Reviews

For some unknown reason the Earth has become a lifeless globe. The majority of plants and animals are dead. Yet a few determined souls scratch out a daily living, constantly moving forward, such is the case; of a Man and his Boy. The Man (Viggo Mortensen) and The Boy (Kodi Smit-McPhee) play their parts with an incredible amount of realism and love. I read in an article that the two bonded during the film by eating grass hoppers together. A diet of dead insects as the mainstay of a pair of survivalists would most certainly make comrades of most anyone. The film, directed by John Hillcoat, is shot in color but Mr. Hillcoat's directorial use of the camera has the stark appearance of bleak black and white moments of despair. The title, The Road, might refer to the constant walking and reference to the map The Man uses as a guide to the sea. This of course is not the only interpretation of The Road, one must remember that The Man and The Boy are scavengers, seeking out food, water, and shelter for each day to survive. Along their journey their are many pitfalls and surprises. The Man instills upon The Boy, that his son must carry "The Fire" inside him. Yes, "The Fire," is also a physical necessity but "The Fire" kept inside might be the spirit of man, and what is wholesome and good. The Man also dreams of his life before the change and his wife and family. His wife (Molly Parker) has a very strong motherly influence and as a life partner. Hillcoat interweaves the now and the past all through the film. This use of flashbacks keeps a sense of continuity, in the film. The use of sound and visual stimuli throughout the film is very unexpected and director Hillcoat keeps his audience 's attention constantly. Remember, this film is rated "R" because of realism, blood, and mature content. The film score also works very well with the constant changes of scenery and action. The Road is showing in limited theaters because it is not a family film especially being released during the holidays. See The Road and feel the step by step journey for your self, it is most definitely worth the trip.

With great expectations, my guest and I laid down $20.00 for a matinée, to view the greatest 3D film ever to be shown on the silver screen! Three fourths of the way through, I was still looking for that film. To be more precise, I felt as though I had gone through a time machine, to my youth in the 1950's on a Saturday afternoon, watching 35 cartoons and two 3D science fiction films. Avatar was the same old Cowboys and Indians all over again but in reverse. On the planet Pandora, humans are seeking the path to unlimited power at the cost of the indigenous population. The name of the planet, Pandora, should give the audience a clue, that maybe this is a box better left closed. The citizens of Pandora live in harmony with each other and their entire planet. The humans, who want to study the Na'vi, incubate Avatars in which they can join psychologically and mingle with the general population. The company the scientists work for are a paramilitary organization who will stop at nothing to obtain their goal. So we have the Na'vi on one side and the paramilitary on the other side, who do you think will win? Does the name of the film give you the slightest hint? I thought so. James Cameron who wrote and directed this 3D film to end all 3D films should have stopped at 120 minutes and left the other 40 for his director's cut.

Director J.J. Abrams has brought forth this years Science Fiction Comedy hit, of the year. There are more laughs per moment, just as in Galaxy Quest. The top Banana is Dr. Leonard 'Bones' Mc Coy, (Karl Urban) followed closely by his Second Banana, Scotty. (Simon Pagg) Captain Kirk (Chris Pine) and Spock (Zachary Quinto) also do very well, as the other comedy team, in this film. If you are a 'first season' Trekkie, then, the sight gags are even funnier. Because of the 'spoilers' rule, this reviewer cannot site, any examples. Hikaru Sulu, (John Cho) stands on his own 'chops', with his Samurai blade, in hand. The CGI , is excellent, as one would expect, in this 'early days' epic, but it does not make the film as stupendous, as it is. The large cast and crew, as shown in the 300 seconds of credits, bears, this out. If you have the slightest bit of Trekkie, in you, do not pass up this comedy, on the large screen.

