Reviews

It's almost always a pleasant experience when I sit down at a screening, and know absolutely nothing about the movie I'm about to watch. So, walking into the screening of Paranormal Activity was a total treat, seeing that I had absolutely zero knowledge about the movie. As the movie began I was a little disappointed thinking I was watching Quarantine, or the early parts of Cloverfield. For some reason every hand-held, no budget, cheap thrills movie has to spend loads and loads of time developing the characters and establishing the fact that you're going to be on a very "bumpy" ride for the duration. We meet Micah and Katie in the first shot of movie, as Micah explains why he bought the camera, for the purpose of catching something "paranormal" on it. Katie has been seeing and feeling something out of ordinary since she was a little girl, and it seems to have followed her to their new house. Micah spends most of the homemade movie ridiculing her notions of being "haunted", and just laughs off most of her claims until something is caught on his camera overnight. I'm sure the producers would like a critics to keep the plot and surprises in this film to a minimum, so I will be short with the plot. Basically, a lot of nothing happens right up until the last 5 minutes of the movie. This is a good exercise in storytelling, proving that we must about the protagonists, before we can start to care about them. The cheap tricks and thrills that we get at the end (startling the entire movie theater as they shrieked and screamed) would have had completely different effects on everyone had the movie been way shorter. That was the only criticism I could give this movie, its length. Many impatient viewers will become tired of the daily, diary like style Paranormal Activity plays in, but the juice is certainly worth the squeeze in this case.

During the late 70's Hollywood laid down a series of sophisticated films tackling the controversy surrounding the presidential administration at the time. Movies like All the President's Men and Marathon Man involved one man taking on the government after accidentally being exposed to sensitive life-threatening information. That era of Hollywood is clearly over, and despite the controversy that surrounds the current administration, documentaries are the only genre of film that seem to cleverly bring attention to these matters. Shooter is weighed down heavily with its own political agenda, that in this case seems to be the major priority, making the action a sort of obligatory addition. This is why Shooter is heavily flawed, and also why the action is heavily distracting , being that it makes little sense much of the time. There is a sniper stand-off in the snow, on top of a mountain for no reason whatsoever, other than to have the snipers themselves dressed in white instead of the usual camouflage we have become so bored of seeing them in. Mark Wahlburg, one of my favorite actors in recent years(coming off of this years best picture The Departed) is the vehicle for this homage to Rambo, making his resume slightly less attractive. Action junkies will be happy to see plenty of explosions, car chases(an insult to the French Connection), and a slew more one-liners that even Schwarzenegger would envy. All in all Shooter is exactly what it looks like, the only surprise was that none of the cast have shot themselves after seeing the final product.

People expecting to see another Seven will be disappointed, but that does not mean in any way that David Finchers newest thriller is not a success. Preoccupied with the bureaucracy's and failures of communication Zodiac deals not with the mind of the killer himself, nor the characters pursuing him, but instead focuses on the procedural department of this three decade spanning investigation. Instead of consuming their lives with the serial killer himself, the three main pursuers are engulfed in a battle with paper work and attempted county to county cooperation. What the film deals with is not the nail biting, stomach churning murders that Seven drew upon so well, but the actual procedures the Zodiac took in his killings. Unfortunately it seems Fincher chose to direct this epic crime drama of over two and a half hours without any of his visual style. With the exception of a handful of memorable shots including a shot of a letter inside a mail box being walked through a building until it reaches its receiver, and a brilliantly engaging shot that follows a taxi cab from a helicopter view, Zodiac seems very lackluster especially considering this is coming from the man who brought us the visually stunning Fight Club.

Despite this visual setback, Zodiac never feels boring or contrived, and I cannot be sure yet if this was because of my interest in the case itself or due to Fincher's smooth direction. Either way the film must be praised for telling a story with no resolution and never getting lost in its own path. Trying to tell a story like this, of an unsolved murder case, is a perceptive look into the minds of the obsessed. It exemplifies how one man can psychologically blind people from the outside world concentrating all attention on himself. Again, many people looking for the suspense and blood shed they enjoyed in Se7en will be introduced to a new form of torture, which in this case is psychological.

Jake Gyllenhaal plays Graysmith, a cartoon artist who becomes obsessed with the Zodiac case during his employment at the San Fransisco Chronicle. Gyllenhaal plays more of a supporting role in this, even though the trailers would like us to think otherwise. Mark Ruffallo, playing a detective out of Vallero county takes most of the screen time with his purposely low key voice, which seems to distract more than sooth as its striving intentions might want us to believe. Zodiac is more of collective cast adding Chloe Sevigny, Graysmith's wife dealing with his obsession and Robert Downey Jr. playing Paul Avery a reporter whose addiction to cocaine and alcohol must be a throwback to the actor himself. Obviously this powerful cast helps keep this film together as it follows its three act structure, making each character more important as one act ends and another begins. The first act deals with the media and their reactions to what appeared as legitimate threats. THe second act pushes into a bout with several detectives all dealing with same problem of miscommunication. And the third act introduces us to Graysmith's ongoing obsession with the unsolved murder mystery.

