Reviews

Atonement opens on a young Briony Tallis jubilantly finishing a play to be performed that evening for her family. She stands and walks through her home, searching for her mother, and we follow her, ghostlike, looming above, as she searches. In a way, the themes of this film are summed up in this first shot: Briony, aimless, searching for truth in her imagination and fiction. And if this sounds like a contradiction, trust me when I say you will come to understand this by film's end.

I have not read the book, written by Ian McEwan, but after viewing this film, I am eager to pick it up and follow the thoughts of the characters more intimately than what is shown on film. What we have here is amazing work, both technically, artistically, and emotionally, yet on some level, it is unable to grasp the concept of writing fiction from Briony's point of view. There are no doubts about the talents of Joe Wright, who at 34 has now made two exceptional films (Pride and Prejudice being the other one) with his lead actress Keira Knightly, who herself grows in her abilities with each passing year.

James McAvoy cements his position as a leading man, creating a brilliant life in Robbie that glues your eyes to his predicaments and his thought on the world around him. He carries the weight of the film, and is the one who undergoes the most change. From his fresh faced boyishness in the opening scenes to the rugged, worn, and tired eyes in the latter, McAvoy is able to successfully convey the innocence of young love to the brutalities of war, and we love him for it.

Joe Wright has again, proved his talent as a film director, whose use of the tracking shot will be among the greatest, up there with Goodfellas, Pulp Fiction, Children of Men, and Magnolia. His use with a camera lens is so poetic at times, they could be freeze framed and placed on walls as pieces of art in themselves. My only qualm is sometimes these shots are too technical, and distracts from the film itself. Though that is more of a personal observation than a general one.

And let's not forget to mention the score, which only enhances the epic feel it brings, successfully weaving diegetic noise (the typewriter in particular) with the non-diegetic, Dario Marianelli, composer of Wright's previous work, Pride and Prejudice, creates moody, dramatic pieces that perfectly set the tone of the scenes they play in. It's one that will be recognized in years to come.

Without a doubt, Atonement is one of the best films released this year, and certainly a must see for lovers of film in general, if only for its amazing tracking shot of a war torn beach in France. I, for one, look forward to viewing it a second time in the near future.

45 minutes into his new film, Gone Baby Gone, sitting in a darkened club with a thug across from him, his girlfriend and private detective associate to his right, Casey Affleck delivers one of the most threatening speeches placed on film this year. One wouldn't think so, given the boyishness of Casey, and his struggle to prove himself as a viable and relevant private investigator. The thug pulls a piece out on him, and threatens to kill him for negotiating the release of a little girl who is being held ransom, with which the thug claims he has no knowledge of. Patrick (Casey Affleck) calmly backs off, and engages in a sixty second monologue of the most amazing, threatening words of which I wish I could reproduce and yet am having trouble finding at the moment.

The opening shot of Gone Baby Gone thrusts you into a world that is cruel, unkind, and with no easy answers. As matter of fact, there were no answers. Only decisions, and living with the consequences of those decisions. Our protagonist is not a hero, though he is portrayed as one. The subject matter dealt with is not good versus bad, though it would seem as such on the surface. Life for the average joe is a cruel, unkind force to be reckoned with, those who give into addictions and cause others around them to be hurt. Yet when something catastrophic happens, it doesn't change you, or the type of person you are. It only changes the world around you, and your adjustments to that new world.

Casey Affleck has given his greatest performance to date. More accessible to his audience, more engaging than his character in The Assassination of Jesse James By the Coward Robert Ford, and faced with a moral dilemma of how to distinguish if there really are opposites in a society which paints them as so. Taking comfort in his native Boston accent, Casey Affleck loses himself in his role. This was not the little boy I grew up watching in the Ocean series, the secondary character who shoots off wise cracking lines to his buddies. This was a young, fresh faced man faced with the impossible task of finding a little girl declared missing. He's loving, but cynical. He's tender, but tough, and not afraid to do what is necessary to get the job done.

Ben Affleck, of all people, has given me a film I've long desired this entire year. A smart, intelligent, realistic film that thrills and saddens. The script is amazing, the way everything falls into place by the end of its run time. My body was tense throughout the film. The acting of all involved was impeccable, from Morgan Freeman (whose character takes a surprising turn), to Ed Harris (the man is a chameleon), to the tragically underused Michelle Monaghan. He gives them the room needed to give their characters the dimension and emotion they deserve. If he can continue with this much care and detail to his films, he has a bright future behind the camera. Absolutely brilliant his first time out.

Much like life, this film leaves you with no answers as to what a good decision is or is not. The moral dilemmas we face everyday are embodied in Patrick Kenzie, and like him, we sit, dazed and confused, at the implausible and unbelievable atrocities that make up our society.

United 93 will no doubt become one of the most controversial films to be released by a studio this year. It is a film that is difficult to watch in that the events that took place happened only five years ago, and for most of Americans, happened in a place no one would actually see with their own eyes. It is, in fact, a sort of surreal event most of us experienced through television and newspaper. Yet with United 93, we are put into the positions of the air traffic controllers and the passengers themselves as they go on about trying to de esculate the situation that would become 9/11.

The camera is a first person point of view of the events that took place that day. We are never given a particular character to connect with, instead connecting in unison with all Americans with the events that unfold during that tragic day. Greengrass edits this film with precision and power, smoothly flowing from one air traffic control tower to another, as the controllers try desperately to understand the hijackings taking place. These shots are inter cut with the passengers on board United 93, not knowing the events that have begun to unfold, even before they take off.