My Bloody Valentine 3-D is simply cash out of pocket and no chocolates! The only reason for this complete waste of time and money was on the premise, of an adult, 3-D thriller. This film is a remake of the My Bloody Valentine. (1981) The actions of a gas mask wearing, coverall clothed, coal miner, gone crazy. Director Patrick Lussieer, obviously was not sure, if he wanted to make a comedy or a horror film, to pay homage to this horror classic. So, instead, he put both genera's together and came up with neither. Yes, there are a few very funny scenes, but these few, do not make a film. This attempt at a horror movie, is R rated because of nudity, graphic violence, and adult sexuality. As a slasher-splatter film it is too forced, even in 3-D. The use of 3-D CGI, in this film does not go far enough. Wearing the Grey-tinted 3-D glasses are much better for the viewer, but not so in this attempt. The reason is simple: items that do come at you, right out of the screen, do not complete their journey. Weather it be a pick Ax, flames of fire, or bullets, all of these missiles, stop short of their marks. Similarly, the actors fall just as flat. Tom Hanniger (Jensen Ackles) the male lead, should have stayed on the small screen, as the lead in Supernatural. Sarah Palmer (Jamie King) his love interest, should force her agent to see this film, as punishment for a waste of her acting talent. The rest of the cast, except for the pickax toting coal miner should go back to position one, and stay there! The monster of this film, the coal miner, is the only character, who stays in character, and does so, true to form. As the ending credits were rolling, so was the audience; right out of the theater. But to those of you who really want their best dollar value, stay to the bitter end. My Bloody Valentine 3-D is a very, empty, box of chocolates.

Walt Kowalski (Clint Eastwood) has just buried his wife, ended his long term marriage, and begins what appears to be, a lonely life, until he, is lowered into the ground. At least that is what Mr. Kowalski, thinks how he will live out the rest of his days. Nothing could be further from reality, for Walt. When an Oriental family takes ownership of the house next door, Walt's life begins anew. To say that Mr. Kowalski, is set in his own ways, is to admit the obvious. A Korean War Veteran, this proud American, does not adapt to change very well, at all. This single factor, adapting, is the glue, which pulls this very funny film, together. The trailers, paint a very different image, for the movie viewing public. The trailers, make Mr. Kowalski out to be a very rude, violent, and closed individual. 90 percent of Gran Torino is a comedy. The jokes are all about humans and how to change and get along, no matter how different people are, on the outside. Mr. Eastwood, directed this coming of age film and how all of the characters in the film, no matter how old they are, can change. Sue Lor (Ahney Her) first approaches Mr. Kowalski, as one of his new neighbors, from the family next door. Sue, learns about Walt's loss of his wife, and shares similar feelings because she too, has just lost a loved one. Thao Vang Lor (Bee Vang) the younger brother of Sue, is the focal point, of the film, because of the relationship which he develops with Walt. The Grand Torino, is a beautiful car, owned by Walt, when he worked on the line, at Ford Motor Company. The car also has a history but it is better that the film viewers, find that out for themselves. To comfort Walt, is the role of Father Janovich (Christopher Carley) but in time, the priest and the widower learn to stand tall. As I said earlier, everyone in this film, learns, how to change. This is a period film and the attention that is paid to the era from whence it comes, stays true. Maybe we all should take a drive in the Gran Torino, and change.

Another Coen Brothers comedy of who is screwing who? Maybe, but more to the point this is an example of a 90 minute string film, with a missing 30 minuets. Is this flick funny, yes, not as funny all the time, but very funny, at times. It is really a stoner film, disguised as a short FARGO. Too much information is given out without enough, ending plot. The film opens and closes with an aerial view of The Pentagon. Possibly to give an air of finality or complete misunderstanding. The story line is about how so many people, can enjoy being screwed, either from the vantage point of prey or predator. As with all Coen Brother films, this one is full of A-Star Power. Harry Pfarrer (George Clooney) a philandering husband, Linda Litzke (Frances McDormand) an exercise employee who is one of Clooney's bed mates. Osbourne Cox (John Malkovich) a recently unemployed CIA agent who is married to Doctor Katie Cox (Tilda Swanton) who is also screwing Mr. Clooney. Then there is Chad Feldheimer (Brad Pitt) who gets a real screwing by Mr. Clooney, completely by accident. There are many point of view shots in this film, that causes the audience to question, why? Is the audience supposed to view each point of view shot as a separate but very important point in the film, each time this scenario shows itself on screen? One must decide this question for oneself, or maybe just e-mail the Coen Brothers. Seeing the film as a screener, allowed this reviewer not to get screwed, by evening movie prices. My vision and my viewing pleasure of this film were both blurred, after seeing.

