The Movies thread!

[Devils Dose]

4) 127 Hours – While this movie started out lower on the list, I had to keep creeping it up based on how wowed I was when walking out of the theater. Even if you know the story of doomed hiker Aaron Rogers, you haven’t seen it like this in all of it’s unapologetically visceral glory. Much like he did with 2008’s Slumdog Millionaire, Danny Boyle knows how to create emotionally exhilarating movies and 127 is no exception. While you would think 95 minutes of a guy stuck in a hole would be stretching one’s viewing tolerance, Boyle goes inside the survivors mentality, giving us a vivid inside view to what it takes to make it through the harshest of conditions. Powerfully told, and wonderfully acted by James Franco, 127 Hours may not be for those of weak stomach but it’s most certainly worth seeing for everybody else. - 100%

I saw 127 Hrs. on my flight from Auckland to Sydney, and it is really really good. I knew the story beforehand it was still gripping, watching how he gets to that point. I want to recommend it to my parents, but since I'm traveling alone (and generally not telling people where I'm going) they would freak out. Oh well.

[DaneykoIsGod]

New Movie Review

The Fighter

I love me some Reese’s Peanut Butter Cups.

Seriously. Like ‘em, love ‘em, can’t get enough of ‘em. The perfect combination of two already wonderful food stuffs, RPBC’s are a classic treat. So, imagine my delight when they started appearing in almost everything. First it was ice cream, next in breakfast cereals until finally, a couple of days ago, I discovered them in a bag of Chips Ahoy cookies at my mom’s house. At that moment I thought, “Damn, I love Reese’s Peanut Butter Cups and all, but this is getting ridiculous. What’s next, peanut butter cup infused bananas”? But what did I do? Grabbed myself a couple, chomped down and enjoyed the heck out of them. In the end, even though I keep seeing that flavor over and over again, it doesn’t take away from the fact that it’s damn delicious. This is exactly how I feel about the boxing movie genre, and specifically its latest entry, The Fighter.

Much like the sweet confections mentioned above, the genre of boxing films all share a very similar plot and story arc. Tough guy comes from nothing, goes through a few trials and ends up on top where a) he then falls back down a precarious slope or b) the movie ends. While The Fighter follows the same predictable path of its predecessors, the film is helped by some well placed humor, a focus on family and some very fine acting.

The cast runs the gambit of acceptable to near brilliant. Mark Wahlberg plays Micky Ward, an up and coming boxer from the slums of Lowell, Massachusetts who’s looking for his next big break. Much has been reported of Wahlberg’s near four year preparation for the role and the hard work pays off as he certainly has the look and feel of a seasoned boxer. While his acting style is very by the numbers, Wahlberg does a fine if not unremarkable job in the title role. Also playing against type is Amy Adams, portraying a tough talking local bartender and Micky’s inevitable love interest. Adams also does a fine job in the part as it’s a relief to see her break away from the nice girl roles we’re used to seeing her in. High marks also have to be given to Melissa Leo as Micky’s mother and business manager. Winner of the Golden Globe for Best Supporting Actress this year, Leo tows the line between loving mother and tough manager effortlessly, giving the movie a much needed shot of freshness and originality.

Stealing the show, however, is the work of Christian Bale as Dicky Ekllund, Mickey’s brother, trainer and closest confidant. Bale’s part is easily the most difficult of the cast as he not only has to connect with Wahlberg on a brotherly level but has to be unassumingly self destructive at the same time. Bale plays the part wonderfully, bringing a real honesty and empathy to the role. Dicky has the distinction of being the “King of Lowell” for his boxing career but has since fallen in the depths of a drug addiction that threatens to take down his whole family and the budding career of his brother. Dicky is easily the catalyst of the story and in hands of a lesser actor could have turned into a parody but Bale is pitch perfect in his portrayal. Bale actually just got himself a Golden Globe for his work and he is sure to a get an Oscar nomination in the next couple of weeks.

The story, however, runs very familiar ground. While I enjoyed the local flavor of Lowell and the connection between Bale and Wahlberg, the rest of the plot is standard boxing flick fare. Luckily, the screenplay is peppered with a surprising amount of humor that almost always works well, especially when Bale is on screen. Director David O. Russell directs his cast with startling insight into the working class toughness of this boxing family yet does so at the sacrifice of visual flair. This is a blandly shot film to be sure, but when you have a cast this good, that is more than forgivable.

All in all, The Fighter doesn’t break any new ground for the boxing genre but, much like those yummy peanut butter cups, it’s still a good time that pushes all the right buttons. There’s just something charming about the classic “everyman fighting against all odds” tale and that charm never gets old, no matter how many times you see it. In the case of The Fighter, this world weary tale is told with style, humor and excellent acting, giving the audience just enough nuance to elevate it beyond its clichés. While Rocky will always be the quintessential telling of this story, The Fighter has a few new tricks up its sleeve, mostly embodied in the work of Bale and Leo. Everyone else simply has to play to type supporting their great performances. To bookend this review with my candy reference, The Fighter is just like a pack of Dark Chocolate Reese’s Peanut Butter Cups: while an attempt was made to slightly change the classic flavor, the end result is the same old candy we grew up loving, a taste that still stands the test of time.

Now that I've seen the movie, I can go back and read the review.

First of all, great writing. Very nice analogy with the Reese's.

I agree with a whole hell of a lot here. The only difference for me, and I may be alone in thinking this, is that it felt like a movie about crack addiction and a dysfunctional family where the main character just happens to be a boxer. I guess that case could be made for just about any boxing movie (i.e. Cinderella Man is about the Great Depression and the main character just happens to be a boxer), but the crack addiction aspect in particular really kept this movie fresh for me instead of feeling like yet another installment from a stale yet enjoyable genre. It was almost as if the filmmakers pulled some misdirection on us, leading us to believe we were watching something about boxing when it was really about drugs. It's a stretch, but if so, it'd be an interesting parallel with what the family originally thought of the HBO doc and what it ended up being.

Anyway, aside from that, I agree with pretty much everything. Wahlberg is pretty by-the-numbers, Leo and Adams were great, Bale absolutely crushed it. It was very enjoyable to watch, doing a good job of pulling on the right emotional strings the right amount at the right times.

Maybe my favorite part is that this movie gave me an excuse to watch Round 9 of the first Gatti v Ward fight about a million times on the YouTubes.

[njskaguy33]

Now that I've seen the movie, I can go back and read the review.

First of all, great writing. Very nice analogy with the Reese's.

I agree with a whole hell of a lot here. The only difference for me, and I may be alone in thinking this, is that it felt like a movie about crack addiction and a dysfunctional family where the main character just happens to be a boxer. I guess that case could be made for just about any boxing movie (i.e. Cinderella Man is about the Great Depression and the main character just happens to be a boxer), but the crack addiction aspect in particular really kept this movie fresh for me instead of feeling like yet another installment from a stale yet enjoyable genre. It was almost as if the filmmakers pulled some misdirection on us, leading us to believe we were watching something about boxing when it was really about drugs. It's a stretch, but if so, it'd be an interesting parallel with what the family originally thought of the HBO doc and what it ended up being.