The experience of watching this film is intense, and quite difficult to watch in many areas, yet I found it hard to turn away from what was unfolding on screen. The camera boards the plane as if it were just any other passenger, quietly observing the small talk, the flight attendants carrying on about their jobs, the pilots preparing for their flight. We see the terrorists calmly seated in first class, knowing what is to happen within a few minutes, yet being unable to stop them from carrying out their murderous plans.

By the time we see the actual take over of the flight by the terrorists, the WTC have already been attacked, the fear on display in that plane is so overwhelming, and so real, I didn't know what to think. The messages to loved ones by the airline phones broke my heart, yet we never hear or see the other side of the line. We wouldn't if we were actually on the plane, so why would we in this film? The rebellion is heart pounding, and before you can blink, the film ends, and you remain in your seat, heart pounding, hands shaking, and in total shock of what had been witnessed.

Paul Greengrass did absolutely amazing work with this picture. Using no name actors in the roles of the passengers and the air traffic controllers made the film more real and that much more of an experience. It doesn't sentimentalize the events that took place, nor does it become judgmental or linear. It was a day of grand confusion and fear, and Greengrass was able to take his camera and quietly observe the chaos that took place that day.

United 93 is not an easy film to witness, and I don't recommend everyone to watch it because of its subject matter. But if you feel emotionally strong enough to witness these events, I whole heartedly recommend this picture. Very few times can film be considered an actual work of art. I consider this to be one among the few.

HIGHLY Recommended.

MJR

Every once in a while, there is a classic way of filming renewed for a generation of younglings. People take filming techniques that have been used for decades, rejuvinate them, and instill in them a heart that is both touching and entertaining to children and adults alike. And this is what Curse of the Were-Rabbit is: taking stop motion animation and introducing it to a younger generation in a delightful, animated comedy.

What is so atypical about this feature is instead of the dog making the mistakes and the man cleaning up after him, the roles instead are switched. Wallace is the human inventor, an intelligent, if somewhat dimwitted figure who is obsessed with cheese, and is the founder of Anti-Pesto, which is a pest control squad run by himself and his beloved dog, Gromit. Gromit, on the other hand, is a sort of motherly figure, always watching out for Wallace as he partakes on his crazy experiments, taking care of the house, and protecting him from harm as best he can. He is a lovable, sense filled, four legged friend that you can not help but fall in love with as he cleans up after Wallace.

I walked into the theatre completely oblivious to who Wallace and Gromit were before this theatrical release, yet I knew within the first few minutes that I was going to love this film. The introduction has Wallace and Gromit not speaking a word, instead allowing the audience adjust to their world of pest control inventions. Wallace has invented a way for him to get ready in the mornings without using a muscle, instead creating various slides and robotic arms to make him breakfast, dress him in his work clothes, and pop him in his car. Gromit, in perhaps the most unique role of any animated animal I've seen, uses nothing but facial and body expressions to convey his words. Just thinking of a few golden moments in this film brings a smile to my face, ones I won't spoil so you can soak up his brilliant silent comedic movements.

Curse of the Were Rabbit is a film to be loved by children and adults alike. Children will marvel at the dim wittedness of Wallace and the charms of Gromit, while adults will bellow in the intelligence of the script and be surprised at the amount of laughs this gem contains. This is what great animation longs to be, yet so often fails.

Highly Recommended

In Paul Haggis's feature directorial debut, Crash, several different characters walk the streets of Los Angeles, their minds already made up of the different ethnicities that surround them. Because of these stereotypes, not one character is able to clearly see the people that stand before them. And it is in that universal characteristic that makes Crash such a wonderful film.

There is no better place to exhibit the loneliness, pain, and fear in America better than Los Angeles, which is a melting plot of different cultures within a twenty mile radius. Watching a film such as this questions your own views on how you see people of different races, as well as surprises you at how quick we are to judge someone who is not like ourselves. No on exhibits this finer than Sandra Bullock's character, Jean, who is only too quick to judge a Latino locksmith as a gang member. Jean is so blinded by these racial stereotypes that she makes, she does not even realize her actions till the end of the film, where she comes to realize her Latino housemaid knows her better than her supposed white friends.

The Latino locksmith, as it turns out, is the furthest thing from a gang member. He is a family man, with a wife and angelic little daughter to whom he tells a sweet story about an invisible and impenetrable cloak that renders her impervious to all harm. That little story comes back into play when a Persian immigrant, whose store was broken into and ransacked, tries to take vengeance on the locksmith by threatening him. What ensues is one of the most climatic and heart pounding scenes I have seen on film in quite some time.

Yet this is simply skimming the surface at the amount of character development and characters that are involved in this film. We have Don Cheadle as a detective who is having an affair with his Latino partner, Matt Dillon is a somewhat corrupt cop who performs an inappropriate search on a light skinned African American woman that comes back to haunt him. Ludicrous is a man who car jacks white people's cars and sells them to a car garage, all the while preaching about how white people give the "black man" a bad name when he is giving the "black man" a bad name himself. So much is packed into only 100 minutes that I only wish that these characters had more room to breathe with their intertwining stories.

There is amazing use of score throughout. A score that hauntingly fits that chaos and tragedy that fill this picture. THe music alone may very well bring you to tears, it is that moving and in perfect synchrony during a car crash scene where Matt Dillon rescues a woman trapped in her car. This is what thematic score is supposed to e: symbolic to the characters on screen.

Crash is a powerful and moving film that is not to be missed. Paul Haggis has debuted with a hard hitting drama that will hopefully be remembered come awards season in 2006. I can only wait to see what this remarkable screenwriter and director has in store next.

Highly Recommended

That is the only word I can think of to describe the absolute pleasure I had of watching this picture. I could tell, right from the opening credits, that I was going to be in for a hell of a ride, and does it ever deliver. Kontroll is an action film without much action, a film full of symbolic references to those who watch closely.