The Dark Knight pays homage to the Michael Keaton:Batman. A very dark venture into the twisted psychology's of the main characters. The Joker, (Heath Ledger) Harvey Dent, (Aaron Eckhart) and of course, Bruce Wayne, (Christian Bale) are all men whose souls have one thing in common; the desire to be perfect. This of course is impossible, because, being human makes one fallible. The trait, these three males also share, is the lack of the fear, of death. Unfortunately, this flick, spends too much time, dealing out, the death card. The Joker's personal card, is a playing card, with a joker, on the face. While the film is quite intense, there is too much murder, a foot, with little bloodshed. The rating of The Dark Knight is PG- 13, it may in fact, have been better served, with an R. The rating of any film, decides the audience, who can view said flicker, but in today's movie market, top box office billing is the driving force. The Dark Knight, is not intended for children, under 12 years of age. The question of reality verses fiction, in the mind of the young, is a defining factor, when trying to resolve this film, in the young mind. Listening to a conversation between two boys after viewing the film, brings out this question. "The Joker is a genius!" said one lad. I said, "The Joker, was a genius." The two boys said nothing in return, and walked away. So much for the understanding, of a film, intended for adults, by two youths. The fact, that the passing of Mr. Ledger, and his role, as The Joker, may be too much for children, to comprehend. Commissionair Gordon, (Gary Oldman) is the true hero, of The Dark Knight. He is portrayed as a man, with very, deep, family values. This quality, plants his feet firmly on the ground, and not with the death defying aspects of The Joker, Harvey Dent, or Bruce Wayne. When Gordon comes home, from a murderous night in Gothem, he is not alone. This factor separates him, from the rest of the main cast. The audience knows, that all of the rest of the main leads, are alone. The other problem with The Dark Knight, is the fact, that it is a sequel. When The Dark Knight, rides off alone, at the conclusion of the this film, the audience is not sure, what direction, this franchise will follow. With so many dying, the question is, who is left for a third?

If you have not viewed the first Hellboy, all the better for you, when you do see, Hellboy II. Through a 'flashback' scene, at the beginning of this sequel, the audience is introduced to the now dead, Professor Trever "Broom" Brutenholm. ( John Hurt) The setting is right out of an old, 'Father Knows Best,' early 1950's television sitcom. The silver screen brings forth, Director Guilleino del Toro's, "Professor and Hellbrat!" A vision, of father and Hellpest, at home, where too much time is not left, on the cutting-room floor. Wait for the Director's Editon, when it comes out on DVD. Hellboy is supposed to be a larger than life character, but in Hellboy II, he is not. This is made painfully aware, to the audience, when our hero is standing next to his team mates. In the original Hellboy, 'Red' (Ron Perlman) is presented as a much, larger-than-life creature from the underworld! Where do you think, the name of the film, came from, for the screenplay! Hellboy's love interest is the very hot, in fact on fire, Liz Sherman(Selma Blair). Unfortunately there is not an ounce, of this once, very heated, relationship in this sequel. No passion, and the plot suffers! There is however, Abe Sapien, (Doug Jones) whose comic relief, as an aqua-breathing, Lothario, saves the film, from death by deadpan acting, and lack of any emotion at all. Even Tom Manning (Jeffery Tambor) as the acting, bumbling, chief, of the organization, whose job is 'to bump back at things, which go bump in the night', offers little in the way of humor. Where Hellboy II does shine, is the attention, which Mr. del Toro, spent on the creatures, 'who do go bump in the night'. The interaction of 'Red' and his crew in the action sequences, are quite good, but not enough to equal Hellboy I. Now some may say, that this production, is made to show 'Red's' more human side, if so, then Hellboy II, most certainly, stumbles, over his own feet, of red clay.

If you cannot see Journey to the Center of the Earth in 3D, do not waste your money or your time. Basically a children's film but the CGI makes it a wonderful, adventure land, thrill ride, for all. Unlike Superman Returns, the entire film is shown in 3D, so keep your 3D glasses on your face, for the entire ride. This is a PG rated production, but parents 'BE WARNED', do not leave your under 10 year old children, to watch this film alone. There are some very scary sequences, that may leave younger children feeling, uncomfortable, with resulting nightmares. So if you want to take your younger set, go along with them, and enjoy. Directed by Eric Breyig, who does an excellent effort, combining adult and children actors, together, as a working, polished, unit. Professor Trevor Anderson (Brandon Fraser) and his 13 year old nephew, Sean Anderson (Josh Hutcherson) follow the path of the Jules Verne novel to find his missing brother and father. The two adventure seeking uncle and nephew, find a guide, Hannah Asgeirrson (Anita Briem) and the quest is on! One suggestion, if you have the time, read the original novel by Jules Verne, before you view the film. Then the film will be more like, the exciting, adventure, it was meant to be, and a fantasy, video, primer for you, that does jump off the page!