Anyway, aside from that, I agree with pretty much everything. Wahlberg is pretty by-the-numbers, Leo and Adams were great, Bale absolutely crushed it. It was very enjoyable to watch, doing a good job of pulling on the right emotional strings the right amount at the right times.

Maybe my favorite part is that this movie gave me an excuse to watch Round 9 of the first Gatti v Ward fight about a million times on the YouTubes.

Thanks for the props!

To your point, while I alluded on the family aspect at the beginning of the review, I'm glad you expanded on it as that really is what makes The Fighter unique. The movie reminds me alot of Animal Kingdom where the emphasis isn't on the crimes of a criminal family but the interworkings of the family itself. This focus allows us to connect deeper to the characters than we would if they were just boxing archtypes. My only critque would be that the filmmakers almost abandoned that theme towards the end in favor of a more concentional ending. While the theme is still there, it gets watered down in the final twenty minutes. Still, The Fighter did a great job of putting the family dynamic to the forefront, especially since it did so with such humor.

Oh yeah, that damn YouTube video is freaking addicting

[njskaguy33]

Sorry for not having a ton of reviews or previews in the thread as of late, but most of my energies have been devoted to my new Devils podcast, DevsCast. (Shameless plug, I agree). Hope to have some new reviews soon!

Opening This Week – Nationwide

I Am Number Four (Also showing in IMAX) – Eeehh, still not quite sure what this is about and something tells me, an actual viewing of this film wont get me any close to the truth. The film centers around a young man who is set to be the fourth person killed by a mysterious force, forcing him to roam around the country. After settling down in a small town in Ohio, he meets a girl, gets himself some powers and I imagine uses these new abilities to combat his pursuers. Early reviews have been pretty terrible saying it’s a space age Twilight with even less emotional weight and even worse CGI effects. Sounds like a stinker to me!

Unknown – As one reviewer put it, Liam Neeson has become the new Harrison Ford, easily slipping into roles that the former Star Wars star found himself in late in his career. Really, couldn’t you see Neeson in The Fugitive, Air Force One, or even What Lies Beneath? Neeson takes on the role of Dr Martin Harris, who awakes from a car accident in a world where nobody knows he exists and what’s worse, someone has stolen his identity. Neeson then goes on a quest to regain himself in what is sure to have plenty of car chases, jumping between buildings and old man fights. And boy, do I love me some old man fights! Still, reviews have been unilaterally poor for this movie, calling it basically a watered down Taken, which was actually quite good. This one, however, just takes that formula and dilutes it down to post Oscar mushy mush.

Big Mommas: Like Father, Like Son – Wow, what a catastrophically convoluted movie title, much like the obvious mess it’s attached to it. You know, did we really need a third installment of a franchise nobody in their right mind found funny or enjoyable? It’s almost not worth mentioning but critics have been brutal of this film, easily the worst of the series. Skip unless you have a friend that needs a good torturing.

Opening This Week – Limited

Immigration Tango – Poorly reviewed film about an immigrant couple who, after having their visas run out, switch places with their American born friends. Why this ploy would prevent the INS from knocking on their door is beyond me, but then again, I doubt I’ll ever bother to find out. Playing in select theatres

The Chaperone – Another movie from WWE films, this one starring Triple H as an ex con on the run from his former gangmates who, in an attempt to elude them, takes a bunch of kids on a field trip to New Orleans. Madcap highjinks and slapstick is sure to ensue in what looks to be another banal family flick with little heart or feeling. Critics laregely agree, saying the movie is poor in pretty much every category. Showing at City Cinemas Village East

The Last Lions – Documentary about the perilous life of an African lion and her struggle to survive, with her cub, in the harsh jungle. Narrated by the deliciously hammy Jeremy Irons, critics have said that it’s beautifully shot and realized, even with Irons over the top narration. Still, the imagery alone makes this worth a viewing. City Cinemas Paris Theatre and the Angelika

Even the Rain (Tambien La Lluvia) – Billed as movie about the making of a movie, this film parallels the abuses of Christopher Columbus 500 years ago to the issues plaguing modern day Bolivians. A hard flick to cram into a three line synopsis, the movie has been getting quite good reviews from critics, with most saying that the director does a nice job of connecting the two disparate time periods. Playing at the Angelika

Vanishing on 7th Street – Starring Hayden Christensen, Thandie Newton and John Leguizamo, this films takes place in present day Detroit where a sudden blackout plunges the city into darkness in which a band of survivors must wait out the terrors in the dark. Despite some decent star power and the director behind both Transsiberian and The Machinist, critics have been giving this average reviews. Still, might be worth a look if you’re a fan of director Brad Anderson’s previous work. Playing at City Cinemas Village East

Opening This Week – Indie, Art House and Small Screenings

Zero Bridge – Filmed as both a love letter to his war torn hometown of Kashmir and a fictional story of a young pickpocket making his way through the toughest life has to offer, critics have been very positive about this debut film by director Tariq Tapa. Worth checking out if you’re near downtown NYC this weekend. Showing at the Film Forum

We Are What We Are – Strange sounding horror flick about a family of cannibals who, after their father passes on, has a horrifying decision to make. Eat him as they have done to countless others or press on without him. While this synopsis screams blech, critics have been surprisingly positive about this debut film by director Jorge Michel Grau. Praising it’s fine mix of horror, fine shot direction and black comedy, this film may just be the thing to sate the tastes of horror fans this weekend. Screening at the IFC Center

Putty Hill – Documentary-esqe flick about the death of a young townie and the effect his passing has on his rural suburb of Baltimore. Critics have been giving this flick high praise for its documentary style camera work and the pure emotional weight of the subject matter. Worth checking out! Showing at Cinema Village 12th Street

Opening This Week – Worth Waiting For (Possibly)

Brotherhood – This 70 minute long crime thriller about an accidental shooting during a fraternity’s induction doesn’t have any screen time as of this posting but has been getting mixed reviews from critics. You may want to wait for more critical opinion before running out to see it.

Confused by the colors? Here’s the guide!

Green means that reviews are great, the trailer looks great, so this is definitely worth seeing!

Orange means reviews have been mixed but there’s enough here for me to say, “See It For Yourself”.

Red means this film should be avoided at all costs! Run, Devil fans, run!!

Edited February 18, 2011 by Bulletproof

[Devils731]

I would like a 4th color for movies like Big Momma 3. I don't know what color but it should represent movies that will be talked about as worst of the year/decade. It seems unfair to other bad movies that are just regular bad to be grouped in with Big Momma 3.

[CRASHER]

I would like a 4th color for movies like Big Momma 3. I don't know what color but it should represent movies that will be talked about as worst of the year/decade. It seems unfair to other bad movies that are just regular bad to be grouped in with Big Momma 3.

