the performances. Everyone did a good job, with what they were given. There were several funny moments, but some of the scenes were a lesson in overkill. It’s like Perry used a sledgehammer to nail in a thumbtack. But hey, like I said; if it ain’t broke don’t fix it. If you want to see an attractive cast in a funny and occasionally entertaining movie, check it out. If you’re looking for a provocative movie that will play out better than an episode of The Young and The Restless, maybe you should take a pass. Why Did I Get Married? might have you asking Why Did I See This Movie?

The Kingdom

After seeing the trailer for months, finally I get a chance to enter The Kingdom. Directed by actor Peter Berg (Cop Land), the film paints itself as a whodunit within the kingdom of Saudi Arabia.

When terrorists attack a U.S. compound that houses oil company employees, the FBI covertly sends in agents to investigate. Enter Jamie Foxx (Collateral, Miami Vice) as Agent Ronald Fleury, a man determined to piece together clues on borrowed time. He and his agents must investigate while being kept at bay by the Saudi government, who has its own desired protocol for such matters. Rounding out the unit and the rest of the cast are Jason Bateman (Smokin’ Aces), Jennifer Garner (Elektra), and Chris Cooper (Breach). One thing about these political drama/action movies is that they tend to be nebulous in their storytelling. Not so with The Kingdom, and I appreciated it. The storyline was pretty easy to follow, which was a good thing, most of the time. The only problem with the simplicity of the plot was that it made the investigation almost a little too easy at times. Certain parts of the movie played out like CSI: Saudi Arabia. The unit has mere days to wrap up its investigation and find the culprits responsible for the attack, and it’s a joke that Fleury and company make such significant progress in such a short amount of time, especially after being initially stonewalled by the government. Clues and evidence are miraculously easily to find, and I know this is a movie, but I’m just sayin…in real life we can’t find Bin Laden, and we’re supposed to believe that the nefarious mastermind behind a major terrorist plot can be located in less than a week? LMAO!

Don’t get me wrong, the film was very very good, it just wasn’t perfect – and that’s okay. The Kingdom was fast-paced, interesting, and ends on a very though-provoking note that hopefully will have viewers wondering just how different we Americans are from the so-called terrorists. I urge you to enter The Kingdom.

Death Sentence

Wow. I’d had a nice little run of seeing some pretty enjoyable movies up until now. Morbid, violently depressing, and oddly unbelievable, Death Sentence left me feeling like I’d been suckered. First let me say that I’m a fan of revenge flicks, but what Death Sentence lacked was a degree of plausibility. Everything about this Kevin Bacon (The Woodsman) flick stretched the bounds of patience.

Bacon plays Nicholas Hume, an executive with the picture-perfect family. He has a loving wife and two good kids. His oldest son Brendan is a star hockey player with a bright future. Things couldn’t be more wonderful, until one fateful night Brendan becomes the victim of a most gruesome crime, a gang initiation murder. When the district attorney tells Nick that his best bet is to hope for 3-5 years for his son’s killer, he decides to dish out his own brand of justice. What follows is a deadly back-and-forth game of "one upsmanship" between Nick and the gang. We want to cheer for Nick, as the loss of his oldest child is both devastating and tragic. However, the movie ventures into ridiculous territory fairly quickly. For example, as Nick literally runs for his life, bad guys fire bullets from close range that magically miss their mark, despite being shot from a distance of about 10 feet. In the beginning of the movie Nick is hapless, defeating his adversaries by sheer luck and resourcefulness. By the end of the movie, he’s some kind of gun-wielding badass, beating people up left and right. I wasn’t buying it. Additionally, the police detective working the case (Aisha Tyler) doesn’t seem too concerned that Nick has taken the law into his own hands. Yeah right! I know it’s a movie, but I don’t deal in foolishness. The one positive thing about the movie was that the beginning portion depicting the aftermath of Brendan’s murder was touching, characterized by the essence of grief and despair. It seemed almost voyeuristic, a glimpse into a family’s very real attempt to cope with the unthinkable. However, one good sequence does not make a movie. An overall downer, Death Sentence is one to skip; a fitting name for a movie that is sure to flop at the box office.

Illegal Tender

Everything has its place. That’s why I love the movies. The offerings run the gamut from cinematic masterpieces like The Godfather to stoner flicks like Half Baked. And it’s all good. Illegal Tender will not go down as one of the greats, and that’s fine. Most movies don’t fall into that category anyway. What I will say about Illegal Tender is that it is a supremely entertaining crime drama, a tale of a young man who must confront the ghosts of his parents’ past.

Rick Gonzalez (Biker Boyz) plays Wilson Deleon Jr., a young man whose life is pretty carefree until situations cause him to question the things and people around him, namely his mother Millie (Wanda De Jesus of Blood Work) and the reasons why they have to move to a new town every few years. Reluctantly, she tells him bits and pieces about the father he never knew, outlining why they must flee their quiet home in suburban Connecticut. What Wilson doesn’t know is that his father pissed off the wrong person, and it cost him his life 21 years prior. Now, this person and his goons won’t rest until Wilson’s mother is dead. And so it begins, a shoot ‘em up ‘hood tale that is sure to entertain, if nothing else. The cast is entirely Latino, and I’ve heard that some in the community are rejecting the portrayal of Latinos as hot-tempered and violent. I’m not one to deny people their right to be offended, but I don’t think the movie casts Latinos in a negative light at all. It’s just a movie. Some characters were good, some were bad – it’s that simple. It’s a “hood” movie, so yes there are going to be some undesirable elements of the story, but in no way do I feel that is an indictment of Latin culture. If anything, the movie is about how a mother will stop at nothing to protect her children, and how sometimes we don’t realize our inner strength until we’re confronted with hard choices.

Illegal Tender was produced by director John Singleton (Four Brothers), and I’m not sure how large of a factor he played in making the movie, but if he's responsible for casting Gonzalez in his first starring role, he made a wise choice. His portrayal of Wilson as reluctant boy-becoming-man was authentic. Likewise, De Jesus’ performance as his tough-as-nails mother was perfect. She was a bad-ass, like a cross between the Bride from Kill Bill and June Cleaver. One minute she’s making a peanut butter and jelly sandwich for Wilson’s little brother, the next minute she’s got a burner in each hand, ready to peel back some caps. Although this movie won't be winning any awards for its screenplay, there was never a dull moment and it's worth checking out.