Indiana Jones 4, is the secret history of Marion Ravenwood! Everything in the film, leads the viewer, to the discovery of the lost, first love, of Jr. Yes, Marion (Karen Allen) has aged, gracefully, but so has Indiana (Harrison Ford). The film is a marvelous, spectacle, of a 1950's time capsule, where our adventurers, leap across the globe, and back again. Indiana steps into one pot-boiler, and then into another, without so much as the time, to hold, his breath. Each action-packed sequence, is an Easter Egg, leading to the reunion, with Marion. A strange young man, on a motorcycle, dressed like an extra from the film, The Wild One, (1954) grabs onto Indianas' coat tails and stays along for the ride, until the ending credits start to roll. His name is Mutt, (Shia La Beouf) and he is very, handy, with a blade. Marion's Revenge, is more like the Saturday afternoon thrillers, of the 1930's and the 1940's, the action, never stops. Director Steven Spielberg, really deserves a tip of the hat, for out-doing himself, in the area of special effects, with this film. Well over two hours in length, one can only imagine, what will be added in the Director's Special Edition, when it becomes available on DVD. When we finally do view Marion, she still has that angelic, sweet smile, with the hint of the devil, just underneath. Marion and Indy, still make a pretty strong pair, in any poker hand. This is not a film for the family, to go see on a rainy, Saturday afternoon. This film is adult in nature, and violence. What lies ahead for Marion and Indiana, is part of the secret of the Kingdom of the Crystal Skulls. What is Marion Ravenwood's final revenge to Indians Jones? See the film and ask the Crystal Skulls, yourself.

Tony Stark, aka Ironman, is the hero of 2008. Or better stated, Robert Downey Jr. is Carrot Top, doing stand-up, in the comedy film classic of this summer. Mr. Downey takes off with an array of one liners, and simply does not quit. Along with his stand-up comedy, the sight gags add more support, to this burlesque, portrayed on screen. Without giving away too much of the plot of the film, a head strong Industrialist, goes into the thick of the current battle zone, to show off his most current weapon of defense, and blunders into the hands of the enemy. Ironman is born, and the film goes on, full tilt from there. Obadiah Stane (Jeff Bridges) is one of the key board members of Stark Industries, and best friend of Tony Stark's late father. What is most interesting about the choice of Mr. Bridges in this film, is his past film credit, Tron (1982). A lot of the visual electronics, in Ironman, appear to pay tribute, to the early, light show effects, that were created for the film, Tron. Mr. Bridges may play his part a bit over the top, but that goes very well, with his outrageous ego and persona. Pepper Everhart (Gwyneth Paltrow) plays Tony Stark's quick witted, and almost sarcastic, first secretary. In fact, she is his only secretary, and true confidant. Their relationship aids the only true love element in the entire film, which brings a human quality, necessary to bring the script down to earth. Tony' s and Pepper's rapport leads straight into the basis of the material, which supports the real issues of the Ironman myth. The real story of Ironman is taken from the true-love lives of Percy Bysshe Shelley and Mary Shelley. Ironman is Frankenstein, reborn to suit the failed self-image of a man. Whenever man tries to create something greater than his own self-image, a monster is created. No one but the creator, sees the creation for what it is intended, all others see, is a monster! Remember, this is a comedy, so laugh with Ironman, and tighten a few bolts, along the way.