Kinda like a "you should know better then to even read this review it's so BAD" type of category!

Maybe a Ranger-Blue in honor of the msg. board it's on??

[njskaguy33]

I would like a 4th color for movies like Big Momma 3. I don't know what color but it should represent movies that will be talked about as worst of the year/decade. It seems unfair to other bad movies that are just regular bad to be grouped in with Big Momma 3.

HA! I was actually thinking that when writing the preview: What color is worse than red?? Maybe like fecal matter brown or something along those lines. Yeah, it seems almost unfair to put Big Momma 3 in the class of "regular" bad movies

[njskaguy33]

Just Watched

City of God

The evening I watched City of God was preceded by a horrid day. One of those days you wish would just fly by so you didn’t have to experience it, it was riddled with bad weather, annoying e-mails and a headache so bad, a lobotomy couldn’t have cured it. Even when sitting down to watch the movie, my Blu-Ray player decided to take the evening off, forcing me to watch it on my old as butt PS2. Such indignities! However, the horrors of my day served as a fine backdrop for a viewing of the insightful and frightening City of God. Why? Because this film, unlike the banalities of my day to day problems, is rooted in something real, something dangerous. City of God is an eye opening looking into the day to day lives of people surrounded by real problems and real danger.

Taking place in the slums of Rio de Janerio, one of the most dangerous areas in all of Brazil, City of God tracks the life of young Rocket, an aspiring photographer who has family ties to one of the more notorious gangs in Rio. Through the course of the film, Rocket sees friends and family succumb to the trails and temptations of gang life and, through the lens of his camera, does what he can to rise above it. Modeled after real gangs, filmed in real locations and using actors who actually live in the slums the story takes place in, City of God has an authenticity and realism that makes the on screen action feel more like a documentary than a fictional tale.

While this film garnered four Oscar nominations, impressive for a foreign language film, the most deserving nod was for Best Cinematography. Frantically yet beautifully shot, cinematographer Cesar Charlone captures the hard boiled streets of Rio in stunning, unflinching detail. The direction is also noteworthy as the story of Rocket and the gangs around him is told with harsh realism and palpable emotion. On the acting front, only one of the actors on screen had ever been in a film before, many of whom made their home in the very ghetto being depicted, but everyone does a convincing job in their respective roles. My only complaint would be the part of Little Zie, the most ruthless of the gang leaders. While most of the violence in the film was contextualized, Zie’s character comes off almost too over the top with few references made to why he’s so maniacal.

That, however, is a minor quibble when stacked against fine directing, cinematography that puts you right in the midst of gang warfare and a story of personal triumph that warms the heart as much as it scares the bejesus out of you. City of God is obviously a personal story as much as it’s a work of fiction and that personal touch comes through in every frame, creating a thrilling and emotional experience that’s a pleasure to watch. Highly recommended!

[njskaguy33]

Opening This Week – Nationwide

Drive Angry 3D – You know a movie is admittedly mindless when the published synopsis reads, “A vengeful father chases after the men who killed his daughter”. That’s it! No further explanation, no intersecting plot points, no clarification. Expect only guts, profanity, nudity and some sort of amazing car chase. Oh and Nicholas Cage evidently has sex with a waitress whilst fighting a slew of bad guys. That alone may be worth the price of admission but the whole 3D thing actually turns me off to the whole thing. Critics have been pretty mixed on this with some saying it’s a mindless, gratuitous joy ride of a flick with others claiming it’s misogynistic and unsettling. Still, there is room in the world of cinema for simple and pure ass kicking, so long as it doesn’t delve into Kick Ass realms of sadism. May have to check this out just so I can form an opinion.

Hall Pass – The first film by the venerated Farley Brothers in almost four years, the team returns to the gross out humor that made them famous with films like There’s Something About…but with a sweet side? The film centers around two married forty-somethings, played by Own Wilson and Jason Sudeikis, who are given a one week reprieve from their marriages to indulge in their wildest fantasies. A film that critics are either saying is too slapsticky gross for it’s own good or too meandering and wimpy for a Farley Brothers flick, leaving the film wallowing in comedic mud. Sounds like the directors tried to cater to everybody and ended up pleasing nobody, an easy mistake to make. Sounds like a skip to me.

Opening This Week – Limited

The Grace Card – Christian charged film about a bitter ex cop who travels a road of redemption in racially charged Memphis. Critics have blasted this film as being pandering, formulaic and so badly clichéd, Lifetime would have a hard time showing it. Sounds like a snooze fest to me. Showing in select theaters

Of Gods and Men – And to transition from heavy handed pandering to an honest look at faith and the power it can have in ones life, here’s Of Gods And Men This very well reviewed film is about a group of eight monks who, while stationed in North Africa, has to decide to flee a raging conflict or stay, threatening their own life for the sake of their faith. Critics have praised this movie as being the first truly brilliant film of 2011 featuring fine acting, beautifully patient direction and a stunning story. Playing at Lincoln Plaza Cinemas and Landmark Sunshine Cinema.

Opening This Week – Indie, Art House and Small Screenings

Heartbeats – Getting mostly good reviews from the critical circle, the latest film from growing Montreal director Xavier Dolan tracks a love triangle and all the sex, comedy and tragedy that goes along with it. While most critics have been hailing Dolan as a brave new voice in the world of independent cinema, still others label the film as being too thin to support its running time. Still, there’s enough good reviews from critics I respect to label this as a strong see it for yourself. Showing at the IFC Center

Public Speaking – Martin Scorsese’s latest film, a documentary about the wild and sometimes controversial humorist Fran Lebowitz. Critics have been giving the film great reviews, saying the author is goes on a tour de force, providing hilarious insights to almost everything. Showing at the Film Forum

My 3 To See

Cedar Rapids – This offbeat comedy starring the excellent Ed Helms who plays a shut in insurance salesman who is invited to a conference in the “wild” world of Cedar Rapids, Iowa. Problem is, he’s never left his tiny Midwestern hometown, promising all sorts of awkward misadventures. Getting great reviews, this is a comedy worth seeing

Of Gods And Men – An intriguing story, rich acting and great direction all lead to a must see for indie minded moviegoer.

Aaaand there is no three this week...sorry kids!

Confused by the colors? Here’s the guide!

Green means that reviews are great, the trailer looks great, so this is definitely worth seeing!

Orange means reviews have been mixed but there’s enough here for me to say, “See It For Yourself”.

Red means this film should be avoided at all costs! Run, Devil fans, run!!

[njskaguy33]

2011 Oscar Winners and Run Down

Yaaaaawnn…are they over? Well, the biggest night in movies ended in probably one of the more boring Oscars in recent memory. No huge surprises, no big upsets and not much energy to speak of, the 2011 Oscars will forever be remembered for The Kings Speech, Melissa Leo’s f-bomb and James Franco in a dress. Meh, at least most of my picks came out! If the winner is highlighted in green, I nailed the pick and if it’s red, I missed it. Here are some of the highlights, lowlights and all the winners.