Superbad

Superbad is the mildly anticipated teen romp from writer/actor Seth Rogen of The 40 Year Old Virgin and Knocked Up. It follows a day in the life of two socially awkward best friends as they near the end of high school. A hallmark of any good, male-driven teen movie is the quest of its protagonist(s) to get laid, and Superbad is no exception. To say that Seth and Evan, along with their pal “McLovin” wouldn’t mind a little female attention would be the understatement of the century. Luck may be on the boys’ side, as they have been charged with the task of procuring alcohol for some girls they’ve been lusting after. The boys assume that if they can manage to get the alcohol in time for the big party, they’ll be a sure thing to score. The movie basically depicts the mishaps they experience in their quest to deliver the booze.

There was really no point in the aforementioned plot recitation, as movies like this don’t rely heavily on such devices. What the movie does rely on is dialogue, and lots of it. This movie is NOT for kids. The language is sexually explicit and the boys drop the F-bomb every other minute. Fine by me, but it is very noticeable. Superbad is not the cult classic that everyone wants it to be. It’s not smart like the oldie-but-goodie Risky Business, nor is it as funny as the original American Pie. It is a pretty funny movie, although teen boys wanting to lose their virginity is certainly not a new cinematic concept. My only complaints are that the last ten minutes were VERY homoerotic, and there was also one scene that was rather disgusting and gratuitous. There are some things that just don’t need to be shown on screen. Remember that scene in Borat when Borat and the fat hairy guy were in the 69 position? Sure it was funny, but it was more disgusting than anything else. Yep, the scene I’m thinking about is along those same lines, though not as bad. All in all Superbad was pretty darn funny, though I think it will end up being overrated.

The Bourne Ultimatum

Every chance I get to sing the praises of Matt Damon (most recently of Ocean's 13), I exercise the opportunity. Initially overshadowed by best buddy Ben Affleck upon his introduction to mainstream Hollywood, Damon has quietly gone about the business of churning out one stellar performance after another, from The Talented Mr. Ripley, to Rounders, to The Departed. Frequently overlooked in favor of flashier but equally talented co-stars (think about the Ocean's movies and DiCaprio in The Departed ), Damon is still a smidge underrated. Until his name is bandied about in Oscar contention (for his acting, I know he won an Oscar for his screenwriting), I will champion him as an underdog, strange as that might sound.

All of this background opinion brings me to his latest effort, The Bourne Ultimatum. Damon reprises the role of Jason Bourne, rogue covert spy with a spotty memory. Still trying to fill in the gaps of his past identity, Jason must track his former agency's higher-ups in a quest to glean info about his past. What I enjoyed about the movie from a plot perspective was that its writer(s) managed to put a new twist on the old idea. We already know from the first two movies (The Bourne Identity and Supremacy, respectively) that Jason discovers he is a trained operative, but this third piece of the trilogy examines how the answer to a riddle is another riddle in and of itself.

Frenetically paced and suspenseful, The Bourne Ultimatum was everything I knew it would be. Bourne is always one step ahead of his adversaries - impossible to kill because he's as adept at using his brain as he is his fists. The hand-to-hand combat scenes were brilliantly choreographed and realistically enacted, and Damon once again demonstrates his range in great fashion. A true action flick that doesn't rely on explosions or cheap thrills, The Bourne Ultimatum is easily the best film of its kind to be released this summer. Sorry Bruce Willis.

Transformers

Nostalgia: a wistful or excessively sentimental yearning for return to or of some past period or irrecoverable condition.

When people look back on their childhood, they tend to forget the bad and elevate the mediocre to greatness. We do this in part because a child knows no better…their father is the strongest, their mother the prettiest. If we were to look back objectively, through the jaded eyes of adulthood, perhaps certain people and things would lose a bit of their luster. At the age of 28, I look back on the things I enjoyed in my childhood of the 1980’s. Michael Jackson was the MAN. Everyone had to have a Cabbage Patch. And the cartoons seemed to have been the best that they ever could have been. We didn’t have Pixar and Dreamworks movies like Shrek and Cars. We had REAL cartoons. I’m talking about Thundercats, Jem and the Holograms, G.I. Joe, and of course Transformers. Now most little girls didn’t get into Transformers, and I’m not gonna say that it was my favorite, but I remember it and I remember liking it. Who didn’t love Optimus Prime, the red and blue truck, the good guy?! Autobots vs. Decepticons, Good vs. Evil. It’s these memories that 80’s babies will recall with warm fondness when they flood theaters to behold the TREAT that is Transformers. I’m not saying that the under 20 crowd can’t appreciate it too, but there’s nothing like seeing the live action version of an old animated favorite. The audience around me was positively giddy when Optimus Prime made his first appearance.

I have to applaud director Michael Bay (The Island) for his vision and for remaining true to the cartoon. This movie was nothing short of amazing, I’m almost at a loss for words. The only flaw (which I didn’t even care about) was that little parts of the story and dialogue were a bit campy and silly. Who cares????? The overall plot was in keeping with the cartoon, and the acting and pacing were just fine. There weren’t too many explosions or needless bits of action. The whole movie was an adrenaline rush. The story centers around the transformers' search for a magical cube which will transform the Earth’s machines into, well…transformers. The Autobots are trying to get to the cube before the Decepticons and need the help of a teen named Sam (Shia Lebouf of Disturbia) to discover its location. I won’t tell you how or why his character is important, JUST GO SEE THE MOVIE!! No self-respecting adult between the ages of 26 and 32 can miss it.

1408

Based on a short story by Stephen King, 1408 provides chills in the summertime heat. John Cusack (Identity) stars as Mike Enslin, a writer popularly known for his exploration of "haunted" hotels. Mike's job is to patronize these hotels and compile a list of the most spooky. When he learns of fabled room 1408 in The Dolphin Hotel, he decides that a write-up of the room would be perfect for the next edition of his series.

When he arrives at The Dolphin, its manager (Samuel L. Jackson of Black Snake Moan) ardently attempts to dissuade him from checking in. There have been approximately 50 deaths in room 1408, both natural and unnatural. The room is only cleaned once a month by a team of maids, and the door remains open the entire time. Say word! That would've made me do an about-face, but this is the movies and John Cusack is a white boy (we know how they are oblivous to danger) so of course this only makes the room sound more appealing. Enslin checks into the room, which turns out to be a living hell. The series of misfortunes that befall him are alternatingly nightmarish and comically pitiful. 1408 won't keep you up at night, but it was pleasantly disturbing. Check it out.