"My one true friend!" as Sweeney Todd sings this line, leering into the mirror, viewing the reflection of himself, in the polished silver, straight edged, razer he holds tenderly in his hand, close to his demonic face, once again after 18 years of incarceration, a sardonic smile appears. The audience knows that blood will flow, and lives will be lost, in a revenge driven musical, based on the original play by Stephen Sondheim. Johnny Depp takes on the persona of the Demon Barber of Fleet Street, with such ease one would almost imagine he was not play acting at all. Joining Mr. Todd is the lovely (sic) Mrs. Lovett (Helena Bonham Carter) who joins him in this lively but deadly, duet. Mr. Todd and Mrs. Lovett make a handsome couple, although their facial colors are a bit ashen, and the circles about their eyes are rather dark, non the less they seem quite appropriate, for working class folk in the mid-1800s, in London, England.This 'R' rated opera is lavishly funny, with ghoulish glimpses, of blood curdling buffoonery, and musical merriment, although, it is difficult to hear all of the wonderful lines, in the verses in the songs, while one is laughing, from the previous lines,while listening to the quick witted phrases currently being sung by our favorite, devilish duo. Mrs. Lovett runs a bakery, specializing in meat pies on Fleet Street. She allows Mr. Todd to use the room above her Estblisment to ply his close cutting trade. This gives rise to a fresh supply, and a new ingredient, for Mrs. Lovett's now fiendishly good meat pies, and an increase in business. Special notice must be given to the performances by, Alan Rickman, Timothy Spall, Sacha Baron Cohen, and Ed Sanders. Be forewarned; this is not everyones tea cake. Sweeney Todd does get carried away while shaving some of his customers, too closely!

It's a Gates' Family party, world-wide trip, and if you are very wise, you will skip this junket. Sequels are supposed to be a bridge between films, not worthless, empty, waste of time, and money, effortless grinders. This second film has more in common with a salt-water game fish, caught on a hook on the end of a line, before it jumps into vision because it flounders, just below the surface. The opening 20 minutes of this film, holds a great deal of excitement and promise but that falls flat, for a movie played for laughs, rather than intrigue and true detective work. This film lead the countries top box office take for two weeks running, only on the fame of National Treasure 1. There is nothing to get excited about, nor is there any anticipation of "the chase!" as there was in the first film. Director Jon Turteltaub may take the blame for this really terrible film, only because he accepted the position as Director. The actors played their parts well enough but to make a great film, one has to have a great script. National Treasure 2 died from a lack of a good screenplay! If there is a National Treasure 3 sequel, hopefully those in Hollywood will put their combined heads together and write a great screenplay before anyone says, "Action!"

Walk Hard; The Dewey Cox Story; here in referred to as (WHTDCS) by this author is this years Forest Gump (1994). Concider, Forest Gump is mentally challenged, his best friend Bubba has a speech impediment, Lt. Dan is a double amputee, and his girl friend Jenny, dies of AIDS, all in the span of 30 years. The era is almost the same for both films as well as the violence, adult language, adult content, sexuality, drug use, political activism, rock and roll and racial equality issues. Granted Forest Gump was rated PG-13 and WHTDCS is rated R for male non-sexual frontal nudity, and a bit more funny, adult content but this film was made 13 years later, in actual time.The title WHTDCS, may be more offense to the American public but with a film titled Knocked Up (2007) the gloves are already off. Back to comparing both films; when the public watched Forest Gump, they laughed out loud but as previously stated, the main characters were mentally retarded, confined to a wheel chair, an alcoholic, suffering from a speech disorder, and dying of AIDS! Yet, the film viewing public more often than not found this film a comedy, is it not strange to laugh at those less fortunate than most! WHTDCS is very much like the cast in Forest Gump; Dewey Cox (John C. Rielly) has no sense of smell, his lead drummer is a drug addict as well as the rest of his band and Dewey is forced to leave home at the age of 16! Satire allows the audience to laugh at a sad situation like Forest Gump and WHTDCS. In the early 1960's Monte Python's Flying Circus hit the airways of Public Television in The USA, America had found a new comedy. It was great fun to laugh at The British! All of their silly walks, Spam, Spam, Spam, etc.,etc.,etc., but we were laughing at our English neighbors, not at ourselves. WHTDCS is grand satire at America, and Americans may find that too salty a meal to digest. Director Jake Kardan has made a very funny film, a pun unto itself, with actor John C. Reilly in the lead doing stand-up. Sadly the box office does not reflect the gross product of Dewey Cox, however hard, he may walk.