The Winners

Best Visual Effects - Inception

Pretty easy one to pick as Inception was damn near groundbreaking in the way it treated visual effects. Also, I quite liked Robert Downey Jr. and Jude Law presenting together as they were funny without being forced and provided a small bit of entertainment in a show that had already gone on way too long.

Best Sound Mixing - Inception

Yeah, another easy pick, especially given when one film wins a technical, they generally win them all. Oh, and if Matthew McConaughey had said, “Sound” one more time while presenting, I was ready to but my foot through the screen. Or just turn it off and play Red Dead Redemption.

Best Sound Editing - Inception

Not much more to say about the flick that pretty much swept the technicals.

Best Makeup – The Wolfman

Hard one to pick as I hadn’t seen any of the nominees, but good for the Academy for eschewing the usual “make someone look older, hand ‘em the Oscar” thought process and give it a to a poorly reviewed action flick that looked awesome. One of those movies that only had visuals going for it, I was glad to see it get recognized for what it did best. Also, Cate Blachett’s little quip about the Wolfman being “gross” made me chuckle.

Best Film Editing – The Social Network

My pick and the eventual winner, The Social Network was definitely the best edited film of the year for me, a pick that the Academy got right. Without the superb work of Agnus Wall and Kirk Baxter, The Social Network just wouldn’t have held together but they managed to not only connect the three different storylines but do so in a way that was easy to grasp and more importantly, totally engaging.

Best Documentary – Inside Job

While I can’t comment on the winner as I haven’t seen it yet, I’m going to be shocked if it’s anywhere near as gripping or emotionally evocative as my pick, Restrepo. Still, this a hard one to gauge if you haven’t seen them all.

Best Original Score – Trent Reznor and Atticus Ross for The Social Network

When this got announced, I stood up and cheered. Not only have I been a huge Reznor fan since the early nineties, his music has evolved from angst ridden techno-rock to something more subtle and more beautiful. Sure the man still loves to rock, but the main theme of The Social Network is haunting, beautiful and undeniably Nine Inch Nails. And seriously, does Hans Zimmer really need another Oscar?

Best Costume Design – Alice In Wonderland

Damn, should have picked this one as it really is the natural choice. Another flick that really only has stunning visuals going for it, Alice has beautifully vibrant costuming and was probably an easy pick for the Academy.

Best Art Direction – Alice In Wonderland

See the above!

Best Cinematography - Inception

Somehow I missed this one when doing my njdevs picks, but I had labeled Black Swan for this award, simply because it’s the best example of visual storytelling out of any film released this year. Kind of surprised they gave it to Inception but the Academy has been recently giving this award to technically proficient films, not necessarily well shot ones. Remember, last year Avatar won the award and most of that flick was animated against blue screen. Inception isn’t as bad but Black Swan featured stunning camerawork and should have walked away with the award.

Best Adapted Screenplay – The Social Network

Far and away the best script written this year, The Social Network not only encapsulated a phenomenon but took a look inside the mind of the genius who created it. Alan Sorkin’s brilliant screenplay was slick and stylish while still allowing the viewer into the motivations behind the polarizing Mark Zuckerburg. While I’m sure there are inaccuracies abound in the movie, that doesn’t take away from the fact that it’s an extremely enjoyable film.

Best Original Screenplay – The Kings Speech

Can’t really disagree with this pick and while my personal choice was The Kids Are All Right, Speech blended just the right amount of humor, class and emotion to propel the film to elite status. Also, had to appreciate the very nice speech writer David Seidler gave as it was witty, quick and quite heartfelt. But then again, as my brother said, he is a writer!

Best Foreign Language Film – In A Better World

Another tough one to guess, but at least that means this Denmark import will most likely get a stateside release now, allowing us film snobs to check it out!

Best Animated Feature Film – Toy Story 3

Yeah…you knew it was going to win too!

Best Supporting Actress – Melissa Leo for The Fighter

The toughest category to pick but the Academy went the safe route and picked Golden Globe winner, Melissa Leo. While you could make a case for any of the actresses nominated, Leo did a great job connecting both the boxing world where she managed and the family she ran, seamlessly integrating the two worlds in her performance. That being said, she couldn’t have been less prepared for her speech than she was, plus her alleged f-bomb just makes for a good story in an otherwise bland Oscars.

Best Supporting Actor – Christian Bale for The Fighter

Another win everybody saw coming a mile away, Bale was easily the best performance in The Fighter and deserved the award. The being said, I still maintain the best work of the year was done by Rush for The Kings Speech but Bale is certainly a close second and definitely Oscar worthy.

Best Actress – Natalie Portman for Black Swan

Very deserving of the Oscar and the easy pick, Portman has finally reached the level where many critics thought she would reach way back when she first starred in Leon the Professional. Just a brilliant performance that gets better every time you see it, Portman nailed the role of a troubled ballet dancer. Not only that, but she gave a very sweet speech and looked great as well.

Best Actor – Colin Firth for The Kings Speech

Probably one of the biggest slam dunks in Oscar history, what can one say that hasn’t already been said about his portrayal of the Duke of York. Just a wonderfully connected performance that not only wowed audiences, but is the sort of thing the Academy eats up.

Best Director – Tom Hooper for The Kings Speech

A bit of a surprise here for me, but once this award was announced you knew how the rest of the night was going to go, especially since the film had also won Best Original Screenplay earlier in the evening. While my vote went to Fincher for his outstanding work in The Social Network, you could have made an argument for any of the films nominated. To me, this sounds like the Academy put a premium on directors working with actors which is a good move in my opinion.

Best Picture – The Kings Speech

Glad this won so I can stop wasting post space in praise of this excellent film, The Kings Speech is simply the best movie to come out this year and more than deserved the win. Congrats to everybody involved with the creation of this movie as it’s truly an amazing piece of cinema.

Highlights and Lowlights

- Anne Hathaway actually did a very nice job hosting the show. She was relaxed, self deprecating and looked like she was actually having a fun time hosting the show. James Franco, on the other hand, was wooden, awkward and looked high as a kite throughout the entire broadcast. Just really strange.

- The opening bit about going through the different levels of Alec Baldwin’s dream was well done but lacked any sort of real spark. Still, as an intro to the show, it was fine. The auto tune musical bit was also pretty funny but nothing had any sort of spark.

- And how about Kirk Douglas?? Yes, the man rambled on, bringing the show to a screeching halt and yes, he has giant earlobes but the guy is 94 and is recovering from a stroke. I say let him blather on incoherently! Easily the most entertaining presenter of the evening, if maybe for all the wrong reasons but he’s a legend. Legends get a long leash. Also, you have to love his whole dirty old man thing …while walking away, he was an inch away from coping a feel on Melissa Leo, and I say good for him! A good example of living life while you still have some to live.