Live Free or Die Hard

I was looking forward to Bruce Willis' (The Perfect Stranger) return as John McClane, our familiar reluctant hero. Bruce looks good for his age and seemed up to the task of reprising the role, but alas I was disappointed. I don't care how many critics enjoyed this movie...I did not. And let me tell you why.

The stunts, action, and at times the storyline were all ridiculous. Let me start at the beginning. John is given the task of transporting a suspected computer hacker named Matt Farrell from Jersey to D.C. Sounds simple enough, but we know that it won't be. Turns out that some terrorist/anarchists want Matt dead. Oh by the way, the character of Matt is portrayed by that dude who plays the "Mac" computer in those Mac vs. PC commercials. Weird. I couldn't divorce him from the commerical. Back to the plot: the same guys who are trying to off Matt are also unleashing a terror plot against the country whereby the nation's computers have been sabotaged. I'll spare you the intricate details, you can thank me later. Suffice it to say that there are plenty of action-packed moments, but everything seemed contrived and I couldn't help but compare the movie to its three predecessors. Live Free or Die Hard is easily the weakest of the four. Picture the following sequence of events: Bruce Willis leaps from a speeding police car, but manages to aim the abandoned cruiser perfectly so that it will crash directly into an airborne helicopter while the chopper's pilot jumps from the aircraft before impact and emerges unscathed. Yeah, exactly. I mentally checked-out at that point. Live Free lacked the pins-and-needles suspense of the original and the taut, harried vibe of the third installment, Die Hard With a Vengeance. Hell, even Die Hard 2 was better than this one. At least in that one you felt that McClane was compelled to action by his sense of duty and the circumstances in which he found himself. That motivation seems absent in Live Free.

There are other movies that have similar themes and elements to Live Free or Die Hard that were much better. For example, the idea of someone using technology to spy on your every move and manipulate you with computers and surveillance was tackled much better by a movie called Enemy of the State. I wanted to like this movie, I really did. I mean, I didn't hate it but that's not exactly a ringing endorsement. I'm sure it will do well because many people get all warm and nostalgic when thinking about the original Die Hard, but sometimes you can go to the well one time too many. Wait for it on HBO.

BET Awards

J-Hud and Jennifer Holliday: They killed it, of course. It's not a competition, but Jennifer Holliday shows that she's the originator. Did you see the faces she was making though? Yikes!!

Mo'Nique: I love Mo. She is hilarious! Those big girls were gettin' it too. I give it a 9.9...on the Richter scale.

Beyonce: She just won an award for Video of the Year. Look at her shape, that's a for real coke bottle! Do it girl, I'm not gonna hate. Yet.

TI: Big Thangs Poppin.' I don't like that song. But I like you Tip, even though you came out looking like the captain of the Love Boat.

Nick Cannon and the little homie from High School Musical: *Yawn* Nick Cannon ought to start endorsing popcorn.

Ne-Yo: Michael Jackson called, he wants his DNA back. Now he's doing "Make Me Better," and my boy Fab is stuntin' HARD, he has on gold kicks!

Best Actor award: Stiff competition but Forrest Whitaker wins for The Last King of Scotland. Can't be mad at that, the role netted him an Oscar for cryin' out loud.

Diddy and Keyshia Cole: I like that blue leather Diddy has on. KC aka Mary J. Blige Jr. looks good too. Everybody loves this song, don't front! Uh look at Lil Kim! Diddy is a clown, I love him though. Is Lil Kim singing??? Good performance, it built to a nice little crescendo at the end.

Chris Brown and Rihanna: They look cute. Chris plugs his album, which doesn't come out till AUGUST. No boo, that is too far away, let it ride. They're presenting the award for Best Actress, which goes to J-Hud. She's wearing a bedspread. Girl get a stylist!

Beyonce performs: Wow...she emerges from a metallic cocoon on some Mad Max shit. She knows she has to raise the bar everytime she does the BET Awards. So far it doesn't look like she'll surpass last year, but good job so far. Let's hope there aren't any wardrobe malfunctions. She sounds great, cuz she's dancing her ass off and isn't out of breath.

Kelly Rowland: okay, Beyonce segues to Kelly, who sounds lousy and looks like the result of an unholy union between Rainbow Brite and Wonder Woman. Now here comes Eve with another underwhelming rap performance. You know what though, BET always brings the dopest performances, and this was entertaining if nothing else.

TI wins some award: TI is that dude, sexy lil' anorexic thing. I give him credit for making a veiled apology for going upside the head of Ludacris' manager earlier in the week. Now that's gangsta: a man who can admit his faults while not humbling himself. Big thangs poppin' indeed.

Robin Thicke: Looking good and sounding good. This man makes love to my eardrums. He's performing "Lost Without You," but it has a sped-up Latin twist. Hmm...I guess that's okay. Why are you dancing Robin??? That was corny, don't do that again.

Now comes the dirty south portion of the program: T-Pain and Young Joc. T-Pain disgusts me. The camera just panned to Diana Ross doing a weird shimmy. Now Floyd Mayweather. I love you Floyd, you sexy thang you!

Tribute to Gerald Levert: Patti speaks, then performances by his daddy Eddie, Gladys Night, Yolanda Adams and Patti. Stirring performances with a visibly moved audience. R.I.P. Gerald!

50 Cent: Come on Fif, why you gotta cuss and test the censors? Not necessary. You're washed up playboy, just stick to movies and Vitamin Water. He disgusts me too. Go sit in the corner with T-Pain.

D-d-d-damn: Reggie Bush AND Floyd Mayweather? You. Just. Don't. Know.

Tribute to Diana Ross (the ORIGINAL diva!): I'm not gonna front, Diana is a legend, she deserves such a tribute. Alicia Keys gave a glorious homage. Badu performs "Love Hangover" with a crazy ass fro. Do it girl wit yo crazy ass. Your outfit is showing me parts of you I never wanted to see though. Thanks. Up next : Chaka Khan, a legend herself. Stevie Wonder too, hell yeah! She's lovin it, as she should, what an honor. Her kids present her with the award, how sweet! She closes with a word to the younger crowd that you can be classy ladies and gents and still have a long career. Nice Diana, but the world's a different place now and I think your words fell on deaf ears. Nice sentiment though.