Bulscu is a man who has lost his way in life. There's evidence that before he chose to become a hermit kontroller in Budapest's subway system he was a successful architect. Early in the film he pointedly states to a newbie in his group that the people who ride the subway system consider their profession as less than human. They are merely pests to be dealt with instead of people trying to do their jobs. Bulscu has no home except for the subway platform benches, eats nothing but the food provided in the corridors. In fact, not once in this film does the audience see natural light, putting us in the same position as Bulscu, a man fearful of living life, preferring the dark, dirty, and claustrophobic atmosphere of his profession.

His group of kontrollers are just as hopeless as he is, after years of being ignored and pushed around, they seem as if they will snap at any moment. But they are simply the supporting characters who bring out different traits of Bulscu's personality. Tibi, the newest member of the group, inadvertently shows off Bulscu's vast knowledge of the system he has acquired over the years. A mysterious hooded figure who murders random unsuspecting passengers onto passing subway tracks shows that when Bulscu is pushed, he will go out of his way to watch out for his own neck and the people he cares for. And, of course, there's the girl, dressed up in a bear costume for most of the film, is strong and independent, and shows interest in our sad and lonely protagonist. Does she lead him to salvation? Guess you'll have to watch and find out.

This film boasted a wonderful soundtrack and score that only enhanced my viewing of this picture. For first time director Nimrod Antal, he truly delivers, with a dark, moody, and surprisingly stylistic feature that has "action" scenes and awesome character development. Kontroll will leave you wondering long after the credits have ended.

Man, my mommy and I get together for our monthly viewings of Pretty Woman and Top Gun, her favorite films of all time, and every single time, I take pleasure out of spending time with my mom and watching these two movies. Pretty Woman is a charming, witty, dream like movie that no matter what you say or think, will end up brightening your day because of its lovable characters and outrageous story.

Yes, you all know the story now, mongrel Edward Lewis picks up free spirited Vivian to be his "escourt" for a week and during that week, they mesh and fall in love. No matter how many times I watch this movie, I always enjoy myself, thanks to Julia Robert's beautiful smile and cute little quirks at trying to make herself fit in Edward's world. It's the most evident at the dinner scene where Edward calmly states he is going to buy a company and sell it bit by bit. All the while Vivian is just sitting there with her lack of any etiquette, making the audience fall in love with her even more.

Gere and Roberts have such chemistry and presence on screen, they just click from the get go, and look like two people having a great time at work. Gere has never looked more handsome, and I love how Edward changes his views on his business life after one week of time with Vivian. And I love how Vivian slowly lets Edward into her life, her feelings, and who she is as a person. I'm so glad Roberts was nominated for an Oscar for this role. It is what cemented her on Hollywood's A list.

Yes, Pretty Woman has an outrageous story, and in real life can probably happen once in a blue moon. But hey! That's what those famous lines that bookend the movie are for: "Welcome to Hollywood! What's your dream?" Pretty Woman will have a special place in my heart always, me sitting on the couch with mommy, having a great time at the movies.

The Best of Youth is a wonderfully scripted, acted, and visually stunning film that will sweep you off your feet and into the lives of an Italian family as they go through the trials and tribulations of life. The film's main focus is on two brothers, Nicola and Matteo Catiti whose personalities are as different as night and day yet is also immediately apparent that these two love each other very much. Nicola is the younger, free spirited and philosophical brother while Matteo is more outspoken, with a hot temper and closed personality.

What I admired most throughout this film was the use and passage of time. Events in Italian history are not crammed into 120 minutes but is instead elongated, as Matteo and Nicola react in their own ways to the events that occur in their country. Time is such an important factor in this film, evidents not only by the six hour running time, but how those six hours are treated. Special occasions occur, yet none are given any special attention. The events that occur are important for that moment in time, yet one pass become mere memories such is the case of life.

With the passage of time, The Best Of Youth became such a moving experience for me. I felt as if I were a part of their family. I could not touch them, or talk to them, yet they seemed to welcome me with open arms as I silently watched their lives unfold before me. I could feel the love this family had for each other as I laughed and cried right beside them. Words just do not seem to be enough to describe the brilliance of this film. It is literally life transferred on screen.

The Best of Youth is remarkably acted and directed. At no time during this film was I bored, because such attention is made to character development, script, and cinematography. In the first part of the film, Nicola is exploring Norway, and sends a postcard to his brother back home telling him of his travels and experiences, and in three words, seems to sum up the film perfectly: "Life is beautiful." After viewing this film, you will share the same perspective.

HIGHLY Recommended

Remarkable. Touching. Riveting. Leaving Las Vegas is all of these and then some. I have not seen a film of this magnitude about loneliness and acceptance in such a while that I was in tears for much of the run time.

Nicholas Cage is Ben, a man who has lost his wife and child, throws his job away, and takes all of his remaining money to buy as much liquor as possible and "drink himself to death" in the city of Las Vegas. He has given up all hope, with no wish to live, but for one reason or another, wants a companion to share in his misery, but not try to save him. He finds this companion in a hooker, Sera, played by Elizabeth Shue. They immediately form a strong relationship based on one night of talking about their lives. Sera in particular quickly grows attached to Ben, for no other reason than she has been alone her whole life and wants nothing more than to feel that want and need by someone.

Cage won his first Oscar for his role as Ben, and how deserved it was. He was astounding, perfection, down to every single tick, the volume of his voice, the pain and tragedy buried in his eyes. I could not believe the extent of his role, the dedication and time he invested in bringing this character to life. Same goes for Elizabeth Shue, who with a simple glance at a person, she reveals her entire self, and no one even dares to notice except for Ben. This neediness is apparent, she wants to hold onto this relationship so badly, yet what makes their relationship work is total and complete acceptance of their respective decisions. He will not tell her to stop being a hooker, and she in return can never ask him to stop drinking. And it is in that factor that makes this film worth watching. To be totally accepted by those around them, to open themselves up to such an extreme.