- James Franco in a dress was more uncomfortable than funny and Hathaway’s Hugh Jackman bashing song was her only real misstep of the evening. My favorite Hathaway moment was when she flubbed a line, stopped and then said, “Whoops, that’s a flub. Everyone at home, take a drink”, an obvious reference to the “Oscar drinking game” that was all over the Internet. Well played!

- And then there was the musical numbers. Whew, those were tough. Paul Newman was fine, aside from you couldn’t hear a word he was saying and the song from Tangled was well sung but bland. Then we get treated to If I Rise from 127 Hours, which is actually a very pretty song but ill placed as we were already in the third hour and most people were already nodding out. And do I even need to talk about Gwyenth Paltrow singing the tune from Country Strong? Yeeesh.

- The finale also felt very staid and forced, despite the cute factor of the PS 22 kids singing Somewhere Over The Rainbow. Having all the winners trot out for one last hurrah is a good idea in theory but felt rushed as the event had already gone over time. Oh, and Melissa Leo is a whack-a-do.

All in all, the 2011 Oscars were very predictable and fairly boring, despite the best efforts of Anne Hathaway to make it lively and fun. Part of me thinks it’s just a relic of times gone by and every effort by the producers to modernize the show is stymied by the old school drama of it all. While I do think the show could use some new blood and fresh ideas, I think an MTV Movie Awards style Oscars would leave me just as annoyed. There’s something timeless about the old school Hollywood glamour of the show and too much rock concert hutz-pah would ruin that side of it. If somebody could just mix the old school Hollywood charm with a quickening of the pace while giving it a shot of energy, the Oscars may become relevent again. Not a bad show but if you just caught highlights, you saved yourself three hours and probably made a wise choice.

[Atterr]

This had to be one of the most predictable Oscar nights ever. Roger Deakins not winning in the best cinematography category was the only real surprise. With all his snubs he is really starting to look a bit like Alfred Hitchcock.

Now that I've seen all nominated movies, I have to say that True Grit is the best movie of 2010 for me. The Coens never seem to disappoint and this is another instant classic. Better in every way than the original, great characters, perfectly acted, funny and beautiful cinematography from Deakins. Quite disappointed that it did not win in any of the 10 categories it was nominated in.

I definitely liked The King's Speech though and it's the sort of film that the Academy typically votes for. Despite the great performances of Colin Firth and Geoffrey Rush, it just falls short of my personal top 3 of 2010 (True Grit, The Social Network and Blue Valentine in that order just in case you're wondering). But it's definitely a worthy winner.

I did not know The Fighter was nominated for Best Picture when I saw it this weekend. And I was a bit surprised when I found out to be honest. Yes, Christian Bale is fantastic (although I like him less and less with each film he appears in for some reason) but the movie was never groundbreaking. Still, I found it impossible not to root for Micky Ward. So it has to be good I guess, but definitely not great.

All in all, 2010 was a good year for movies, definitely a major improvement over 2009. But then again, you know a year has to be bad when The Hurt Locker is voted for Best Picture.

Edited February 28, 2011 by Atterr

[Cachorro Louco]

Just Watched

City of God

The evening I watched City of God was preceded by a horrid day. One of those days you wish would just fly by so you didn’t have to experience it, it was riddled with bad weather, annoying e-mails and a headache so bad, a lobotomy couldn’t have cured it. Even when sitting down to watch the movie, my Blu-Ray player decided to take the evening off, forcing me to watch it on my old as butt PS2. Such indignities! However, the horrors of my day served as a fine backdrop for a viewing of the insightful and frightening City of God. Why? Because this film, unlike the banalities of my day to day problems, is rooted in something real, something dangerous. City of God is an eye opening looking into the day to day lives of people surrounded by real problems and real danger.

Taking place in the slums of Rio de Janerio, one of the most dangerous areas in all of Brazil, City of God tracks the life of young Rocket, an aspiring photographer who has family ties to one of the more notorious gangs in Rio. Through the course of the film, Rocket sees friends and family succumb to the trails and temptations of gang life and, through the lens of his camera, does what he can to rise above it. Modeled after real gangs, filmed in real locations and using actors who actually live in the slums the story takes place in, City of God has an authenticity and realism that makes the on screen action feel more like a documentary than a fictional tale.

While this film garnered four Oscar nominations, impressive for a foreign language film, the most deserving nod was for Best Cinematography. Frantically yet beautifully shot, cinematographer Cesar Charlone captures the hard boiled streets of Rio in stunning, unflinching detail. The direction is also noteworthy as the story of Rocket and the gangs around him is told with harsh realism and palpable emotion. On the acting front, only one of the actors on screen had ever been in a film before, many of whom made their home in the very ghetto being depicted, but everyone does a convincing job in their respective roles. My only complaint would be the part of Little Zie, the most ruthless of the gang leaders. While most of the violence in the film was contextualized, Zie’s character comes off almost too over the top with few references made to why he’s so maniacal.

That, however, is a minor quibble when stacked against fine directing, cinematography that puts you right in the midst of gang warfare and a story of personal triumph that warms the heart as much as it scares the bejesus out of you. City of God is obviously a personal story as much as it’s a work of fiction and that personal touch comes through in every frame, creating a thrilling and emotional experience that’s a pleasure to watch. Highly recommended!

Hey man since you watched "City of God" you got watch "Tropa de Elite ( Elite Squad)" the film shows exactly the opposite side of the coin, the side of cops who battle not only crime, but corruption within the own Police Force.

[njskaguy33]

This had to be one of the most predictable Oscar nights ever. Roger Deakins not winning in the best cinematography category was the only real surprise. With all his snubs he is really starting to look a bit like Alfred Hitchcock.

Now that I've seen all nominated movies, I have to say that True Grit is the best movie of 2010 for me. The Coens never seem to disappoint and this is another instant classic. Better in every way than the original, great characters, perfectly acted, funny and beautiful cinematography from Deakins. Quite disappointed that it did not win in any of the 10 categories it was nominated in.

I definitely liked The King's Speech though and it's the sort of film that the Academy typically votes for. Despite the great performances of Colin Firth and Geoffrey Rush, it just falls short of my personal top 3 of 2010 (True Grit, The Social Network and Blue Valentine in that order just in case you're wondering). But it's definitely a worthy winner.

I did not know The Fighter was nominated for Best Picture when I saw it this weekend. And I was a bit surprised when I found out to be honest. Yes, Christian Bale is fantastic (although I like him less and less with each film he appears in for some reason) but the movie was never groundbreaking. Still, I found it impossible not to root for Micky Ward. So it has to be good I guess, but definitely not great.

All in all, 2010 was a good year for movies, definitely a major improvement over 2009. But then again, you know a year has to be bad when The Hurt Locker is voted for Best Picture.