Audiences falling in line for Zodiac expecting another Se7en are likely to be bored and disappointed overall. This movie is low-key and tasteful, avoiding any embellishments, and sticking to the facts of this case. Zodiac is not trying to scare people or even pull them into the world of a serial killer the way Se7en did so well. Instead this is a film about procedural's and communication, which might be a very distracting set of issues for someone to deal with, when going into a supposed thriller.

Pan's Labyrinth is a fairy tale story for adults that centers on a young girls escape from reality, that reality being fascism in civil war-torn Spain circa 1944. Guillermo Del Toro's newest picture brings us adults back to the place fantasies like The Never Ending Story did when we were children. The sheer darkness and violence of the fantasy segments perfectly complement the blood and torture portrayed during the war scenes. Ofelia, not being able to grasp what is going on around her, escapes into a world of faun's and fairies which at times are scarier than the real villain of the film, Captain Vidal played with by venerated Spanish actor Sergi Lopez. The real praise, when it comes to performance, must be handed to Maribel Verdu who's fear and inspiration for freedom are truly envisioned through her eyes. Del Toro does use many transitions in the film that lend to a one-shot impression, by using trees and walls to cut from one angle to another, something Hitchcock used to make Rope look like one unbroken shot. These transitions lend greatly to the stories two parallel universes, making them equally real to me as the two came closer and closer to intersecting. Ofelia's world of imagination is filled with over-sized frogs, bugs and various creatures made from the earth, that crawl in and out of the film seamlessly, complementing the editing.

Pan's Labyrinth, written and directed by Del Toro, is a very personal film, and helps cement Del Toro as one of the better filmmakers within the science-fiction fantasy genre. Like the title suggests, Pan's Labyrinth creates a very intricate, elaborate maze, using its two stories to switch paths as you get lost within Del Toro's alluringly perceptive direction. Del Toro's use of CGI is very minimal, but mixed with the make-up effects conjures a very memorable, time-standing world of fantasy. This is, without a doubt one of the most beautiful films of the year, and along with its aesthetic sensibility, Pan's Labyrinth has painted a perfect anti-fascist story.

The greatly anticipated release by Alfonso Cuaron, Children of Men is just another trophy on his wall, cementing Cuaron's status as a greatly talented filmmaker with great aesthetic sense. Set in the near future, this science-fiction drama spells out a dark grey, post-apocalyptic world, set in Great Britain, giving us the impression that this is the only country holding itself in some sort of orderly governmental control.

Cuaron manages to ignite sparks of color in the action within this medieval world, as the film quickly spools into a chase epic. The parallel to the nativity story, focusing on the one child's birth that will change the fate of humanity all together, is drawn quite vividly as this ode to salvation pulls us into its world of infertility, illegal immigration and concentration camps. One of the most interesting aspects of the story is its lack of focus on the reason behind the world's sudden inability to reproduce and which gender is at fault. Instead Children of Men draws more from a creative well, and provokes challenging questions about reproduction, and elaborates on its importance through its narrative.

If this were to happen or not, would mankind be satisfied with what they have accomplished thus far, and be ready to be annihilated from the earth? Does God punish those who are selfish, and draw their power from the suffering of others? Although Children of Men leaves many unanswered questions, and leaves us with a bleak look into the future of mankind, it manages to be uplifting and emotionally stirring. Despite its dark and depressing look into a self-destructive universe, Children of Men provokes much delight with dashes of humor, lightness, and a bit of hope to even things out.

The brilliantly assembled cast, including the always magnificent Michael Cane, and Clive Owen ignite the fire of this cinematic glory, while helping to distract from the naïve and prejudice society the rest of the world has become. Caine and Owen have great chemistry when together, but Caine easily steals every scene with his spot-on acting and endearingly playful behavior.

Cuaron makes great use of the same steadi-cam he used in Y Tu Mama Tambien, but instead of bringing us closer to the characters problems, this time we are brought closer to the action. Cuaron uses a jerkier steadi-cam, unlike other directors such as Martin Scorsese, giving us a more uneasy feeling through much of the action sequences, like we are strapped into a virtual reality. Much of the shooting and explosions feel like an extremely sophisticated first person shooter, even spraying blood onto the camera lens at times. Children of Men never runs out of steam, and left me with one of the best cinematic experiences of the year.

Devoid of a truly engaging story, this glitter filled showbiz epic fails to achieve the same kind of witty, intelligent song to dialogue transitions that its inspiration, Rob Marshall's Chicago did so invitingly. Advertised as a dry drama about the music industry, Dreamgirls launches into long, tedious songs that not only lack any kind of re-playability, but can't hold a candle to instant Motown classics they aspire to be like.Dreamgirls takes the rags to riches story, removes the focus away from the characters, and spends too much time with the overplayed, loud and often obnoxious at times singing. Much of the character development happens off-screen including almost all of the love scenes, leaving us with merely the aftermath of each situation and completely neglecting the build-up. Director Bill Condon has managed to breathe life into a shallow story about a group, basically The Supremes, where the characters transitions into song are clunky and uninvited, leaving a bad after-taste.