Leaving Las Vegas is a sobering film about connections, loneliness, acceptance, and a small little island of hope that is Ben and Sera. They are two good people, depicted in a world full of sorrows and misdeeds, who latch onto each other and never let go. They were nothing but ghosts, till that chance encounter, and became each others worlds. Cage and Shue bring these good people to life in such an extraordinary way, making Leaving Las Vegas a film to be treasured and remembered for years to come. I highly recommend this film.

In the film, Get Shorty, John Travolta is Chili Palmer, a suave, cool, loan shark who finds out the movie business is a lot like the mob life, so he decides to become a film producer. The sequel sends Chili off to the music industry this time, yet unfortunately the film doesn't work as well this time around, due to Chili being reduced to nothing but a "cool" poster character for the film.

There is much to like about this film, and Be Cool works well when it isn't emphasizing on John Travolta and Uma Thurman being in and reenacting many scenes that they made famous in Pulp Fiction. We are introduced to Chili in the same fashion as Vincent Vega, driving in a car. The scenes shared by Travolta and Thurman show an ease and happiness. Yet there is surprisingly a lacking in chemistry. These are simply two actors enjoying the pleasure of each other's company, nothing more or less.

The people who surprised me the most were actually Vince Vaughn, and The Rock of all people! Vaughn took the now stereotypical white boy acting black and just went with it. He was convincing enough to garner laughs, and when paired with The Rock, the scenes were hilarious! These two played well off of each other with precision comedic timing. The Rock was completely charming, playing the gay bodyguard Elliot, whos mind is set on breaking out in film with the simple rising of an eyebrow, literally.

It was utterly surprising, however, that the title character was anything BUT cool. Palmer was given basically nothing to do except walk around looking cool. Christina Milian looked and felt out of place, even though she was acting the part of the singer. And Uma's character was in the film simply for the sake of being in the film. Be Cool is about the discovery and rise of a pop start, but you know something is wrong when you want to see more of the gay bodyguard breaking into Hollywood than the pop star breaking into the music scene.

Be Cool is a film that has great jokes when it works, yet falls terribly flat when it doesn't. It is something you would flip onto on television on a Sunday afternoon and you just happen to come across. Nothing great, but worth a look when you're up to it.

MJR

Hitch is the perfect formulatic date movie that brings a charming cast and hilarious situations together into an enjoyable popcorn flick that will not disappoint.

Will Smith plays Alex "Hitch" Hitchins, a date doctor who helps out hopeless men get the women of their dreams. He sets up situations that get the woman to first notice his client, then consults them on three dates before sending them on their way to a blissful and happy life with the woman they love. His business is by reference only, which is why he is able to keep what he does a secret from the public. This being Smith's first outing in the romantic comedy genre, he handles it like it is the only genre he has ever done. Smith is wonderful since he is playing his charming self, only as a date doctor out to prove to the world that any man can sweep any woman off her feet.

His newest project is Albert, a seemingly hopeless case who is madly in love with Alegra Cole, lead owner of a prestigious company who doesn't even know he exists. Kevin James is suitable cast as Albert, playing the clumsy, asthmatic, all around good guy who only wants to love someone. He and Smith play off of each other with good comedic timing and a natural chemistry. The especially funny scenes come when Hitch is consulting Albert n how to act on his first date with Alegra, and hilarity ensues. It proves again the versatility of Smith, who before Hitch had primarily starred in action films.

Eva Mendes is perfectly cast as Sara, a gossip columnist who, for some reason, falls for Hitch's charms even after a botched first date. Hitch has an over all comedic tone, but that's not to say that there are a few sentimental parts that could have either been handled differently or left out, such as a scene between Sara and Hitch that takes place in her apartment. The scene was a little too sappy, and broke the rhythm that had been set. It felt very much out of place, but once the scene ends, Hitch picks up momentum and becomes a lot of fun again.

Take your date to this movie, and it is a guaranteed good time. Although Hitch is the formulatic boy meets girl, boy loses girl, boy gets girl, with charming leads and a happy ending. There's no way you can go wrong! MJR

The first scene of this documentary opens with a skyline view of Houston Texas, home base of the now diminished big corporation Enron. A setting that seems so peaceful, that is is hard to imagine that what is about to be unfolded is nothing like that skyline. Instead, the audience is handed an all access pass to the corruption and greed of the Enron board members and traders, whose main passion turned into stealing billions of dollars from America's hard working class citizens. The documentary is a harrowing and frightening look at the future of large corporations.

The film quickly transitions to a reenactment of the suicide of CLifford Baxter. From this point on, director Alex Gibney manages to successfully package the rise and fall of the Enron corporation into a fascinating 120 minute look at the keniving CEOs, fraudulent lies and deals that this company made to the stockholders of America. From the onset, I was completely drawn in by the facts and naivety of a nation that had come to believe anything that they saw. The malicious minds of Jeff Skilling and Ken Lay as they made phony profits and projected them to Enron traders, causing their stock to soar to unbelievable heights as their company was drowning in billions of dollars in debt. I only wished the film focused just as much on the dealings of Ken Lay as much as Jeff Skilling, for both had an equal part in the dismantling of Enron.

The people who shocked me the most, however, were the Enron traders of Wall Street. It shocked me to no end the greed that these people had in making absolutely sure Enron was always profiting, even if that meant destroying California's economy by the onset of rolling blackouts. Some of the taped conversations played will leave you stunned at how incompassionate and heartless these people were. The film does not shy away from these facts either, but instead simply presents them for what they are.