Don Cheadle wins Humanitarian of the Year Award: What a humble, intelligent, endearing brother. He is a gem. I can't remember the last time I've heard such a sincere and thoughtful acceptance speech.

Jennifer Hudson wins Best New Artist: Sit down bitch I'm tired. You're great, but you are not the best new artist...isn't this award for musical artists??? Why is she winning an award, what music has she put out????

Awww Ciara, you disappointed me girl, I was lookin' for you to kill it! You did too much booty-poppin' and not enough dancing :-( The matrix shit is dope though, do you have a spine??? This girl is like Gumby.

Tribute to The Godfather of Soul: PE does a good job with a fitting introduction from Al Sharpton. R.I.P. JB. We needed a dancing tribute to him though, with Usher and Chris Brown. That woulda been hot. I swear whenever I hear Fight the Power I wanna burn some shit down. Revolution!

All in all a good show and a nice affair, but nothing to really make me say "did you see that?"

Ocean's Thirteen

Some things in this life are reliable summertime favorites: a cool glass of lemonade, a Jay-Z album (Jigga held you down for 6 summers, don't forget) and an Ocean's movie. With that being said, of course Ocean's Thirteen was enjoyable. The first one was clever, the sequel was a little too cute for its own good, and the third one brings it back to something nice and simple: revenge.

The gang's all here, with the addition of Ellen Barkin (She Hate Me) and the living legend that is Al Pacino (most recently of Two For the Money). Pacino is Willie Bank, a ruthless hotel and casino owner. Bank is opening a new hotel with the help of Reuben, one of the old cats in Danny Ocean's crew. The problem arises when Bank double-crosses Reuben in a particularly nasty, cold-hearted way. Angered at the betrayal of their friend and mentor, the gang plots revenge against Bank. They have concocted a plan to bankrupt his casino. The overall scheme is spectacular, but each facet of the caper seems plausible in it's own way - plus a little luck never hurt either.

The best thing about the movie is its ensemble cast, a hodgepodge of A-listers like Damon (The Good Shepherd), Clooney (Syriana) and Pitt (Babel), and some good old fashion thespians like Don Cheadle (Crash) and Andy Garcia. Moreover, any chance to see Pacino is usually a treat in and of itself. He relishes the role of Bank, and you can tell that everyone genuinely had fun making the movie. Director Steven Soderbergh (Traffic, Erin Brockovich) shoots the actors in the most glamorous, flattering fashion, especially the male leads. I don't think George Clooney has looked more handsome. Who am I kidding, he's almost always handsome. Pitt too, I think age is agreeing with him. The man has a nice lil' swagger on him, no doubt. Like it's predecessors, Ocean's Thirteen is slick and stylish and whole lot of fun. If you liked the first one you certainly won't be disappointed.

Mr. Brooks

Wow. Now this is what I’m talking about, this is how you do a psychological thriller. Mr. Brooks embodied all the best of the genre: suspense, a demented and brilliant villain, sexual undertones and more than a few twists and turns.

Kevin Costner (The Upside of Anger) is Earl Brooks, a wealthy entrepreneur and socialite. He has a lovely wife, Emma (Marg Helgenberger of CSI) and a daughter in college. He seems normal enough, but it’s established very early that the man is one fry short of a Happy Meal. He has an alter-ego/split personality/imaginary friend named Marshall, played by the wonderful William Hurt (A History of Violence). As Mr. Brooks and his wife drive home after a gala, he and Marshall exchange testy banter about whether or not Brooks should resume his serial killer ways. He’s taken a two year hiatus from murdering innocents, and Marshall is ready to get back in the fray. It doesn’t take much convincing, and soon Brooks is at it again, murdering in chilling, calculating fashion. I don’t want to give too much away, but you can tell from the commercials and Costner’s recent TV appearances that his character is the psychopath- I haven’t spoiled anything by revealing that little nugget. Rounding out the major players are comedian Dane Cook (Employee of the Month) and Demi Moore (Bobby) as a detective tracking Brooks. Both are fantastic in their respective roles, especially Cook. He brought an unnerving intensity to his character, and Moore was convincing as a smart, tough-as-nails cop.

Mr. Brooks is nearly flawless, faltering only briefly with a side story pertaining to Demi Moore’s character. Kevin Costner portrayed Brooks effortlessly as a man who kills in cold blood then goes home to make love to his wife. The movie is captivating from start to finish, and blends in subplots almost to perfection. The subplots are never given too much attention, and everything always comes back to the title character. It’s like someone dusted off two of the biggest stars of the 90’s (Costner and Moore) for a renaissance or something. Mr. Brooks is the best of the summer movie season so far, and a definite must-see.

Georgia Rule

This is not my cup of tea, but I went to see it anyway. Call it the best of what’s left. Actually, Georgia Rule wasn’t too bad. It features Felicity Huffman (Transamerica), Lindsay Lohan (Bobby), and Jane Fonda (Monster-in-Law) as three generations of dysfunctional women. Lohan’s dysfunction is the most pressing, as her mother decides that she needs to spend the summer before college with her grandmother Georgia in Idaho.

Lohan is Rachel, a wild child from San Francisco with a smart mouth and promiscuous front. We watch as she flirts with anything that moves and mouths off to her mother and grandmother. As the story progresses, we realize that her misbehavior is the result of very unfortunate circumstances that were beyond her control, and that all Rachel needs is some love and attention. How cute. In all seriousness, this movie probably falls under the label of “heartwarming,” and may not be the way most people would like to spend a day at the movies, but it was well-acted, even by Ms. Lohan. I know that she’s almost as overexposed as Paris Hilton, but I’ve seen her in a few movies and I don’t have any criticism. She’s not bad. Too bad that life seems to imitate art when it comes to her personal life. In the end, Rachel mends the family ties that bind and gets on the right track. I won’t suggest you spend $$ on this one, but catch it on a Sunday afternoon on HBO.