The film illustrates the interior workings of the music industry with scenes that are hackneyed and drained of life, and in the end, fails to gratify in any department. Dreamgirls proposes that the only way for the African American community to break into an industry is by selling out their roots, and modifying or morphing into what the white man wants to see or hear. Throughout the entirety of the film, the characters sell out their funky soul roots, for a mellower and easier listening routine, appeasing the white record producers and listeners. There was no point in the film where the characters were being creative for the sake of art, instead they were creating for monetary gratification.

The cast not to blame, all of them bringing together some of the best talent in Hollywood. Eddie Murphy finally gets a chance to shine beyond his comedic blunders of the late 90's and does it like a crystal. There are many characters in Dreamgirls that are overly neglected, only to be brought in and out of the film for dramatic effect. In the case of the main group, one member replaces another, which leads to a series of revelations. The drama and character development take a backseat to the singing, dancing and dazzling costume design. Unfortunately this makes Dreamgirls just that, a disengaging spectacle that is given a smidgen of credibility by its cast. By the 50 minute mark, there should be many people questioning this movie's intentions, and wondering whether an early exit would be appropriate.

There are few movies made for adults these days, even movies bearing the "R" rating, There are even less movies targeted towards children, that can be enjoyed by intelligent adults, Night at the Museum failing to be an exception. Night at the Museum, the newest comedy from director Shawn Levy (Cheaper by the Dozen, The Pink Panther) driven by funnyman Ben Stiller, is a children's movie made for children and children alone. Using a fantastical plot straight out of an early 90's animated Disney film,(think Hunchback of Notre Dame) the feature concerns creatures that come alive at a night, and turn to wax or stone during the day. This formulaic plot does lead to some very funny dialogue, especially from venerated British comedians Ricky Gervais and Steve Coogan. The repairing of Ben Stiller and Owen Wilson, so dynamic in Zoolander, fails to revive that chemistry. Instead, Wilson is dependent upon forgettable one-liners, most of which are upstaged by Coogan's more engaging presence.

Stiller's brand of comedy is predicated on humiliation, which has been his shtick even in non-comedies like Neil LaBute's 'Your Friends and Neighbors. This form of humiliation is mistaken as a form of comedy, (being slapped around by a smaller monkey in this case) and compromises his integrity in the process. Night at the Museum, a comedic adventure, is admittedly better than most holiday films this year, since it does attain viewable attributes. Unfortunately, where it concerns Larry's relationship with his son, the film dips it toe in schmaltz and fails to arouse any sort of dramatic interest." Night at the Museum, like Liar Liar or Jumanji, is simply a vehicle for pratfalls and/or set pieces, and, like the obligatory "clean" parts of a porno movie, is simply there to provide the semblance of dramatic integrity, when in fact the movie only does one thing well. Although the filmmakers try to shove as many life lessons and history lessons into the film as they could, the implication is that history marches on indifferent to the insignificant life of the individual, Stiller in this case.

Set in a museum, which holds several wings of historical artifacts, it is quite obvious that this film is trying to entertain the whole family while giving the kids a small history lesson. Stiller uses his usual schtick to capture the laughs, with his rapid-fire, yet hesitant speech cadences. The film itself looks magnificent, employing its CGI effects modestly enough to avoid hokiness, even if the design is deliberately silly. It acts almost like a recommendations letter, trying to help not only the image of New York City, but engage a higher interest in Historical museums. The tireless escapades with animals, Theodore Roosevelt, Indians, roman soldiers and monkeys turns out to be as much fun as it sounds. Who wouldn't want to see a bunch of roman soldiers fighting cowboys ? And, although this movies sense of illusion and fantasy may be too bitter for its own good, it does seem to have an educational sense of social integrity. So, for any family looking to escape into the colloquially generic world of Ben Stiller and Owen Wilson, this is a definite no-brainer.

Robert De Niro has crafted a story about espionage, lies and the American way in his second directorial bout. As De Niro borrowed from Martin Scorsese for his first film, A Bronx Tale, he borrows heavily from Francis Ford Copolla in this case and borrows well. This time around De Niro focuses on the inception of the C.I.A, and their involvement in various Government coups outside the United States, all in the name of freedom. Matt Damon stars as Edwards, the perfect arian specimen, bread into Ivy League stature and inducted into a secret society whose predecessors included ex-presidents, senators and congressmen. If there was ever a piece of solid film-making, The Good Shepherd would be it, never seeming too boring or overbearing in its 170 minute runtime. Paralleling the Copolla tradition, De Niro tells this story in a non-linear fashion, which ties in the two stories closer and closer as the film drives to its finally.

The Good Shepard is not as good as A Bronx Tale, but on its own this film's character development does embody a larger scope, and deals with a much more global aspect than its predecessor. There have been many films like this, including Spy Games, that lack the mature and authentic inspiration that The Good Shepherd nailed in its entirety, whether this particular story was true or not. De Niro's role, or cameo in this case, seemed a little forced, and too contrived, but can be coped with, as his role is short and easily forgetful. Some of the dialog is also flawed, due to the scripts weakness in dealing with the underdeveloped female characters, thrown into the film for sheer tragic effect. The overall story, dealing with war-time, both intelligence and counter-intelligence, parallel the way wars are fought today. There are many aspects of the film that, deliberately or not, most likely the prior, mirror how Americans view threats outside the United States. Not only are non-democratic governments viewed as threats, but they are taken down by what this film proves is the ''heart and soul" of the United States, the C.I.A.