This documentary is a must see by anyone and everyone living in the United States. Enron was simply the first corporation to get caught, for there is no way we can ignore the fact that there is something seriously wrong with the integrity of large corporations. I can only hope there will be more to follow in the steps of Enron: The Smartest Guys In The Room.

Highly Recommended

Keanu Reeves is the coolest looking guy around. Take for example in his newest film, Constantine, where Keanu Reeves plays the title character John Constantine, a chain smoker, dying of lung cancer, and is one of the few who can see the demons and angels that walk the earth. He walks with an internal brooding, for he is a man who committed the ultimate of sins as a a young man, and has spent his whole life since trying to redeem himself in God's eyes.

Jon Constantine is one of the most interesting comic book characters I have seen in some time, The Character has a complex and troubled past, and does good deeds only so he can somehow buy his way into heaven. Now Keanu Reeves may look the part of John Constantine, but he most definitely can't act the part. Any scene where he is simply walking around, he's wonderful. Pick ANY scene where he actually has to talk, well, that's a different story.

The one character that I just found to be annoying as heck would be Shia LaBleof, who basically plays and even DRESSES as the exact same character he plays in I, Robot. Here, Shia acts as Constantine's private taxi driver and wanna be apprentice. He's your stereotypical wise guy, given the funny lines, and always left behind till the final act where he proves himself. the movie would have been better without him.

What really saves this movie from total disaster is the awesome visual effects that are used. There are genuine creepy moments in this film, such ads the demons themselves, or the hell that Constantine enters several times throughout the movie. the world Constantine lives in is utterly cool, dark, neutral. You have to be tough to live in a place such as this (here, LA). The plot comes off as somewhat trite, in that it never fully grabs your attention and en cloaks you in its story. there's no plot holes, per say, but there is a definite lack of meaning behind what happens to these characters and how the viewer only observes them but can't really relate.

Constantine is a total guy movie, boasting a cool character, and placing him in a world full of danger and action. The movie is mostly that, with an ending that takes its sweet time concluding and a hot chick (Rachel Weisz) who for most of the movie wears wet, low cut shirts. Can I recommend it? Sure, but I'll be the first to say, it has got plenty of faults.

MJR

What sets SAW apart from the usual slew of horror films is that this one gets into your mind. It puts you into the situations themselves and makes you wonder what you would do yourself. And, of course, a steady pace of creepy images such as scary clowns and spine tingling figures does not help you feel any better that you are watching a scary film of this magnitude.

Cary Elwes plays Lawrence Gordon, a doctor who wakes up trapped and chained inside a rundown, cracking, dirty bathroom with a younger man named Adam, who is played by SAW's screenwriter, Leigh Whannell. A dead body lies between them. As soon as Gordon comes to, he receives clues from his captor, saying he must murder Adam before a certain time or his family will be murdered. Elwes acts well enough in this movie, although in some scenes he tended to over act, or try too hard in some of the more terrifying scenes. Some takes would come off as forced, like he was trying very hard to impress the crumbling walls just how wonderfully he can play the part of a scare But it's not the acting that makes SAW work.

What DOES work are the filming techniques and camera work. The film's picture is grainy, shot with hand-held cameras to give a more realistic feel to the film's dirty, claustrophobic set. Visual style is something that has not been seen since David Fincher's Se7en, with outrageously mind numbing images. This is a wonderfully filmed picture, with a great score to intensify the mood.

SAW is one of the most disturbing, scary, psychologically draining films I have seen in quite some time. Compared to the other horror films being chucked out by Hollywood these days, SAW is for sure a horror film that will be remembered for some time and is very much something I would recommend.

MJR

There is one scene in this film where Ramon Sampedro is laying in his bed, looking out through his window at the world outside. He slowly gets up from his bed, runs and literally flies through the window, over the beautiful Galician landscape with such speed and beauty till he finally arrives at his destination point: the sea where he meets up with the woman he has fallen in love with and passionately kisses her. Then, cut back, he's still in that bed, eyes longing so badly for the freedom to simply see the sea with his own two eyes.

Its moments like these that make The Sea Inside soar, as the audience becomes Ramon Sampedro, flying over the landscapes to the one thing that made his life worth living. The Sea Inside is exactly that: the endless depths of the mind that Ramon has been reduced to. He dreams of seeing the sea again, of seeing his nephew grow up and become successful, yet at the same time, he dreams of ending his life in a way that will not burden those that he loves.

This film offers no simple answers to such a controversial issue, it only tells one point of view of one man who does not parade his beliefs around, only offers them at face value to those who will listen. This is what makes the film so insightful: that those with opposing views to the issue can maybe see a different perspective within the film. Sampedro rather stresses the point that he had lived a life traveling the world, meeting people, working a job he absolutely loves, and living his life to the absolute fullest. Yet after his accident, he was confined to a bed in his older brother's house, spending hours staring out the window, completely dependent on his family to care for him.

Javier Bardem does wonders with this character, acting in a role where facial expressions mean everything since he can not use any other part of his body. His eyes speak volumes of words, and the language Sampedro uses shows just how intelligent this man really is. Bardem delivers his words without wanting pity or sympathy from those around him. This is his life and he wants no special favors as evidenced by the presence of Rosa who at first meets Sampedro to convince him to live, then slowly falls in love with him. Bardem is severely restricted in this role, yet because he is such a charming actor, the audience was easily able to sympathize for him.