Yeah, this was a very easy Oscars to pick, so easy I can't even feel good about my 75% correct rate! While I can't agree that True Grit was the best movie of 2010, you really can make an argument for Deakins in cinematography as True Grit was beautifully shot, especially the final sequence. Still, I think the Academy got mostly everything right, except for Cinematography (Inception? Seriously? Either True Grit or Black Swan should have snagged that one).

True Grit is a fine film but ranked pretty low in my Top 10, mostly because I honestly enjoyed John Wayne's Rooster Cogburn to Jeff Bridges interpretation. Not taking anything away from Bridges performance, which was fine if not a touch on the hammy side, but I think that's the key to the whole "which Grit is better" argument. My personal opinion goes to Wayne, but that's solely personal preference. Also, I felt the Cohen's True Grit had some pacing issues but I loved the way they straddled the line between homage and inventiveness. Very good flick.

As for The Fighter, I pretty much agree. The film does alot of things really well but nothing exceptional, Bale and Leo aside. Like you said, though, much better presige season than last year where The Hurt Locker wins Best Picture. This year, it may get a Best Picture nomination but in the bottom five for sure.

Hey man since you watched "City of God" you got watch "Tropa de Elite ( Elite Squad)" the film shows exactly the opposite side of the coin, the side of cops who battle not only crime, but corruption within the own Police Force.

Thanks for the recommendation! Consider that one added to the list!

[njskaguy33]

b]Opening This Week – Nationwide

The Adjustment Bureau – Finally! After being delayed almost a year, this psychological action flick starring Matt Damon and Emily Blunt finally makes it to theaters this weekend. Delayed, for the most part, due to the inevitable Inception comparisons it would have received last year, this tale about fate and our roles within it been getting largely positive reviews from critics. While some claim that the film’s heavy handed pandering makes for a tiresomely silly watch, most claim that first time director George Nolfi rarely takes his foot off the gas pedal, creating a very satisfying thrill ride that masks any inherent plots holes. Also, critics are unanimous in that the chemistry between Damon and Blunt really help the story along. For me, reading a few of the reviews spoil some of the overall vibe, so I would recommend checking this out before reading any serious reviews and decide for yourself if the “theme” of the flick is too much or nicely frames the story.

Rango – Word of warning: while this flick is rated PG and stars a talking chameleon, Rango is most certainly a film adults will appreciate more than the kiddies. Featuring the vocal talents of Johnny Depp and directed by the great Gore Verbinski, Rango is the story of a household pet that leaves the comfort of his cage to discover his true self. Taking place in a weird western setting, Rango features enough film geek references, dry humor and madcap situations to entertain kids and adults alike, although adults will really appreciate the richness of the story. Verbinski rarely makes a misstep and it’s nice to see him do well in an unconventional medium.

Take Me Home Tonight – Wow, enough 80’s throwback flick! Didn’t we get a decent version of this flick in Hot Tub Time Machine? Set in 1988 California, Take Me Home Tonight is the story of a recent college grad who eschews his responsibilities of beginning his work career for the chance to score with his high school crush at an epic, one in a lifetime end of summer party. Consisting of dated references, booming 80’s music and a quip happy script, Tonight is neither clever enough or nostalgic enough to warrant a viewing on the big screen. And yes, I could have spelt warrant with a capital W, but I’m trying to squash the terrible 80’s references vibe one sentence at a time. Join me in my quest!

Beastly – Another film that has sat on the studio shelf for eight months, Beastly actually deserved it’s banishment. Think Twilight mixed with Beauty and the Beast, Beastly is the story of a popular guy who disses a goth girl causing her to turn him into a monstrous beast…or at the very least, an ugly guy. Critics have been brutal, saying the film has terrible dialogue, worse acting and ham-fisted story that even your tween children would roll their eyes at. Easily avoidable given all the good movies coming out this weekend.

Opening This Week – Limited Release

Carmen 3D – The classic tale of Carmen retold in all sorts of 3D fashion! Very limited reviews say it’s a decent retelling of the story so 3D aficionados may do well in checking this out. Everyone else can avoid it. Playing in select theatres throughout New York and New Jersey.

Happythankyoumoreplease – Doesn’t that title just scream quirky indie? Written and directed by Josh Radnor, of How I Met Your Mother Fame, Happy is yet another story of New York twenty somethings trying to find their way in the big city. Being shellacked by critics, Happy has been described as aimless and entirely too easygoing to emotionally engage the viewer. While some of the film’s supporters actually like the low octane feel of this indie romantic comedy, for me there needs to be something to bit einto if you expect me to run out and see it. Showing at the Angelika

Opening This Week – Indie, Art House and Small Screenings

I Saw The Devil – Grotesquely violent South Korean film that follows in the footsteps of directors like Chan-wook Park, Devil is a classic revenge tale that asks the question when fighting a monster when do you become a monster yourself. Critics have agreed that while the film is sick, unsettling and graphic in its depictions of violence and torture, its all done with a style and cinematic flair that’s hard to dismiss. Brave souls can check this flick out at the IFC Center.

Uncle Boonmee Who Can Recall His Past Lives – Arty experimental film about Uncle Boonmee, who decides to spend his last days surrounded by his family. The odd thing is that people who he felt long removed from his life come back in unexpected ways and forms. Critics have been giving this movie high praise saying that it’s meandering, extremely weird and quite unlike anything you’ve seen before. The more adventurous film goer can check this out at the Film Forum this weekend.

Opening This Week – Worth Waiting for

Bereavement – Another nasty piece of slasher cinema, this film has not been released yet on this coast but has received average reviews from critics. While it definitely serves up buckets of the red stuff, critics say it strays too much on the sadistic side for their taste. Still, genre fans may eat this up.

My 3 To See

Rango – Finally, some good movies coming out in wide release, Rango features enough comedy, winks and madcap situations to appease kids and adults alike.

The Adjustment Bureau – While uneven and heady, fine performances by Blunt and Damon propel this thriller to a satisfying conclusion.

Uncle Boonmee Who Can’t Recall His Past Lives – Magical, soft and deliciously strange, this Thai export will astound you with it’s oddness. Not a film to be deeply analyzed, rather experienced.

Confused by the colors? Here’s the guide!

Green means that reviews are great, the trailer looks great, so this is definitely worth seeing!

Orange means reviews have been mixed but there’s enough here for me to say, “See It For Yourself”.

Red means this film should be avoided at all costs! Run, Devil fans, run!!

[njskaguy33]

Newish Movie Review

The Mechanic

Jason Statham is one bad ass mo’ fo’. Seriously, the keister this guy kicks knows no bounds. From building jumping in The Transporter to hanging from helicopters in Crank to trying not to laugh at Sly Stalone’s lines in The Expendables, Statham has defined himself as this generation’s Van Dame, an action hero for the iPod generation. Trouble is, if you saw his starring debut in Snatch, you knew he could do so much more than bash bad guys and look good with his shirt off. Statham has a likable personality and a quick wit that separates him from his contemporaries, a kind of over-muscled bar keep who can spin a good yarn while at the same time fling you out a window for getting too rowdy. Despite this panache, nobody aside from Guy Ritchie has ever been able to utilize his charm and Statham has been largely regulated to loud, testosterone filled action flicks for the last decade. Does The Mechanic solve this problem and let its star fill the screen with charm instead of bulk?