The Golden Compass gives the power of truth to the proper user on a journey to set her world on it's true course. Sounds rather simple and straight forward, does it not? But there are hidden forces who do not want the truth to be known by the citizens of the republic, and they will go to extreme lengths to prevent this from happening. So sets into motion a wondrous voyage of a little girl, (Dakota Blue Richards) an armored polar bear, (voiced by Iam McKellen) a cowboy balloonist, (Sam Elliott) her father, (Daniel Craig) and an evil woman. (Nicole Kidman) Hollywood has often taken sides on political and social issues and this is just as true with this film. The current war that our present political administration is insisting, that must be won, by changing the people of another country to a Democatic form of government, like our own, is no different than part of the plot of this film. Freedom of choice is also a large part of the theme of this excellent film. You and I have an inner conscious mind that we can talk too on occasion and discuss questions at a moments notice, which we take for granted. We call this our 'Ego' but suppose our Ego was three dimensional, which is the exact case of the people in the Parallel Universe where this film takes place. Chirs Weitz who directed and wrote the screenplay has given his audience a lot to think about. This is only part one with two more episodes to follow. The film is based on the three novels written by Philip Pullman. A family quality film with a certain amount of controlled violence, but no blood and guts. Share the experience of The Golden Compass with your children and enjoy the path together.

Sit or get off the pot? The question of how to handle the current conflict crisis by the current administration is the latest film genre. Lions for Lambs has three of Hollywood's "A" talent list players: Robert Redford, Meryl Streep and Tom Cruise. Where-by in the political leanings of the characters they portray, form a circle around the main concept of the film. The single thread which binds the three separate but equal parts of the film is the depiction of the active conflict in a 'war zone' of present day. Mr. Cruise plays Senator Jasper Irving, who is being interviewed by Jaine Roth (Ms. Streep) in his office in Washington D. C. for one hour. At the same time, Professor Stephen Malley (Mr. Redford) is questioning one of his most gifted students, Todd Hayes (Andrew Garfield) as to why he is no longer goal-directed, as he once was, for that same period of time. The third element is the one on one conflict of two young American soldiers caught in the middle of an ambush! Robert Redford directed this film and the audience is given a front row seat to all of the afore mentioned 'action'. The viewer is given a rare opportunity to not only see how our foreign policy is implemented by a young Senator Irving but also how Ms. Roth, a '60's liberal' journalist, who interprets a political figure whose career she has helped mold. Professor Malley, a Viet Nam Vet., a '60's' political radical activist, and now a respected member of a well-known Southern California academic chair, gives the audience almost 50 years of political and social change in America to ponder during the hour he spends with Todd, on an eye to eye level. Their 'chat' is almost reminiscent of said 'fireside' chats with past persons who started their conversations with, "my fellow Americans." The directorial path Mr. Redford skillfully takes this film, saves the most disturbing footage for when he places the film audience in the middle of the battlefield. Sit or get off the pot, is in reference to the choices we must all make in our daily lives. Lions for Lambs gives up the choice for all of us to ignore what is happening or make a final stand and face the lion on his own terms.

Where would there be a country for no old men? Logan's Run? The 1960's science fiction film based on the book of the same name where the main plot of the story is to voluntarily commit suicide by the age of 21. This might seem more plausible in one's own personal world of dreams. Herein lies the main fault with the latest Coen Brothers big screen extravaganza: No Country for Old Men. The tract of the film seems more like a personal dream by the Coen's and not a film script. Many groups of flickering images are presented before the eyes of the audience but there is little final transion to an outcome. Llewelyn Moss (JossBrolin) is one of the films heroes, pursed by a very psychotic killer called Anton Chigurh (Javier Bardem). Llewelyn has stumbled into a very large drug deal, gone bad at the tale end. He grabs the money, like so many other Coen Brother plots and the chase begins. Unforturatly the pursuit is more like a Tom & Jerry cartoon. We meet many other characters who get in the way of the scramble, and just like in those Saturday morning cartoons, they die. Did I forget to mention the over narration by Sheriff Ed Tom Bell (Tommy Lee Jones)? Mr. Jones does very well, as he does in most of his efforts, because he has practiced his trade down to a fine art. Sheriff Ed is almost a re-creation of the role Mr. Jones played in Men in Black, and just as sarcastic. The Coen's undertaking is quite funny all the way to it's final flicker. Next time the Brother's Coen could use a bit more adhesive, less nightmare, and men of any age.