Fracture

Anthony Hopkins (The Silence of the Lambs) and Ryan Gosling (The Notebook) star in the first marginally noteworthy psychological thriller of the year, Fracture. I’m ignoring Halle Berry’s The Perfect Stranger which was released a few months ago, because it looked too contrived for me to even bother with it. Hopkins plays Ted Crawford, a wealthy businessman with a philandering young wife, while Gosling is Willie Beachum, a young, cocky district attorney faced with the task of prosecuting Crawford after he’s accused of his wife’s attempted murder.

Hopkins brings his trademark deliberate, methodical psychosis to the role, although his performance is tempered with cool and a certain suaveness that Hannibal Lecter lacked. His Ted Crawford isn’t a raving lunatic; after all, how many cheating spouses have met a similar fate, both real and imagined? Nevertheless, Beachum and Mrs. Crawford’s lover, a police detective, embark on a crusade to see that justice finds Crawford, who seems to be one step ahead of them. Gosling shines in his role as a prosecutor with one foot out the door. His Beachum has already accepted a loftier position with a big law firm when Crawford’s case is dropped on his desk. It is his lackadaisical attitude combined with Crawford’s smug assuredness that set the stage for this battle of wits, a chess match between two towering egos. Will the senior outfox the young upstart? I won’t give it away.

Fracture made for a passable day at the movies, but what I’m really looking forward to is Mr. Brooks, which opens this week. Please someone revive the psychological thriller, I’m begging you!

Spiderman 3

One word: lame. Spiderman 3 was a huge disappointment. As a matter of fact, when was the last time “part 3” of any movie franchise was good? Seriously…maybe Die Hard 3, that’s the only thing that comes to mind.

Tobey Maguire returns as Peter Parker, as do James Franco (Tristan and Isolde) and Kristen Dunst (Elizabethtown) as Harry and Mary Jane. I know the franchise has a built-in fanbase, and that’s probably why it managed to rake in ridiculous opening numbers. I suspect that there has to have been a significant drop-off when you look at the second week numbers as word of mouth got around. The movie is contrived, sappy, corny, and poorly written. The action is also less entertaining this time around. Spiderman 3 was marketed as an exploration into Spidey’s darker side. We get a hint of darkness, but it’s never really anything too sinister. Peter’s idea of being a bad-ass is demanding that his neighbor bake him some chocolate chip cookies. Gimme a break! I’ll admit there’s one scene where Peter’s evil side shines through in great fashion (no spoiler), but that’s about it. Mary Jane is more annoying than ever, and the villains are not believable, especially Topher Grace (In Good Company) as some weird bizarro Spiderman-looking creature. Not since Christopher Reeve has a superhero been this corny. The only interesting performance was given by James Franco; I think he’s hot and a damn good actor. Please Sam Raimi, do not make Spiderman 4!!

The Invisible

*Sigh* The Invisible seemed like it would be an interesting and spooky supernatural whodunit, but it played out like a morbid soap opera instead. It tells the story of Nick Powell, a smart, well-liked high school student with a bright future. Nick has a rocky relationship with his mother, but he’s on top of the world: high school is over and he’s about to head to Europe to perfect his prose. There’s a hint that things might go awry when Nick clashes with the school outcast in the cafeteria, a social misfit named Annie. Let’s just say that little Nicky ends up at the bottom of a sewage drain in the woods, somewhere between life and death. The movie follows Nick’s “pseudo-ghost” as he tries to convince Annie to save his life. Sound weird? Yeah, it’s a little bizarre and kind of a downer. The Invisible is definitely NOT a feel-good movie. I was disappointed because there was no suspense or mystery. The conflict is established fairly early, and the remainder of the movie tediously meanders toward its conclusion. The performances are good enough, with the exception of Marcia Gay Harden (Mystic River) as Nick’s mom. His mom is supposed to be detached and out-of-it, but it just comes across as if Harden can’t act. We know that’s not true, so maybe the director should have tried to get something different out of her, I don’t know. What I do know is that The Invisible was kind of a drag, skip it.

Grindhouse

I don’t even know where to start. When describing movies I often say, “It’s not for everybody.” Well when it comes to Grindhouse truer words cannot be spoken. To their credit, directors Robert Rodriguez and Quentin Tarantino don’t hide the ball. They let you know upfront what you’re in for: sex, violence and gore. Thank you sir, may I have another? The title refers to the popular cinema houses of the 70s that specialized in double features of the “B-movie” variety. The theaters also doubled as “go-go” bars, putting the “grind” in “grindhouse.”

Tarantino has a way of paying homage to the vestiges of his youth, whether it be pin-up girls (i.e. Pam Grier, that’s why he cast her in Jackie Brown), spaghetti westerns (think Kill Bill), or these dirty little grindhouses I just described. I applaud Rodriguez and Tarantino for their creativity. They previously teamed up for Sin City, and I think they work pretty well together – although each director is responsible for his own work in Grindhouse. The movie is a double feature, and Rodriguez is first up with “Planet Terror,” followed by Tarantino’s “Death Proof.” Since both movies are inspired by the B-movie genre, each director gets to eschew any plot constraints and focus on the salacious and tawdry. Bullets and blood abound, particularly in “Planet Terror.” The gore is gratuitous, the campy dialogue at an all-time high. What makes it great is that it’s supposed to be that way. Either you get it or you don’t. Complete with phony previews and “missing reels” that leave HUGE plot holes, Grindhouse aims to make your movie-going experience an authentic one. “Planet Terror” features Rose McGowan (Jawbreakers) as a one-legged go-go dancer. She and her boyfriend, played by Freddy Rodriguez (Dead Presidents) must dispatch their town of brain-eating zombies. That’s pretty much all I can say about the “plot.” Everything else that transpires can best be described as sensory assault.

Now it’s Tarantino’s turn. “Death Proof” is less gory than “Planet Terror,” and actually has a little character development, if you could call it that. It features Rosario Dawson (Sin City), Sydney Poitier (it’s his daughter, not him!), and Kurt Russell (Dark Blue), most notably. Russell is “Stuntman Mike,” a psychopath who preys on women with his car. We follow two groups of girlfriends as they are stalked and terrorized. What I liked most about “Death Proof” was its voyeuristic quality. You really feel like you’re watching a group of friends with a hidden camera. It’s very dialogue-driven and realistic, which is both good and bad. It’s good that it feels genuine, but it’s bad when the dialogue turns tedious and uninteresting. You have to care about these girls’ conversations and interaction, and I could see some people shifting in their theater seats, waiting for the “action.”