Despite the films political message, that might not be pleasantly received by most , and may be viewed by even more as an anti-American film, this is a more American film than initially perceived. The Good Shepherd tries to show the hypocrisy's and sheer ignorance that leads to many of the choices a government makes today, and ironically made the same mistakes in their choices years ago. Much of the film deals with war quietly and the basis that wars are fought not only in the battlefield, but more importantly in offices while wearing suites and ties. De Niro captures these actions brilliantly in this political thriller, and will draw a lot of unavoidable criticism due to his choice of material.

Will Smith's screen presence, despite its clear Oscar yearning, far surpasses this films capabilities on its own. Directed by first time English-language writer/director Gabriele Muccino, this sappy, even cheesy at times, epic drama about one man's determination, is brought to classier heights through Smith's authentic performance. Never going out of character or being "Will Smith", Smith's performance in The Pursuit of Happiness, incorrectly spelled purposely, is reminiscent of his role in Michael Mann's Ali. Smith's role as a father, trying to take care of his son, played by real-life son Jayden Smith, definitely brings the father-son chemistry and struggle to tear inducing moments more genuinely. Thandie Newton, who seems to be playing the same unappreciative non-understanding wife, she did in Paul Haggis' Crash, brings nothing new to the table other than a refreshing sense of loathing.

Based on a true story, Pursuit of Happiness has clearly been embellished, allowing Smith and son to really shine in moments that were probably otherwise boring and less intimate. It is the close-ups, the all affectionate moments that Smith pours his heart into, that really push this movie beyond its regurgitating material and into an emotional spin of consciousness. During the films 117 minute running time we are introduced to Chris Gardner's (Will Smith) daily life, which really lends to our understanding of the delicate life this man and his son lead. Many people will obviously be bitter about the manipulative plays of the filmmakers, that through charismatic on-screen presence and tears, will make you sympathize for someone who otherwise would not be sympathized. There is some truth in this, but try and enjoy the movie for how it makes you feel, even if it is using every trick to bring out those usually buried feelings. At least it is evoking something, whether it be fabricated or not, the result is still genuine.

In the tear jerking, man crying tradition, The Pursuit of Happiness has all the comedy and drama woven neatly into this time old story of a screenplay. This film will definitely hit home for many, being that this is such a widely common topic, and the fact that family struggle is universal. There have been films like this before it, and there will be films like this afterward, but I believe that the stunning performances, and smoothly appropriate camera work will set this one aside from the rest.

Mel Gibson's latest film can be surmised in two words, masterful storytelling. Although Gibson has been very controversial in his life away from the cinema, it is clear that this publicly proclaimed mad man does not have any problems behind the camera. Apocalypto, which tells the story of an ancient Mayan tribe, and their plight with another, more aggressive tribe, is Gibson's most perfect film to date. Since the film is spoken entirely in Mayan, and stars first time actors, it is a tad bit isolating, but the familiarity of the story, coupled with the much needed violence, paints one of the most realistic films since The Passion of the Christ. It is unfortunate that only one man can construct such films, and even more unfortunate is that many people will try and shun this film due to his behavior.

Apocalypto was shot entirely on HD, and then blown-up to film, which never takes away from the picture. Gibson's fluid directing is only one piece of this puzzle, along with the costumes, make-up and convincing performances, it is without a doubt that this jungle premised adventure should be a milestone in film. Despite its lack of mainstream appeasement, this film is, at heart, a violent dish of revenge, and its rampages of violent sacrifices and blood are never exaggerated or portrayed without merit. The real honor should be put to the production of this film. The camera glides through the roughest of terrain, rain or shine, without a hint of amateur throughout. Shot in rain forests and jungles throughout central and south America, one cannot tell that this beautiful epic was shot on its high definition format, making Apocalypto the most gorgeously rendered film on the previously mentioned format.

This is as intellectual and visual of an experience as it is visceral, and because of this heightens all senses during its two hour -plus stay. Gibson brings something to the screen that is unlike anything brought before, and despite his private life, he should be commended more just this. It is a shame that this artist spends more time in the headlines of the local tabloids, than he does behind the camera. Apocalypto will be a definitely be in a lot of people's top ten this year, not excluding my own.

What can I say? Edward Zwick has mastered a phenomenal challenge to bring awareness to movie goers embellishing political blasphemy and socio-economic curtailment of life regarding blood diamonds. Leonardo DiCaprio's acting career has reveled in subjects that perhaps not many have come to really appreciate. He is not "just" an actor. He is trying to ferment the actualization that there is a major and disturbing reality of corruption and death in countries worldwide, and whilst doing so has brought forth a deep meaning of self-reliance, when attempting to embellish his role playing. DiCaprio has surely defined himself as an action star, with more finesse and confidence than anyone working in that field today.