What would be different about a child from the planet Mars than one born on Earth? No one knows, since for all practical reasons no one has ever meet a Martian Baby. David (John Cusack) a widowed science fiction writer, with writer's block decides to find out, by adopting an unwanted boy. The boy, Dennis, (Bobby Coleman) outwardly acts as if he is a child from our closest celestial neighbor, the planet Mars. David and Dennis appear well suited for each other because they are both living apart from society. David does so by living alone and writing science fiction novels up until the present time of his wife's death, now he is just alone. Dennis, avoids contact with everyone by taking on the guise of the child from Mars, an alien, a stranger, who acts differently than the norm, and therefore society avoids confrontation with what is unusual. This screenplay is adult in nature because it deals with issues that are unpleasant and upsetting. Taking on the responsibility of rearing an unwanted child, alone, having never actually been a parent, and never knowing if the love you give is going to be returned is a huge step! This is a film that will be appreciated by a very small audience. One must first be able to get past self indulgence and reach a certain level of maturity before one can consider taking on the total responsibility of another life form. Director Menno Meyies has created a very strong bond between David and Dennis in their scenes throughout his film. Unfortunately most of the people on this planet will never see their performances. Go out of your way, go alone if you must, but go see the Martian Child. If you are a parent it will remind you of raising your own children, if you are not yet a parent it will remind you of the childhood you had and the experience of raising your own Martian Child yet to come!

The year; 1868, the place; Bisbee, Arizona, the time; three years into the reconstruction era post Civil War: where life, living, and love is as savage as a mindless bullet coming out of the end of the barrel of a gun, pointed at you! Every man, woman, and child wears a scar, either visible or in their hearts from the ravages of the War between the States. Ben Wade (Russell Crow) is the man in black, the leader of a ruthless band of cutthroats but an existentialist just the same. As incongruous as this may seem Mr. Wade is a lover as well. Enter Dan Evans (Christian Bale) a down on his luck, poor dirt farmer, and with a wooden leg to boot, compliments of a Union Army Surgon after a battle with a Confederate Army Regiment. Evans and his family are literally standing on their last leg, no pun intended, when after Wade is captured and a reward is offered to transport the bandit to catch the 3:10 train to Yuma Prison. Evans volunteers for the job to save his farm and his family. Wade the 'lover' has this profound effect on most everyone he meets. Either it is hero worship or out and out physical desire, the pheromones of Wade's chemical makeup has the same effect whether you be male or female. Then the existentialist, Wade comes out to play. If Wade cannot have the individual to play with, no one can. I nominate for The Academy Award for Best Supporting Actor of 2007, Charlie Prince (Ben Foster) who portrays Ben Wade's sadistic knife-edged sexually undefined Second Lieutenant. Prince brandishes a matched pair of 45. caliber Scofield break-action revolvers as Wade's side-kick and fellow roust-about. Directed by James Mangold and shot on location in New Mexico, the cinematography may well have paid homage to both John Ford and Robert Altman who directed McCabe and Mrs. Miller. Both of these 'giants' created and gave direction to actors, writers, directors, and others of the film industry whose debt was never expected to be repaid. Strange, how a 15 page, short, story, by an unknown copy boy by the name of Elmore Leonard, could influence Hollywood twice, over a span of 60 years and produce two separate and different examples of the western genre. The American Western, often copied, imitated, and mimicked, but never duplicated. The 3:10 to Yuma, best not to miss that train.

Eastern Promises' most dramatic and intensive scenes were also the most gruesome and stomach turning exploitive moments the film had to offer the audience. These scenes were so shocking that either the viewer had to avert their eyes or their attention was mesmerized to the silver screen. The rest of the film was more akin to a dream rather than a night mare: certainly not a wet dream! I give credit to the casting director for putting together a solid group of actors who instilled the impression and the concept of modern day London with the Russian Mob or what was termed the "Vory V Zachone." Viggo Mortensen is becoming the later day Kirk Douglas. Mr. Mortensen can assume any role and not only breath life into the character but masquerade so well that we forget he is acting. His role of Nikolai as ' the driver' is most convincing. Armin Mueller-Stahl is excellent as Semyon, the 'God-father' of the mob. Sinead Cusack as a motorcycle riding mid-wife does a very impressive job as a go- between the 'civilians' and the mob. But violence and good actors do not alone make for a great film. Nikolai is joined by the son of Semyon, as his side-kick, a mobster named Kirill. (Vincent Cassel) Nikolai and Kirill tool around London suchlike Crocket and Tubbs in an episode of Miami Vice, without the pastel colors or the sandy beaches. The rest of Mr. Cronenberg's movie is as exciting as taking the 'tubes' from Gatwick to Soho on off peak hours. No matter what point of the compass you pledge from Mr. Cronenberg if you cannot deliver do not bother to offer.