Nope.

But in fairness to the filmmakers, they really didn’t let any of the films characters live beyond the written word and to be honest, I doubt that was their intention. The Mechanic is a by the numbers action flick that while providing some decent thrills and some inventive ways of dispatching enemies, the film is rife with clichéd situations, poorly drawn characters and missed opportunities. Sure it’s not meant to be more than a brisk ninety minutes beat ‘em up, but with a little effort it could have been exceeded that expectation.

Set in modern day New Orleans, The Mechanic stars Statham as hired gun, tasked by men of power to slay other men of power in sneaky, untraditional ways. However, when sent to kill his mentor, played by Donald Sutherland, Statham inexplicitly takes his mentor’s wild child son under his wing (Ben Foster) and trains him to be the very killing machine that slayed his father. The film immediately starts on the wrong foot, doing nothing to establish any of the characters involved. We get a quick scene between Statham and Sutherland, Sutherland hands Statham some cash for a job well done and just when we start to see an inkling of a relationship, it’s BOOM, right back into another action scene. Using the characters a device to get from one action scene to another, we never feel for the participants in the action and, as a result, cease to care.

The characters themselves, however, do a very decent job with the slop their given. Statham, as mentioned before, is fun to watch and Sutherland, for the brief time he’s on screen, also looks to be giving it his all. Foster, however, is the brightest star in this bunch, giving a slightly disconnected but grounded performance. The kid can act, as evidenced in The Messenger and 3:10 To Yuma, and he does his best to find something in the paper thin character presented to him. Still, the efforts of the very decent cast is all for naught as the film degenerates into bloodshed, baseless violence. Perhaps the biggest affront is how the character of New Orleans is treated. Despite being filmed almost entirely in the Big Easy, you never get a real feel for the character of the city, something that I label as a huge missed opportunity.

All in all, The Mechanic is exactly as advertised: a white knuckle thrill ride that never elevates itself above the standard early year action flick archetypes it aspires to. Featuring a dismissible storyline, a cliché ridden script and an ending that makes almost no sense, The Mechanic survives, albeit barely, by the likeability of its cast. Without Statham and company, this film probably wouldn’t have seen a release never alone been viewable. To be fair, there is a place in cinema for pure escapist filmmaking and when it’s done right, it can be damn enjoyable. In the case of The Mechanic, however, the visceral thrills of the action can’t hold up to the pure weakness of the characters involved. Statham and company deserve better than this one noted piece of mid February action flick filler. Here’s hoping, at least in the case of Statham, that they actually get it.

[njskaguy33]

Opening This Week – Nationwide

Battle: Los Angeles – BOOM! SMASH! ALIENS! Aaron Eckhart stars in this Independence Day style invasion flick as a Marine staff sergeant who leads his troops in the defense of the besieged West Coast city. Not much more to say about this other than it cost $100 million to make, had a really awesome trailer and looks to be even worse than the much maligned Independence Day. Critics have been largely negative about this film, with one saying that the trailer should win an Academy Award for not featuring any of the hammy dialogue and making the film look good. Ouch. The positive critics simply enjoyed the sort of explosions $100 million gets you but there isn’t enough here aside from that for me make a serious recommendation. People who need a mindless escape may find some in Battle but everybody else shouldn’t waste their time.

Mars Needs Moms (Also showing in 3D and IMAX 3D – Another movie that just can’t be good. Seriously, take a listen to this synopsis: Martians steal the mother (voiced by Joan Cusack) of nine year old Milo (Seth Green) who goes on an adventure to the Red Planet to retrieve her. Yeah, this can’t be good! Critics, family reviewers aside, largely agree saying the story is by the numbers, clichéd and really quite boring. If you’re looking for a good animated film, check out Rango (review coming soon).

Red Riding Hood – Twilight director Catherine Hardwicke directs this modern take on the classic fable yet when you read the synopsis, it seems to have very little to do with the story. Centered around a love triangle between Valerie, the outsider she loves and the wealthy man her family has arranged to have her marry. And then a werewolf the small town has had an uneasy truce with commits a murder and people suspect Valerie’s love interest and sort of sacrifice has to happen and blah, blah, blah. Again I ask, where in all this does a girl take a basket of goodies to grandma’s house. Sure, I guess there’s a Big Bad Wolfman, but what does this have to do with Red Riding Hood? The answer is, sadly, nothing, as critics have been giving this horrible reviews, with mostly everybody saying that even your Twilight obsessed pre-teen will find this dull, confusing and lame. Easily avoidable.

Opening This Week – Limited Release

Jane Eyre – One of the best reviewed films of the weekend, this retelling of the classic story of the plucky orphan become governess and the people who shape and define her. Directed by the great Cary Fukunaga (Sin Nombre) and starring a fine cast including Mia Wasikowska (The Kids Are All Right), Michael Fassbender (Inglourious Basterds) and Judi Dench, critics have been both praising the work of Wasikowska as well as the fine direction by Fukunaga. A fine example of how to properly turn a piece of classic literature into a striking film, Jane Eyre is a must see for fans of period drama. Playing at AMC Lowes Lincoln Square 13 and Landmark Sunshine

Certified Copy – Written and directed by independent auteur Abbas Kiarostami and starring the fabulous Juliette Binoche, Certified Copy is a deceptively simple tale of guy meets girl and the track their lives take in the space of an afternoon together. Don’t want to say more about it as it may ruin some of the fun, but suffice to say, the “twist” may leave some viewers enthralled, some pissed off. Still, critical reviews have been exceptional and Binoche is always worth the price of admission, making this and easy recommendation. Playing at Lincoln Plaza Cinemas

I Will Follow – Tiny little indie about a woman who sees her seemingly wonderful life unravel after the death of a loved one. The film chronicles one day in the life of this woman and twelve visitors who help her shape her life going forward. While the subject matter may seem heavy handed, critics have said it’s a beautifully done film that rarely shows it was done on a shoestring budget. Showing at AMC Lowes 34th St 14

Opening This Week – Indie, Art House and Small Screenings

Kill the Irishman – Gritty film about the turf wars between the Irish and Italian mobs in 1970’s Clevland. Critics are split on this rough hewn crime drama with some saying it’s a satisfying take on the genre while others say there’s a lack of charisma in the leads that prevents the audience from connecting with the characters. Still, fans of that era of crime films may find some fun in this one. Screening at Landmark Sunshine

Elektra Luxx – Story of a retired adult film star who ,while coping with the drudgeries of “normal” life is tasked by a friend to seduce her fiancée. In return, she offers to give Elektra the lyrics of her rock star husbands final song. Supposedly billed a sexy comedy, Elektra Luxx is getting largely poor reviews for being shapeless, poorly structured and oddly meandering. Showing at City Cinemas Village East

My 3 To See

Jane Eyre – Yes, this bad boy is straight up period piece, but a classic story is a classic story, especially when in capable hands.