Blood Diamond visualizes the physical deprivation of humanity, through the limb dismemberment and massacre of the Sierra Leone people. It truly exemplifies how individuals wielding a gun on a pick-up truck can claim themselves as a revolutionary, no matter what the age group. This film only scratches the surface of the growing problems in Africa, describing these problems with a simple acronym, TIA, standing for This Is Africa, an internationally mutilated abyss.

Djimon Hounsou, who has been appropriately typecast as the African fisherman, delivers a heartfelt, honest and tear inducing performance. DiCaprio and Hounsou's performances will definitely be worthy of the proverbial Oscar nod this year. How many actors do we know that can make his audience feel what he sees with his eyes. Unfortunately, Jennifer Connelly brings one her most dull performances, never coming close to the caliber of acting that surrounds her. Blood Diamond delivers direct assertions as a socio-political thriller, and hopefully this will be another jab at the sheer evasion of this much ignored topic.

Todd Field, director of the highly intelligent, and sensitively provocative In The Bedroom, has graced the lawns of suburbia with yet another fine look at your household civility gone awry. Little Children stars Patrick Wilson, who has already treaded on the fine lines of pedophilia in the overly colorful Hard Candy, and Kate Winslet who hasn't had a role this spot-on since her independent debut in Eternal Sunshine of the Spotless Mind. Fields main theme of the film is infidelity triggered by spousal unhappiness, but at the same time there is a smaller story of greater magnitude, about a recently released sex offender, that Field tackles as a side plot. Fields visionary perplexity is unmatched by any of the other films trying to show how the upper-middle class has the same type of dismay with themselves as anyone else. Little children, much like Todd Solondz's Happiness, brings out the sinful tendencies of its characters in the most subtle way, never exacerbating things without a pertinent need to do so.

The film moves along quite smoothly, relying mostly on the main story carried partly by Jennifer Connelly, wife to the cheating Patrick Wilson, who's frigidness has driven him to Winslet. There is not much to say about Connelly's character other than Field's clear indication of shallowness within beautiful people. It was ironic that child actor Jackie Earl Haley played the recently released pedophile, but his struggle was never portrayed as childish in the least bit. Crossing over throughout each other are themes of parenting, and loss ambition, which interconnect throughout each characters existence. Fields complex, yet riveting screenplay shows that no matter how useless or uneventful our lives might seem, there is always something lurking on every corner, ready to engulf us in its rejuvenation.

It is very clear that Fields screenplay is about children, and their influence in their parents lives. They seem to be such huge instigators in both the problems and solutions of their parents. Little Children is an intelligent play on people's dreams, and how they get sidetracked into an alternate happiness to substitute their unaccomplished goals. Little Children, unlike most of the movies to its likeness, leaves us with a feeling of hopefulness. There is a movement towards fulfillment and redemption that movies in this category always lack. Be sure to look out for this small feature, because when awards season comes around expect it to get a lot bigger.

Director Richard Linklater has released another gem to add to the list of films that have made him the eclectic filmmaker he is today. Fast Food Nation, which accompanied Linklater's other film this year( A Scanner Darkly ) at the Cannes Film Festival is a very dialog driven film geared towards a realization or self-awareness geared primarily towards the American population. Also, a warning towards less westernized communities, Fast Food Nation puts the reality of modernization and personality loss into a very potent formula on-screen. The film centers on a large corporation that delivers fast-food quality at a fast-food price across the country. To mirror companies such as McDonalds, Wendy's, or Taco Bell, was the point of Fast Food Nation, and it does more as a film than Super Size Me did as a documentary.

Linklater has a very diverse palette to take from, much like Steven Soderbergh, whereas they can both do intellectual independent films, and then turn around and still make an enjoyable film with a higher budget. Linklater followed up his more mainstream films School of Rock and Bad News Bears, with this thought provoking , eye opening docudrama. As the film tries to open our eyes and ears to the screaming of today's youth it also speaks loudly about immigration, and the border patrol at the U.S. - Mexico border. This seems to be a trend this year, after the issue was covered in Babel, and in The Three Burials of Melquiadas Estrada.

It's frightening to see the chemicals the fast food companies pour into their foods, and the hormones and literal waste the meat packaging companies use and overlook while feeding the public. There are many gruesome scenes towards the end of the film, that might seem unnecessary to some, but are a clear message that needs to be told and seen. Fast Food Nation is a satirical, yet overtly realistic look at the capitalistic society we live in today. This bleak look at middle-America does shed some hope that there will be a better youth, and that through revolution something optimal will erupt. There are many gruesome scenes towards the end of the film, that might seem unnecessary to some, but are a clear message that needs to be told and seen. Fast Food Nation is a satirical, yet overtly realistic look at the capitalistic society we live in today. This bleak look at middle-America does shed some hope that there will be a better youth, and that through revolution something optimal will erupt.