I could go on and on about Grindhouse, but I’ll stop there. This is not the kind of movie that comes along every day. It is remarkably unique – never taking itself seriously in its storytelling, but maintaining the artistic integrity of its premise. Sometimes when a movie is a parody or spoof, you’ll find that the writer/director takes the lazy road because the movie is “supposed” to be bad or silly. That wasn’t the case with Rodriguez and Tarantino. They’ve managed to create a hilarious, edgy, over-the-top spectacle that will stun anyone with the guts to see it. I thought it was great.

Blades of Glory

Save your money. Talk about false advertising. Blades of Glory looks hilarious. It’s not. It’s mildly amusing at best. I don’t think I’ve ever laughed less at a comedy. Once you get past the initial chuckle-inducing concept of a male figure-skating pair, the movie is left with nothing. It was ridiculous, but in an eye-rolling way, not in a funny way. Yes Will Ferrell (Anchorman) is funny. He’s always funny. The problem is that he wasn’t enough to carry the movie, and the script was mediocre. It was just corny and stupid. Comedy is not my favorite genre, and I choose them wisely when I go to the theater. I expected laughs on the level of The Wedding Crashers or The 40-year Old Virgin. Blades of Glory can’t even be mentioned in the same sentence as those two. You know when they suck I like to keept it short. I have nothing else to say.

Shooter

Everyone’s second favorite bad-ass is back at it again. Mark Wahlberg (The Departed) stars as Bob Lee Swagger (ridiculous name), a disenchanted, reclusive marine. Devastated by the death of his fellow soldier in a botched mission and the military’s subsequent abandonment of him, Swagger begins to question his ingrained sense of patriotism. An expert sniper, he is approached by a Colonel Johnson (Danny Glover, most recently of Dreamgirls) and asked to help prevent an assassination on the president. Johnson and his men know that Swagger is an expert marksman, and they need his help in getting into the mind of the potential assassin. He reluctantly agrees, and begins gathering information on the manner in which an assassin would strike. Armed with this advice, Johnson and his cronies attempt to take out the president and frame Swagger for the hit.

Director Antoine Fuqua (Training Day) maintains a high level of action throughout, and Mark Wahlberg is completely convincing in his role. He’s good at shit like this. Of course the whole I’ve-been-framed-and-now-I-have-to-clear-my-name-before-I-get-killed-or-arrested thing has been done plenty of times before, but Shooter is good enough. Wahlberg’s screen presence alone makes it worth seeing – he’s rarely disappointing. Check it out.

Premonition

I wish I would've had a premonition that this movie would suck donkey balls. Then maybe I would not have wasted my time with it.

Premonition stars Sandra Bullock (Crash) and Julian McMahon (Fantastic Four, Nip/Tuck) as Jim and Linda Hanson, a married couple with two daughters. Soon after we meet the family, Linda is informed that Jim has been killed in an auto accident. The rest of the movie plays like a morbid version of Groundhog Day. One day Linda wakes up and Jim's dead, the next day he's alive. She tries to glean clues about what happend, and each day that passes reveals a new little wrinkle. Sound provocative? It's not; it's bullshit. Linda pays a visit to a priest, and he gives her some cryptic spiel about premonitions, reciting a history lesson of other quackpots who've seen the future. The problem is that it's never revealed why Linda had the premonition. It's not to change the future or to right some wrong...the whole thing is just pointless. I do think that the basic premise of the movie is interesting, and I like movies that deal with fate, spirituality, and destiny - but this was just LOUSY. I would suggest Frequency in lieu of Premonition. Even last year's Deja Vu was better than this.

I Think I Love My Wife

This is Chris Rock's latest directorial effort, a take-off of his popular stand-up routine where he laments married life. To quote Rock, you can either be "single and lonely or married and bored."

The movie follows Rock's character Richard Cooper, a successful investment banker with a lovely wife and two adorable kids. Richard's wife is a good one, but he finds himself bored with the mundane aspects of married life. His wife wears "granny panties," and the sex is virtually nonexistent. Enter Nikki Tru, played by Kerry Washinton (Ray, She Hate Me), the ex-girlfriend of one of Richard's old friends. It seems Nikki needs an employment reference and decides to pay Richard an unannounced visit for a letter of recommendation. It's obvious from the start that Nikki is nothing but trouble. She's everything that Richard's wife Brenda (Gina Torres of Alias) is not: sexy and adventurous. She has him p-whipped without even giving him the "p." The movie follows Richard's efforts to remain on the straight and narrow in the face of temptation. In his heart Richard is a good man; he just needs to spice up his marriage. He ultimately realizes what's most important in life and manages to get his priorities in order. This is only after Nikki gets him completely discombobulated. Is that a word? I've always wondered if that was really a word. What's the opposite. Is it combobulated? What does that mean?

I Think I love My Wife is humourous at best and mildly entertaining at worst. It has an indie feel, which is kind of a good thing. It falters at points, and certain parts of the story don't make sense. One scene in particular seems like it should have been part of a dream sequence, but Richard reacts as if it takes place in reality. And another thing, are we supposed to believe that Kerry Washington is hot for Chris Rock??? I mean, come on. I love Chris Rock as much as the next person -- the man is a comedic genius; but he's one step from Pookie in New Jack City. His lips looked so cracked at one point I was like "damn!" But hey, that's why they call it the movies, right? Because you get to see some shit that would never happen in real life.

300

Wow...300 was a feast for the eyes and the most visually decadent movie I've seen in a long time. Based on the graphic novels of Frank Miller (Sin City), the movie tells the story of 300 undermanned, outmatched Spartans who valiantly sacrificed their lives in The Battle of Thermopylae.

In the ancient times of Greek battle, the soldiers of Sparta were the bravest, most fearless warriors in the world. They were bred for combat, preparing for war soon after taking their first steps. It is this innate heroism that fuels 300 Spartans and their King Leonidas in war against mighty Persia. When Xerxes, the king of Persia, demands that Sparta submit to him, Sparta refuses. The gauntlet has been laid, and the only alternative is war. Despite the odds, the Spartans manage to slay many Persian soldiers. Unfortunately their victory is merely a moral one, as valor ultimately succumbs to manpower.