The Sea Inside offers beautiful cinematography for the dream sequences that occur. The script, though repetitive at times, was always insightful of the tribulations Sampedro went through on a daily basis for nearly 28 years. His wanting to die, because he viewed life as "a privilege, and not an obligation" as he so elegantly put it. The film is profoundly affecting to the viewer, though it offers no answers to the issue that is euthanasia. But if you go into this film with an open mind, you will leave the theatre knowing the reasoning behind one man's journey to die with dignity and for that, I recommend this film.

The Aviator,helmed by legendary Martin Scorsese, had so much going for it: spectacular visual effects, wonderful costuming and set design, and extraordinary acting from Leonardo DiCaprio and Cate Blanchett. And you would think that a film that has all the elements OF a great film would also have something that The Aviator unfortunately lacks: heart.

The film opens with Howard Hughes as a child, his mother bathing him and telling him how dangerous the world is. It then cuts to Howard Hughes in his twenties, on the set of Hell's Angels where it is immediately apparent just how powerful this young playboy's drive is. He wants absolute perfection at his craft, which is making a realistic and believable film about war and combat, which he succeeds at. His peers do not take hi seriously, however, because of his age and his somewhat childish look on things. Howard Hughes begins the film young and powerful, an by the end, has aged and started to let his infatuation for cleanliness and germs to wither him away to just an obsessive compulsive loner who locks himself in his office for months at a time.

Leonardo DiCaprio has never been a more finer actor, taking his boyish features and completely transforming himself into Howard Hughes. Every gesture, the accent, his compulsiveness, it is amazing just how wonderful Leonardo has evolved from the pretty faced boy in Titanic to serious Hollywood actor in The Aviator. Not to mention, the chemistry he and Cate Blanchett had on screen jelled, bringing Hepburn's strong will and Hughes's dependence on that to function.

Cat Blanchett was, not to say the least, amazing at recreating a legendary Hollywood icon, playing the part of Kathrine Hepburn to a tee. It was quite apparent that a lot of research by Blanchett was done to perfect all of Hepburn's little mannerisms, and larger than life character. Blanchett is in much need of an Oscar for her portrayal in the film, for it is nothing short of amazing.

The sets and costumes were extraordinary, to watch The Aviator is a trip down memory lane for older generations and an eye opening educational venture for the younger generations. The Hollywood premieres that were recreated, the legendary actresses such as Ava Gardner, it gives a sense of longing for the golden years of Hollywood before everything became so commercialized. There are spectacular camera shots throughout the film such as the flight of the Spruce Goose, the filming of the air battles in Hell's Angels, and the spectacular plane crash in Beverly Hills. All these make for one adventurous film.

Yet, with all these elements going for it, The Aviator really lacks heart. Though the first half of the film, Howard Hughes is at the top of his game, and the audience is entertained, yet kept far away enough where they will not really care that Hughes is slowly letting his OCD take over his life. At a nearly three hour run time, by the end of the film when Hughes's has finally completed his decent into madness you may be fidgeting and squirming from boredom. Martin Scorsese put together the life of Howard Hughes, yet kept him emotionally far way enough from the audience that they are more an observer of Hughes than actually caring for him. And that was the biggest problem of the film. Great films have characters you deeply care for, and that is all that prevents The Aviator from being that: Greatness.

Come Oscar night, there is no doubt that The Aviator will walk away with some awards, that is a given. The Aviator is recommended for it's stunning recreation of old Hollywood, the pioneering of aviation, and the incredible acting by DiCaprio and Blanchett. Unfortunately, by the end, you may be fidgeting, waiting for the film to finally end.

Recommended.

MJR

Samuel Bicke is introduced to the audience as an already broken man in spirit, a man who is not respected by his boss, his marriage that has quickly unraveled, and a government that Birke believes to tell only lies to its people. Birke is driven to the edge because of the world that has seemingly gone insane on him, and he decides to do something about it.

The Assassination of Richard Nixon is a film that is driven by the ex caliber performance by Sean Penn, who brings the story of a down on his luck ordinary man onto the screen with such intensity and realism that the audience is never doubting the situations that occur throughout the film. Bicke is a socially inept man with a very strong stand on what is right or wrong in the world, he blames his society for everything that is wrong in his life, and tries so desperately to get those around him to see what he sees that he descends into an insane state of mind.

Samuel Bicke is a sad, lonely man who only wants the American Dream: a loving wife in a suburban neighborhood, successful at his job, and caring friends to share his experiences with. Instead, his neurotic ways make him incapable of accepting the truths of the world around him. There is a situation where Bicke is trying to gain a small business loan so he and his close friend, Bonny (on Cheadle), can start a tire business together. Bicke starts to instead preach to the businessman on why he needs this loan, that the nation is swamped with businesses who are liars, and that he would run one that was honest. So passionate he is about this, he makes the loan interviewer uncomfortable, and sends Bicke on his way because he is so insignificant.

Throughout the film, Bicke becomes more and more obsessed with Richard Nixon, a man whom he blames for the state of his life, because of the lies this man has the American people believing, and the promises of prosperity that were broken. Bicke sees Nixon as the liar and the crook, instead of seeing that he himself is the one to blame for his current situation. And because Nixon is everywhere in the media, telling "lies" about the state of the nation, this drives Bicke to obscene thoughts and outrageous behavior.

Penn is such an extraordinary actor, has such a presence on screen. He creates Bicke as a man full of anger, anger that simmers through insignificant movements such as the twitch of an eye or the movement of a hand. His facial expressions are always hiding some bit of emotion he is trying so desperately to hide. Yes, Penn was amazing, he was the glue of this film, and given to any other actor the film may have fallen apart.

The Assassination of Richard Nixon is based on real events. There really was a Samuel Bicke (spelled Byck)who tried to hijack a plane and fly it into the White House, and the real Samuel Byck was also a lonely man whom nobody could understand. This film is a character study of him, and a well made one at that. Though there is no clear message, the audience has to come to their own conclusions on what they think Samuel Bicke was all about.