Some of the most beautiful imagery is brought together with an endearing story, that sums up the epitome of an ideally inspirational love tale. Written and Directed by the masterful Harvard graduate, Darren Aronofsky, The Fountain spans across three different time periods, with reoccurring theme of love and eternal life. This blossoming film becomes more and more entrancing as it continues to go back and forth between the three lover's, doomed to meet the same fate by the end of the film. Hugh Jackman plays all three male protagonists, while the ever-so gentle Rachel Weisz plays all three of the lovers. The third story, which takes place in the future, is the more complicated, and what will no undoubtedly drive most cinema goers away from this masterpiece. Set in the future, of which time we are not privy to, the third segment takes place in space and takes us along for a journey to a dying nebula. After many problems behind the scenes of this film, Aronofsky finally completed The Fountain and this futuristic segment without the help of modern computer graphics. Able to withstand the test of time, The Fountain will definitely achieve a larger following when released to digital video.

Accompanying Aronofsky in this endeavor comes long standing friend and musician Clint Mansell, who decided to work with the brilliantly epic Scottish band Mogwai, on this progressively haunting theme. Although the film has a short running time, of only 96 minutes, Aronofsky and his crew live up to their last two films. The Fountain is nothing like his last two movies, which used hip-hop sounds and fast-cut editing in a music video style. In this epic, Aronofsky uses more traditional style camera work, and allot of overhead shots, simulating satellite photography up-close. Unfortunately, The Fountains release will most likely go unnoticed whilst in theaters proving once again that Hollywood's better films usually tread far under the radar, until Oscar season.

A wonderfully interwoven film, Bobby brings together the lives of twenty two people, rushing against the clock sixteen hours before the death of then Presidential Candidate Robert Francis Kennedy. Emilio Estevez writes, directs and co-stars in this passionate explanation of the America he once loved, and would love to take back. It is abundantly clear how much passion the entire cast has for the assassinated brother to an also assassinated ex-President John Fitzgerald Kennedy. Estevez invigorates the type of rebellion and resistance that the youth of the sixties brought alive, from the speeches of Dr. Martin Luther King and Robert Kennedy to the civil rights movement. Bobby and Estevez do mirror last years best film winner Crash with its racial stereotyping and obviously bitter tone towards Americas hypocrisies.

The cast, consisting of twenty two smaller, more independent actors brings a more personal touch to the film, than if it had A-list actors involved. The roles of William H. Macy and Christian Slater as the Ambassador Hotel Manager and racist kitchen manager bring the ends of the racist spectrum closer than most films this year that have tried. Veteran Actresses Sharon Stone and Demi Moore bring their experience into both their acting and the characters, making them more believable than Estevez seems to have anticipated. Stone reprises her serious side here, reminding us of her potential and abilities from Casino. Then comes the comic relief from Moore's husband Ashton Kuthcer, as a stoner and dealer to the even more hilarious Shia LaBeouf.

This unforgettable memoir of a film, definitely invigorates the type of freedom that America yearns for today, 40 years after Bobby's assassination. Martin Sheen, active Democrat and veteran actor, can be very proud of his son's newest achievement, and should not be surprised to see Estevez walking up to the podium at this years Oscar event. All in all, Bobby will be a definite eye-opener to anyone that knew nothing of the young democrat, and a shiny reminder to those who loved him during his short stay in American politics.

Are you ready to submerse yourself into the rabbit hole? If you are, then Terry Gilliam (Brazil, Fear and Loathing in Las Vegas) will more than gleefully kick you down it, with no light in sight. Gilliam's newest feature, Tideland, feels like an acid induced dream, not much unlike much of Fear and Loathing. Tideland delves into the mind of the young Jeliza Rose played by Jodelle Ferland. Her clear parental misleadings, or educations have driven her into a delusional psychosis that only herself and the characters in the film deem explanatory or even understandable. Jeff Bridges, father to the girl, plays a heroin addicted hippie obsessed with the notion of escaping into a Nordic country. Much of the acting and ambiance of the film is shocking, but can be expected from this milestone filmmaker.

Much of the film is shot outdoors, in vast fields surrounded by nothing for miles, transforming Jeliza's solidarity into a form of schizophrenia. There are many scenes in the film that evoke a form of innocence only a young diluted mind could have, which does seem to be instilled in most. Gilliam never struggles in this film, showing his talent does supersede his nearly tarnished reputation as a reputable filmmaker. There are so many beautiful scenes, that in retrospect seem dull, but are brought to a much higher level through Gilliam's direction.

The only complaint I do have, is that this film does seem like just another Gilliam flick. There is nothing different in his very distinct style, nothing that strays from his norm. It seems that directors like Gilliam or Tim Burton have a niche, and they don't like to experiment outside that niche. I am not saying that this film is boring or repetitive in any way, only that his style has his signature stamp all over it. Despite all this, Tideland was the perfect film for this type of filmmaker and it shows in this tightly crafted "ride" of a film.

Casino Royale begins in Black and white, foreshadowing the more dark and violent tone that follows Daniel Craig around the world for two and a half hours. Director David Campbell has breathed life back into what some feared as a dead franchise. Brushing all worries aside, Craig was almost perfect for this new and updated version of James Bond. Although Craig is not as handsome or sleek in his demeanor as the previous Bonds, his grittier attitude does match his looks. It seems MGM put all the pieces of the new Bond puzzle together quite well, but missed one of the most important pieces, the Bond girl. The new Bond girl, played by the anorexic looking and consistently dull import Eva Green, does bring the film down as a whole.