300 is straightforward in its storytelling, and a welcomed departure from other period movies that have had more convoluted historical underpinnings. The movie focuses on one battle. We know who's fighting and we know their motivation. We can also surmise the result, but the treat lies in getting there. The battle scenes are choreographed wonderfully, and the cinematography is something to behold. 300 will appeal mostly to men due to its violence, but women are in for a pleasant surprise with the myriad of scantily clad Spartans, particularly King Leonidas, played by actor Gerard Butler. I watched a television program about the making of 300, and each one of the male actors was whipped into impeccable physical condition. They looked like warriors in every sense of the word, literally dropping to the floor to perform push-ups between takes. It pays off, as they all look like they could tear a person to shreds with their bare hands. So on that note, 300 is a movie that will oddly appeal to men and women equally, if the girls can get past the violence (it's not too bad). It's been said that 300 is as revoulutionary and groundbreaking as The Matrix. I wouldn't dare go that far, but its unique sensuality makes it a movie worth seeing.

Zodiac

Zodiac is the dramatization of the true events surrounding one of America's most infamous serial murderers, The Zodiac Killer. It stars Jake Gyllenhaal (Jarhead, Donnie Darko) as Robert Graysmith, the San Francisco Chronicle cartoonist who remains obsessed with the case long after the police have resigned themselves to defeat. Graysmith becomes involved in the case when the killer begins to send taunting letters to police through the local newspapers.

The movie begins on July 4, 1969(?), on lover's lane in the city of Vallejo, California. A young couple has parked in a secluded area, talking quietly. A set of headlights temporarily blinds their vehicle from the rear. Pausing nervously, they wonder aloud about their visitor. The boy is apprehensive. Just as their tension begins to mount, the car leaves as quickly as it arrived. Their conversation resumes. Now the car returns and blocks their escape. The driver exits and approaches their vehicle, aiming a bright flashlight. The boy thinks it's a police offer, and begins to explain. Before he can complete his sentence, POP! The stranger is firing shots into the vehicle, the girl is screaming. When the stranger leaves, the girl is dead and the boy will be the one of the few witnesses to see the Zodiac and live to tell about it. It is this chilling opening sequence that introduces us to the Zodiac Killer, a man who wantonly terrorized the Bay area from approximately 1969-1975.

Directed by David Fincher (Se7en, Fight Club), Zodiac is one part police procedural and one part murder mystery. At a lenghthy 2 1/2 hours, the movie is not without its slow moments, but for the most part it manages to hold your attention. This is due in large part to the aforementioned opening scene, as well as different murder scenes interspersed throughout the first half. The movie stalls when it lingers too much on the minutiae of the policework. Which brings me to Mark Ruffalo (Collateral), a highly regarded actor who has yet to impress me. He is adequate as Detective David Toschi, and certainly attractive, but his delivery was a bit too understated, in my opinion. He and Gyllenhaal were both so soft-spoken in Zodiac that it started to annoy me. Anyway, Zodiac is not without its listless moments, but it picks up once Gyllenhaal's character gets more involved in uncovering the killer's identity. I also enjoyed the introduction of different suspects, each of them plausible in their own way. Robert Downey Jr. is also featured as Paul Avery, a Chronicle reporter who becomes consumed with the case, only to succumb to that obsession, ending up a washed-up alcoholic.

Fincher captures the time period in dark fashion, using the same muted, orange-tinged hue found in Se7en. Zodiac doesn't compare to his previous gems, but it is a solid addition to his body of work. Gyllenhaal isn't exactly a revelation, but he's an amazing actor and I bet if I saw the real Robert Graysmith I would see that he nailed the performance. I think fans of Fincher and/or Gyllenhaal should check out Zodiac off GP. It was interesting, if nothing else -- even though my eyelids got heavy once or twice.

Ghost Rider

Nicholas Cage (The Weather Man, Lord of War) is one of those actors that annoys the hell outta me. I think it's his voice and his mannerisms. I just don't care for him ususally, because when you watch one of his movies you never forget that it's him, and isn't that the point of acting? Anyway, I saw Ghost Rider in spite of Nic Cage and it wasn't half bad.

Based on the Marvel comic character of the same name, Ghost Rider (alter ego of Johnny Blaze) tells the story of a man who made a deal with the devil as a teen to spare his father's life, and now must repay his debt. He must become "the rider," collecting souls for his nefarious one-time benefactor. After dark and in the presence of evil, Johnny Blaze transforms into the rider: a leather-clad skeleton who rides a bad-ass mortorcycle, leaving a trail of flames in his wake. Okay, so the premise is interesting enough, as far as comic heroes go. Both the story and execution were pretty good. The special effects were decent, although let's be real - this isn't Spiderman or Superman. Ghost Rider has more of a lonely, everyman quality to him and the vigilante angle is a good one. Plus, he straight up kills people. No sticky webs to temporarily immobilize the bad guys like Spidey; Ghost Rider sends the dudes to hell. That's pretty cool.

I feel like it's unfair to critique the acting in a movie like this, but I have to give a quick word. It was marginal at best. Cage did a good job of looking alternately forlorn and corny. Eva Mendes plays his girl, and her role has about zero substance. It's nothing. A resume-filler, that's it. Sooo....in conclusion, Ghost Rider is the kind of movie you go see just to kill time or if you're looking for something to do on a random afternoon. I know this isn't exactly a ringing endorsement, but like I said, it wasn't half bad. Unfortunately that also means it was only half good.

Notes on A Scandal

This film was outstanding and is well-deserving of any future accolades, Oscar or otherwise. The acting and writing were superb, and there was never a minute in the film that didn't count for something. Starring Judi Dench (Casino Royale) and Cate Blanchett (Babel), the movie tells the story of a young fresh-faced teacher named Sheba (Blanchett) who begins an illicit tryst with a student - Mary Kay Letourneau style. The film is masterfully narrated by Dench's character Barbara, an older teacher who has taken a shall we say, healthy interest in Sheba. Barbara fluctuates between maternal friendship with Sheba and sexual longing for her. I've never seen Judi Dench in such a role, not that I'm terribly familiar with her work anyway, but still. It was creepy-good. Blanchett, conversely is both sympathetic and repugnant. She is, after all, sleeping with a 15-year old. There's no excusing that, even though the boy is a willing participant. However, I couldn't help but feel sorry for her character when she became the object of Barbara's predatory obsession. Think Single White Female for the AARP crowd.