Recommended

MJR

Though Daredevil wouldn't be considered one of the best comic films, it does, however, run circles around this terrible spin off starring Jennifer Garner as Elektra, brought back from the dead to become one of the deadliest assassins the world as ever known.

In Daredevil, Elektra was the daughter of Nickolas Natchios, lover of Matt Murdock, was rounded, showed emotion, and had a believable storyline throughout. In the sequel, Elektra, her character is reduced to nothing more than an assassin, given no reference to her past, she is cold, distant, detached from the world, says cryptic dialogue that makes no sense, and has a sudden change of heart when she sees her newest target is a father and a daughter. Instead of killing them, she protects them from the mythical Hand group, waiting to take the daughter and turn her to their evil ways.

Jennifer Garner truly deserved much more than she got in this terrible film. The screenplay was terrible to say the least, with dialogue that was either choppy or stereotypical. The supporting characters were more annoying than helpful in this flick, especially the daughter, Abbey, who unfortunately really can not act or play a convincing 13 year old girl who was given special abilities. Her scenes with Garner always seemed forced, unnatural, and fake.

The action scenes were surprisingly dull, given that this is fearsome warrior Elektra, but since the audience does not really care for the villains in the picture, the scenes turn out to be cartoony and uninteresting. Plot points throughout came off as hokey to the point of being laughable. the viewer starts to wonder, "Why are they sending ninjas instead of commandos with assault rifles?" Elektra is one of the bad comic book movies to come out which is disappointing since the character of Elektra really is interesting and would have made a better film if put into the hands of a director more open tot he fact that Elektra is a real person who dealt with real situations, not a superhero who is involved with all this supernatural mumbo jumbo magic. Too bad, it would have been interesting to see this turn into a trilogy.

Not Recommended.

MJR

January, known mostly for dumping the left over films form studios, actually came through with a surprise filled, good time at the movies with Assault on Precinct 13, a B list film filled with A-list stars.

The plot of this film follows Ethan Hawk and LAwrence Fishbourne, a cop and a criminal respectively, as they try to fend off crooked cops trying to kill Fishbourne due to his knowledge of the corruption within the police department. Hawk, battling his own personal demons from a botched up undercover assignment from eight months ago, is dragged into the situation when Bishop is brought to his Precinct due to bad weather. What follows is an action packed, mostly realistic flick pulsing with intensity and bad ass moments.

Seriously, watching this film, one can not doubt the power of Lawrence Fishbourne who plays gangster Marion Bishop, a cop killer who is partnered secretly with the police chief. He is caught killing police officers however, and risks exposing the whole charade unless he is killed first. Throughout the film, Bishop is cool, collected, and seemingly always in control of the chaos that is going on around him. he delivers catchy one liners, and is believable as the villain turned hero.

Ethan Hawke, however, stole the film with his portrayal of Jake Roenick. His performance was completely full of awesome moments, starting with his botched drug bust and continuing to the tense finale. He is always at odds with Bishop, yet being forced to work together, they are able to hold off the assailants as long as they can.

Supporting characters in this film really added the comedic tone that was needed to turn this flick into an enjoyable romp. John Leguizamo especially turned in a great performance, bringing a silliness and anxiety to the film that turned it into not just an action film, but a sarcastic one at that. Ja Rule wasn't too bad, though it was an advantage that he didn't really have much to say besides agreeing with the people around him.

There are a few plot points in Assault on Precinct 13 that are pretty, well, unrealistic (example how did a forrest turn up in the middle of Chicago?), but over all, it is a great action filled flick to pass the usual dreary month of January if you are willing to just go with it. This is not a film for everyone however, for some the action might be a little too intense for the more sensitive viewers. To the others, enjoy, it is worth the price of admission at least.

Recommended

MJR

Year 2001, a heroine entered theaters whom women could identify with. A woman with insecurities over her looks and weight, over drinking and smoking her life away, and not being able to find and hold onto the right guy. And that right there played into all the insecurities every woman on the face of the planet faces everyday. Who is this woman? Why, Bridget Jones, a 32 year old British woman living in London! Normally, a character in Bridget's position would in a typical movie be the supporting player, the one off to the side with the sub plot and the witty one liners, becoming very two dimensional and stereotypical. Yet with this film, that stereotype is given prominence, and how wonderfully it succeeds! Depressed over the comment Mark Darcy made about her (He called her a spinster) at her parent's annual Christmas party, Bridget decides to finally take control of her life, to cut back on drinking and smoking, to lose weight, and to find a nice man to make her happy. To keep track of all this, she decides to keep a journal.

Renee Zellweger was perfectly charming in this film, creating Bridget Jones into a sweet, adorable, likable character that was very easy to relate to. People thought Renee wouldn't be able to convincingly pull off her British accent, but watching the film you sometimes forget that she is actually American. Renee was able to convey the stress of keeping her spirits up after discovering that her boss was cheating on her, and slowly discovering that her perfect man had been in front of her all along. Her Oscar nomination was absolutely deserved.

Colin Firth was amazing in his role of Mark Darcy. Though he really does not say much throughout the film, you could always tell what he is feeling just by looking at his eyes. They convey so many words that Firth could have been silent the whole film and you would be able to understand him perfectly. But it is wonderful that he does speak, for the speech he gives to Bridget about "Liking her just the way she is" was so sweetly put, it makes you long for someone to say those words to you.