The action in Casino Royale is stellar, snatching all of Bonds usual attention away from his futuristic gadgets and luxurious cars, and centering on pure adrenaline pumping action. Casino Royale may also have one of the best opening credit montages to grace a Bond film, coupled with the catchy theme song brought to us by Chris Cornell. Casino Royale was filmed across the world, picking beautiful locales to compliment the exquisite camera work, bringing us closer to a classier James Bond film.

Another interesting point that should be brought up is the lack of one main villain in this supposed prequel to the life of this promiscuous secret agent. The villain in this is more the greed that can persuade seemingly anyone into the life of corruption. This installment of the franchise does zero in more on Bond's abatement from arrogance, and his struggle with becoming a more efficient agent. Casino Royale is a definite see for the Bond fan, and any newcomer alike.

Jesus Camp, a documentary that takes us into the daily lives of Evangelicals in the United States, is a delusional and frightening look at the influence this cult -like group has on the American politics. The film starts out with children speaking in tongues, and being preached to, and at times compared to the army children in Palestine and Israel. The title, Jesus Camp refers to a camp that brings children to a camp in North Dakota, where they are further brainwashed into becoming the foot soldiers of this larger, greatly influential machine.

This Jesus Camp is specifically geared towards children, no matter what age, from 5 years old, to pre-teens. The pastors and preachers at this camp have the children crying and screaming until they renounce their faith, and utterly sacrifice their lives for Jesus. We see how determined the pastors are, as they blatantly inform us that the only way to save the United States is by getting to its youth.

The main character of the documentary, a pastor woman, is asked about her brainwashing tactics towards these children, and replies with a comparison to the "enemy", referring to the Muslim and Jewish extreme fundamentalists. Unfortunately the films setting and idea becomes repetitive way too quickly, showing short radio snippets of the opposition to this extreme pseudo-religious political integration.

The idea and part of the content of the film is shocking and hopefully an eye-opener for most of the sheltered community of the United States. The intensity of the camps is what really jolts the initial reaction of unfathomable reasoning into us, and then asks if we are ready to accept Jesus into our lives. What really frightened me was one particular character, a young girl (8 years old or so) completely subdued and hypnotized by this fear of going to hell. She seemed psychotic during her interviews, and interaction with others, which will probably just intensify as she grows older. Jesus Camp acts much like a television serial, finishing with an open ending. It would be much more interesting to see all the characters 10 years from now, and if their descent into this mad world has been circumvented by any logic, or if they have taken this path to its fullest capacity.

For the first time behind the camera, veteran screenwriter David Ayer, has brought together a brutal portrayal of the Los Angeles street life. Harsh Times Brings Christian Bale and Freddy Rodriguez together, as two men, both with a common goal, but too much distracting them from it. Bale plays a Iraq war veteran suffering from post war stress syndrome, while his buddy Rodriguez plays his long time friend and "compadre". This screenplay, which is advertised to be a training day mimic, is nothing of the sort. Yes, they ride around in a car. Yes, they get involved with drugs and money. Harsh Times is a story of one man and his slow, steady unhinging from reality. The evolution of Bale's character is a simple demise into a mad world of distrust and deception.

Without the charismatic presence of Christian Bale, this film would have fallen allot shorter than it did, and would have probably gone straight to video. Save for Bale's performance, Harsh Times is a series of criminal scenes or events followed by a over dramatized ending. It seems that Bale is doomed to star in mediocre films, where he simply outshines both the actors around him, and the material he consumes himself with. David Ayer, Writer and director of this piece has said that Harsh Times was written way before Training Day, and this is clearly noticeable, through the less intelligent writing and climax. This film is only noteworthy thanks to Bale's clear mastering of his character, and some interesting camera work.

Using an ensemble and international cast, Babel shows how one small act can lead to a plethora of interconnected life-altering situations. As the film jumps back and forth between three continents, in the comfortable style Alejandro Gonzalez Innaritu has made us accustomed to, Cate Blanchett, Gael Garcia Bernal and Rinko Kikuchi give performances realistic enough to make Babel a documentary. In their third collaboration, Innaritu and screenwriter Guillermo Arriaga team back up to bring us the story of six families that come together through one act of innocent violence. As the title suggest, this is a film about communication, and the perils brought forth by any lack of it.

Writer Arriaga, sends a clear message in his second attack at the United States border patrol, following Tommy Lee Jones' directorial debut The Three Burials of Melquiadas Estrada. His message is a lashing out of enraged feelings of hatred that have been caused by the mistreatment of Mexicans trying to cross the border into the United States. In the meantime the potent message of societal importance is shockingly and abruptly shoved in our face, as the wounded American gets her accident spread across the entire globe, while the brutal beatings of Moroccan peasants is brushed off like just another day.