Notes on A Scandal is the best movie I've seen this year, so far. The performances of the two leads were outstanding. Dench portrayed Barbara as the well-intentioned schoolmarm with a hint of menace lurking beneath the surface. Blanchett is naively selfish, acting without consequence until it's too late. It's been a while since I've seen a movie that wasn't at least mildly disappointing in some fashion. Notes on A Scandal was a refreshing change from the norm, and definitely worth seeing.

Smokin' Aces

I was excited about Smokin’ Aces because this is really my type of movie: fast-paced, frenetic, violent, featuring characters with a singular focus who are hell-bent on carrying out the task at hand. However, I was a tad disappointed. Don’t get me wrong, Smokin’ Aces was a highly entertaining movie overall, it just came across as the product of a poor-man’s Quentin Tarantino. The dialogue was fast and funny, the acting pretty good…but something about the movie felt thrown together. Smokin’ Aces was akin to deciding to make a painting by taking a bunch of paint and throwing it on a blank canvas: some parts will look kinda cool, but others will look like a complete mess.

The cast is an eclectic mix of seasoned and inexperienced actors, from Ray Liotta (Goodfellas) to Alicia Keys. Jeremy Piven of Entourage is featured as the main character, Buddy “Aces” Israel, a washed-up Vegas high-roller turned government snitch. The movie begins with a quick (and I do mean quick) recitation of the plot, making it crystal clear what we’re in for: About a dozen hitmen will attempt to take out Israel before he can sing to the Feds, and a handsome sum will be paid to the victor. Israel doesn’t know about the bounty, but he has holed up in the penthouse suite of a Lake Tahoe hotel, awaiting the specifics of the deal he struck with the government. He’s guarded by Sir Ivy (played by the always-sexy Common), and two other henchmen.

The best thing about Smokin’ Aces was the dialogue; it was hilarious, risqué, off-color, crude, and very authentic. Piven was effective as the pathetic, sleazy Israel, and he actually manages to make him seem sympathetic a time or two. Alicia Keys and Taraji Henson (Baby Boy, Hustle & Flow) nearly steal the show as a pair of sassy assassins. You like that? Sassy assassins? Say that ten times fast. Alright, if you liked Lucky Number Slevin, Domino, or Running Scared (I loved all three), then you will probably enjoy Smokin’ Aces. Just don’t expect it to be as good.

Alpha Dog

Alpha Dog marks the film debut of Justin Timberlake in the story of suburban drug-dealers who bite off more than they can chew in a quest to add excitement to their vapid existence.

Based on true events, the movie chronicles the exploits of Johnny Truelove (Emile Hirsch, who I’d never heard of prior to this flick), a fake-ass thug who is a major weed supplier in California. Truelove and his band of idiots (including Timberlake) spend their days getting high in the California sun, having sex, pissing away their parents’ money, and generally behaving like disgusting pricks. When one of Truelove’s customers fails to make good on a debt, he decides to kidnap the guy’s younger brother Zack and hold him for ransom. The plot goes awry when Truelove, genius that he is, realizes that he’ll actually go to jail if he releases the hostage. What happens next is tragic and heartbreaking, as Zack is a naïve, sympathetic character. He’s out of his league with Truelove’s crew, failing to see that his demise is imminent.

Alpha Dog was wack as hell to me, partly because I think the individuals on whom the movie is based are lame. Every character is a shallow poser. I’ve heard that the film received critical praise at Sundance, and I’m astounded by that. Writer/director Nick Cassavetes has tried to present a psychological study of disaffected youth, but he’s failed miserably. Alpha Dog tries to be edgy, but just seems corny and ridiculous. The characters don’t have to be likeable (they’re actually deplorable), but it would be okay if they were at least interesting. They all seem like spoiled little shits, and as a viewer I could care less what happened to them. They weren’t even cool, despite Cassavetes’ lackluster attempt to make them bad-ass. Veterans Bruce Willis (Lucky Number Slevin) and Sharon Stone (Bobby) cannot save the movie with their supporting roles. Timberlake had his moments, but overall his acting was corny as well. He needs to work on his delivery…he might end up being a decent actor with a little more practice. If you want to watch a movie about white kids getting loaded and not giving a damn, rent Kids or Black & White.

Children of Men

Children of Men presents one of the more fascinating movie plots in recent memory. The year is 2027, and planet Earth has become a barren wasteland, literally and figuratively. The only functioning society is found in London, as the rest of the civilized world has ceased to exist. All “immigrants” are arrested and anarchy fills the streets of London’s surrounding areas. As if it couldn’t be any worse, the surviving human beings face certain extinction, as women and men are infertile and the population dwindles. Enter Clive Owen (Sin City, Closer). It seems that his ex-wife (Julianne Moore, The Forgotten, Freedomland) needs him to transport an illegal immigrant (a character named Kee) to safety. This is no ordinary immigrant; rather this is a young lady who has managed to do what no one else in the world has been able to do for 20 years: become pregnant. Protected by a fringe political group, Owen’s character must shield his young charge from the government and escort her to a neighboring city for amnesty. They dodge bullets as it becomes clear that Kee’s protectors have their own agenda and plan for her and the unborn child.

Children of Men paints a provocative, bleak picture of the future that is both fascinating and depressing. Clive Owen is excellent as the reluctant hero, and you can’t help cheering for him and Kee. The movie falls short in its ending, which is rather abrupt. I saw it with a friend who also thought it started slowly. I think Children of Men is a good movie to check out if you like food for thought. The acting is great, with good supporting performances by Michael Caine (Batman Begins) and Chiwtel Ejiofor (Dirty Pretty Things, Four Brothers). If you’re looking for something a little outside the box, check it out.

The Good Shepherd

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

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

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

Dreamgirls

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

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

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

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

Bobby/Blood Diamond

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

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

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

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

Blood Diamond

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

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

Deja vu

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

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

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

Casino Royale

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

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

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

The Departed

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

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

Little Miss Sunshine

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

Hollywoodland

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

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

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

Crank

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

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

The Illusionist

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

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

Idlewild

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

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

The Night Listener

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

Danity Kane

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

Miami Vice

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

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

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

Meaningless Plug #2

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

The Devil Wears Prada

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

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

Superman Returns

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