Hugh Grant, who before this was type cast as the dorky-sweet romantic lead, breaks from this with his role as Daniel Cleaver. Hugh Grant is one of those actors who brings so much more to the role that you could ever expect, and with this character, Grant does not disappoint. Hr plays the wanker down to a T, is convincingly caddy, and the playboy everyone wants but knows will be in trouble if they have him. Not to mention, watching Cleaver and Darcy fight near the end of the film will have you rolling in the aisles!

Bridget Jones's Diary. Probably considered a total chick flick, but has a wonderful theme: Being yourself is all you'll ever need, and accepting yourself for who and what you are will lead you to happiness.

Highly recommended.

MJR

Andrew Largeman comes home to New Jersey after nine years of estrangement from his family. He has been numbed by drugs that render him immune to all emotion, yet decided to purposely forget his medication for his mother's funeral. Life lessons ensue about finding yourself as well as making that one connection with the person you are desperately trying to find.

The film has a promising premise, and succeeds on many levels. For first time writer/director/star Zach Braff, this was an exceptional first outing. Having the talent to write and direct a film as involved as this is an achievement with the experience he has. His musical selections were wonderful, fitting each scene with the right amount of emotion, and enough zeal to be part of the scene, yet not distracting from the story.

That being said, the film is also less successful on other levels. Being a first time director, Braff must learn not to jump around from shot to shot so much for it ended up making the film feel very choppy. The ending scene to this film is one particular case, where the song sung by Frou frou holds the quick camera shots together, as they jump from one to another.

Braff had so much to take care of on this film as well, that he should have casted someone else for the part of Andrew Largeman. The emotion that he does eventually show comes off as fake anyway, and the audience is supposed to think he's finally experiencing some kind of emotion. But due to his still weak acting skills, you can aways tell that Braff is acting, or simply repeating the lines off of a screenplay he wrote.

Natalie Portman, the big name in the cast, was also unfortunately miscast int his film. To be in a film like this, there must be two ordinary people who make a connection and become something together. With this film, Portman's beauty distracts the people from the relationship between Samantha and Andy, not to mention the strange appeal there is of seeing Braff and Portman together as a screen couple. She does what she can, however, and turns in a decent performance as Samantha.

Braff truly has a career in the making with this film, however. Though not perfect, it is one step in the road to a hopefully successful career. With more improvement, Braff could indeed be one of the next top directors/writers in the business. Film recommended for the awesome music choices and intriguing story.

MJR

Collateral is without a doubt one of the best films to come out in recent years. Not only does it feature a stellar cast and crew, but a prominent soundtrack, beautiful cinematography, and a knock out story that is not only unique, but believable and realistic.

Tom Cruise is in top form as Vincent, a contract killer sent to LA to kill four people involved in a drug bust. Cruise delivers one of the best performances of his career, bringing a certain coldness to his character: A man who has no compassion or mercy for human life, making him seemingly robotic and non human. Every move Vincent makes, whether it's holding a gun, or having conversations with Max, he is always in control, aware of his surroundings. Cruise becomes Vincent, the boyish charm hidden by a stony exterior.

Which brings us to Jamie Foxx, breaking from his well known comedic skills to try his hand at a drama, and how nicely he succeeds. Foxx is the standout in this film, bringing a vulnerability yet a strong willingness to survive to his character Max, a man who before meeting Vincent lets people walk all over him. Yet over the course of one night, through his interactions with Vincent, he gains the courage to stand up for himself, to do what he believes to be right. His conversations with Vincent awaken him to the kind of life he is currently living, and that he can be so much more than what he had become.

The story to this film is never slow, always picking up the pace and keeping the viewer involved in what is happening on screen. The score and music choices to the film do not take away from it, but rather enhance it, creating a mood that is calming and soothing at times, and tense and suspenseful at others times. Not to mention, the cinematography, seeing LA at night is a beauty all in itself, to see the city at night is a wonder and a privlage.

Collateral, directed by Micheal Mann, is one of the best films to come out in recent years. Both Tom Cruise and Jamie Foxx give outstanding performances to characters who each give something to the other: Vincent is ever slightly humanized, and Max is given more confidence in himself. The story of a hit man is given a fresh spin with this film, one the boasts beautiful cinematography, and an outstanding story. Highly recommended.

MJR

When Harry Met Sally is a film that not only supports witty and memorable dialogue, it provides a great analysis of the interaction between the two sexes: and poses the universal question of whether men and women can truly be friends. This is the film that launched Meg Ryan as queen of the romantic comedy lead, as well as established Billy Crystal as a strong leading man, both becoming their characters with such unique tastes they are destined to become cinematic icons.

This is the film so many other romantic comedies try to live up to, yet most often fail to accomplish. Creating two memorable and likable characters such as Harry Burns and Sally Albright has proven to be more stereotype than unique. Harry with his easy going attitude towards women, and Sally with her obsessive compulsive ways. The two are seeming opposites personality wise, and at first, these traits keep them apart. It takes them ten years to even have a real conversation without tension between them because one is a man, and the other a woman. Yet it takes one event, both getting dumped by their significant others, to bring them together to bond over.

What makes this film so memorable is the dialogue, with an outstanding screenplay by Nora Ephron. The Oscar nomination she was given for writing this film was highly deserved, for penning such lines as why men and women can never be friends, as well as Harry's declaration of love t the film's end.

The film also supports a strong supporting cast from Carrie Fisher, as well as Bruno Kirby as the best friends to the lead characters. Every supporting player here remains memorable, down to the cameos such as director Reiner's mother who states the now famous, "I'll have what she's having." line.

The ending to this film can bring tears to those who watch it every time. It is films like this that give hope to people that one day, they will find that one person who challenges them, and loves them for exactly who they are. When Harry Met Sally is the perfect film to watch for people of all ages, and will certainly stand the test of time. Highly recommended.

MJR