Shot by the incredibly talented cinematographer Rodrigo Prieto, and scored by composer Gustavo Santaolalla, Babel really has everything working in its favor, and it really shows. The haunting score not only helps to elevate every scene, especially those without dialog, but also adds a new dimension which is then transcended with the use of this raw photography. As in his previous two films Innaritu tells the tragic story of these families out of order, which unlike 21 grams, helps to elevate the tension. Intertwining the story of a shot down tourist in Morocco, a Mexican house maid bringing children across the border, and a Japanese girl dealing with her mothers death, Babel charges emotion with a high voltage. The filmmakers have succeeded in bringing the three stories together, although the third, that of the Japanese man, seemed a tiny bit forced.

Truly sending out a deep message about people's honest and misunderstood intentions, this epic emotional drama has some of the most realistic and thought provoking events brought to the screen this year. I believe that many people will be holding on to the edge of their seats to the very last shot, which like the rest of the film exemplifies the beauty of this film.

A very stylized documentary, for a very stylized period of time, Cocaine Cowboys takes us into the world of Miami between 1970 and 1980. Using plush diversions with still images The Kid Stays in the Picture made popular, Cocaine Cowboys shows the immense changes Miami went through as it discovered the drug cocaine. Primarily interviewing three of the main names during this drug and blood soaked era, this film delves into a world filled with money, women and more importantly cocaine. As the film informs us, the Colombian Cartel made over ten billion dollars during their escapades in the Miami area, not only for themselves, but for the Americans helping them distribute.

The characters that are being interviewed, including an inmate captured for over twenty murders, never so much as flinch as they describe in detail, brutal murders. It is truly fascinating to listen to these criminals, two of which were released from prison, reminisce their achievements within crime organizations. This documentary does lack some of the more interesting comparisons director Billy Corben does brag about in his advertising for the film. Saying that it is the true story behind Scarface and Miami Vice, Cocaine Cowboys barely touches on these comparisons, and seems to bring the most interest from these brief allegories.

Despite this small short coming, the rest of the film is entertaining and educational, especially for a native Floridian like myself. I never really knew how large this business was in Miami until I watched this true rendition of the over fantasized films it claims to be the inspiration for. Explaining allot of what the American government will look away from, due to hefty drug money profits, does put a perspective on its true intentions, be it accepting drug money, ammunition money, or any type of blood money.

There are three acts in every magic trick, as Sir Michael Cane says, the pledge, the turn and the prestige. Just like the three acts of these so-called illusions, The Prestige is played out like its subject. Christopher Nolan's newest endeavor tells the story of two magicians, Robert Angier, played by the overtly childish Hugh Jackman, and Alfred Borden, played by the always consuming Christian Bale.

Separated by a magic trick gone bad, involving Angier's wife, Julia Angier (Piper Parabo) , the two magicians become rivals, sabotaging each others illusions at an attempt to destroy their credibility. The plot thickens as Angier becomes obsessed with one of Borden's newest tricks, due to his inability to understand its inner workings. Plagued with his misunderstanding of the illusion, Angier attempts to copy or re-create the trick, but due to its finally, never enjoys the audiences amazement after the prestige is finally revealed.

Nolan uses a non-linear storyline to confuse us, and to ultimately try and take attention away from some of the vast plot holes within the films twists, turns and surprises. Despite its flaws within the plot and some of the mediocre acting, compliments of the ever so dull, faintly British accented Scarlett Johansson, The Prestige does lend a sort of entrancement into the world of 18th century magicians only Nolan could make alluring. Teaming back up with his brother Jonathan Nolan, the writing/directing team has fallen miles short of their first collaboration, the artfully masterful play on the human memory, Memento.

When The Prestige finally shows us the prestige, or third act of its illusion, it is not as shocking as Nolan intended it to be. It seems that the brotherly duo tried too hard in the implementation of the prestige, they forgot to solidify the first two acts of the film or trick, depending on how far you would like to take this metaphor. Finally, The Prestige is a beautiful piece of film, with a few flaws that keep it from being a perfect film, but will surely be an upstanding contender in this years Oscar race.

A determined, obsessed swimmer working for the United Stated coast guard, is faced with the consequences of his newly discovered wrinkles and old-age, as one accident costs him his team and his psychological comfort. And, like all who believe they can no longer do, he begins to teach whilst trying to recapture what he left behind at the accident. In his newly acquired teaching position, Bill Randall, played by the constantly dull Kevin Costner, encounters the witty, younger version of himself, Jake Fischer, played by the amusingly stubborn headed Ashton Kutcher. I know you've seen this before, and you know you've seen this before, but why not re-vamp this old-school meets new-school story again, and bring it to the water.

Kutcher, who keeps this picture afloat, proves in The Guardian, that he not only has the looks but the humor to keep the pulse of this film beating to his drum. Hopefully Kutcher will stop seeking out these dramatic roles and truly grasp his meaning within the comedic genre he clearly urges to delve out of. Costner did keep me slightly riveted with his "tough guy" trainer attitude and his strict regiment. Although I was apathetic to some of the films slower, crawling moments, it did seem to suck me back into the action with its high production and frequent nail-biting suspense.

Unfortunately this is not an original, surprise yielding film, but despite its derivative material it is a noteworthy Top Gun mimic. It is better than a sequel, I must admit, but but not by much. This film is definitely for the 80's macho film lover, or just for the man taking his family out for a movie.