Rango – Saw this yesterday and while it doesn’t hit the heights Pixar hit with Toy Story 3, Rango is a very entertaining if not a bit scattershot animated feature. Well worth checking out.

Certified Copy – Featuring fine acting and great direction, the film may scream pretentious when you learn of the twist, but enough critics have put me enough at ease for me give this a sold recommendation.

Confused by the colors? Here’s the guide!

Green means that reviews are great, the trailer looks great, so this is definitely worth seeing!

Orange means reviews have been mixed but there’s enough here for me to say, “See It For Yourself”.

Red means this film should be avoided at all costs! Run, Devil fans, run!!

[DaneykoIsGod]

Saw Get Him To The Greek for the first time over the weekend. That was a damn funny movie. And I almost feel like I shouldn't say it, but Diddy was hilarious.

[njskaguy33]

Get Him To The Greek was a suprisingly good flick, DiG. Damn enjoyable and Puffy was actually believable in the part of the crazy record producer. The bit when he's watching Biggest Loser with his family had me laughing out loud. I reviewed it a while back in this thread when it first came out, but I'm too lazy to search it out. Good movie to watch with friends after having a few.

Also, while I'm doing my Opening This Week now, I wanted to let all the Scorsese fans out there know that the Film Forum in NYC is screening a brand new, fully restored print of Taxi Driver now through March 31st. Even if you've seen this movie a hundred times, there's nothing like seeing it on a big screen, especially with a fully restored print. The Film Forum had a similar restoration of The African Queen a few weeks back and it was amazing to watch. Definately recomended, especially if you've never seen this Scorsese classic.

[Cachorro Louco]

José Padilha is going to direct the new Robocop movie. :boogie:

The Budget is set to be $80 M wich is 10x larger then his last movie Elite Squad 2 costing about $8m.

I hope he doesn't Screw up.

[DaneykoIsGod]

NEW ROBOCOP MOVIE?!?!?!?!

[njskaguy33]

Opening This Week – Nationwide

Sucker Punch – Also Showing in IMAX – You know, there’s something about director Tom Snyder that I’m dying to like. I honestly enjoyed 300 as a piece of hyper-stylized film fluff and while I’ve never seen Watchmen, I hear that was OK too. As pieces of visual artistry, there’s something to be said for the flair and wizardry of an over CGI’ed movie going experience. However, my first thought, after seeing the first trailer for his latest effort Sucker Punch, was, “This is going to suck”. Schlock like this doesn’t even deserve the time it takes to piece together a synopsis and to be fair, if you’re going to see this, you really don’t care about the story, and apparently neither did Snyder. Critics have been killing this flick all week with the writer from the New York Post summing it up best saying, “Sucker Punch is what happens when a studio gives carte blanche to a filmmaker who has absolutely nothing original or even coherent to say”. Ouch!

Diary of a Wimpy Kid: Rodrick Rules – The sequel to last year’s hit milk toasty kids movie is getting largely the same kind of buzz the original received. This time around, Greg has to deal with a bullying brother and his parent’s ham-fisted attempts at bringing them together. The result is an inoffensive and sometimes funny film that breaks no new ground but is a safe bet for families with children who are antsy to get out of the house this weekend. Reviews have been pretty negative, negative enough for me to usually give this a red mark, but I feel many reviewers simply over reviewed this flick. Seriously, what were you guys expecting, The Matrix? Bland, safe kid stuff does have a place in modern cinema and for that alone, I say See It For Yourself.

Opening This Week – Limited Release

Miral – The newest film from auteur director Julian Schnabel (The Diving Bell and the Butterfly) depicts a young woman thrust into the middle of the Palestinian conflict. Getting surprisingly bad reviews across the board, critics point to failures in the screenplay, adapted by the author of the book and a director who just doesn’t know how to direct this sort of material. Usually a quiet, intense director, a story like Miral probably needed someone with a touch more direction as opposed to Schnabel’s subtle meandering. Showing at the Angelika and Lincoln Plaza Cinemas

Potiche – Comic battle of the sexes film, adapted from the 1970’s play of the same name, takes place in an umbrella factory where the workers have revolted, the manager has left in panic and his wife is left to clean up the mess. However, when she proves to do an even better job than her husband, things get tricky when he returns. Getting fine reviews from critics, mostly for a standout comic performance by Catherine Deneuve, this should be good fun for those looking for a solid French comedy. Playing at the City Cinemas Paris Theatre, Angelika and Clearview Chelsea.

White Irish Drinkers – This movie tracks the life and time of two Irish brothers who have to deal with an abusive father, the rough gang streets of 1975 Brooklyn and the hope of the Rolling Stones playing their father’s little local pub. Getting mixed reviews from critics, some say that the movie is an honest and gritty look into street life in the 70’s and others say it’s so cliché ridden, it’s like watching five movies you’ve already seen. For me, it may be worth a rental but not much else. Showing at Landmark Sunshine

Opening This Week – Indie, Art House and Small Screenings

***Due to time constraints, I’m not going to be able to do a write up for each film this week. Between writing for the show, attempting to do reviews and real work, I am officially out of time!!***

Peep World – Screening at the IFC Center

My Perestroika – Showing at the IFC Center

Mia and the Migoo – Showing at the IFC Center

Bal (Honey) – Showing at City Cinemas Village East

Illegal – Screening at Cinema Village 12th St

Confused by the colors? Here’s the guide!

Green means that reviews are great, the trailer looks great, so this is definitely worth seeing!

Orange means reviews have been mixed but there’s enough here for me to say, “See It For Yourself”.

Red means this film should be avoided at all costs! Run, Devil fans, run!!

[DaneykoIsGod]

Every time I see an ad for Sucker Punch, it just makes me think of 12 Monkeys. "We're sending you back in time with ambiguous instructions to save such and such."

Willis > Gyllenhaal

[njskaguy33]

While I hope to have a review of Sucker Punch in a day or so, let me just say that I see about 200 movies a year, between new releases and old stuff and Sucker Punch is the worst film I've seen since The Day After Tomorrow. Awful in literally every way.

[DaneykoIsGod]

Oh wow, just realized I totally got my movie titles mixed up. I meant Source Code, not Sucker Punch. Woops!

[95Crash]

While I hope to have a review of Sucker Punch in a day or so, let me just say that I see about 200 movies a year, between new releases and old stuff and Sucker Punch is the worst film I've seen since The Day After Tomorrow. Awful in literally every way.

I didn't mind The Day After Tomorrow (in an escapist fantasy kind of way). You haven't seen a worse movie than that in the last seven years?

Edited March 30, 2011 by 95Crash