In the Valley of Elah the viewer gets a refresher course in grief 101. The vicious murder a young Army Specialist named Deerfield is the common thread in this 'string' vehicle film which connects all of the major players. The quote ' no man is an island' is replaced in this picture by a more timely quote, ' everyone is bound by their own island.' There are very few bridges built between the characters in this film because the cast is in constant strife with each other as they tend to hide their emotions and trust no one. Tommy Lee Jones is the father of the deceased infantryman, himself an Army Military Police retiree, Hank Deerfield. Hank tells his wife (Susan Sarandon) to stay home and that he will return in a few days with their son. The setting of this period piece is 2004 at the beginning of the the current USA conflict. Although these events take place in the recent past they hold a measurable amount of substance today. The Valley of Elah is where David and Goliath met and the outcome was decided by a slingshot. When a Serviceman or Servicewoman of the United States Military Armed Forces dies, the family is given personal notice by said particular branch of said Service and then the family is presented with a triangular folded flag, end of story. The Army in this film tries to do the same thing with the death of Hank Deerfields' son. Hank is most determined to resolve the mystery of his missing boy! The film is very reminiscent of Coming Home (1978) during the Viet Nam years. The USA was at war at this time as well, and the country was divided politically as it is now! The film Courage Under Fire (1996) again The USA is involved in another battle on a foreign soil, and yes once again the country is divided politically about our choice by the then current Administration if we should be at war? All of these films share many issues but how the film audience reacts internally by what they see on screen is part of the director's ability. Paul Haggis does a very complex job with his latest project, but I wonder, what if Goliath wins the next time?

Normally I do not venture out to see animated films because I am usually disappointed. Ratatouille was a pleasant surprise for the first sixty minutes. Director Brad Bird who also wrote the screenplay weaves an excellent adult fantasy up until that point. Sadly this 110 minute film could have been cut to 87 and Ratatouille would have been far more digestible. This is a movie about life, food, and new found relationships all working together to keep the human and animal spirit evolving. The animation is excellent. Pixar does magical film work, especially on a large screen when 2D becomes 3D. The colors, the depth, and the pure movie magic is completely captivating. Too much seasoning can foul the taste of the broth, too much time spent on needless scenes, drags out this film. Parents, this is not a film for children because it is made for an adult audience. There are only bits and pieces of cute scenes that your small fry will truly understand or comprehend. The actors who dub the voices of the main characters do an excellent job. How can you go wrong with such luminaries as Ian Holm, Brian Dennehy, Peter O'Toole, and Janeane Garofalo. Where Ratatouille sours is that it tries to choke itself on it's own recipe.

A good PG rated family film comedy beats everything out there hands down! Director Tom Shadyac has come up with a film that offends no one and anyone can come away with a great belly laugh and a good feeling all at the same time. The American Family has been shown to be at it's weakest when the children begin to question the logic of one or both of the parents. In Evan Almighty it is the father who begins to throw caution to the wind to gain back the trust and faith of his three sons. His wife questions his strange back to nature methods until she too joins the family tree. Here in the family is 'reborn' and the laughter never stops! The humor in Evan Almighty is most similar to the film, The Incredibles. While your children are laughing at one joke, you as an adult will be laughing at the punch line which follows the previous jocularity. Your children will believe you are laughing at the same joke that they are but the pun is on them. Parnethood puns partiality preclude precise palindrome. In other words let us all enjoy a good bit of tomfoolery at the movies and let no one be the target of the joke!

The laughs begin during the animated credits which prepares the film going public for the buffoonery to follow. Death at a Funeral (DaaF) is directed by Frank Oz. Because of the nature of this film I believe Mr. Oz is paying homage to the late, great, director, Robert Altman, particularly his film A Wedding. Both A Wedding and DaaF are both off beat, extremely, funny, and very non-typical of weddings and funerals, in which they both portray. In tribute to Mr. Altman, Mr. Oz also uses an ensemble cast of well known actors by face but not by name. The audience has seen their work and in this film they most definitely make you laugh. This is an adult comedy with an R rating for adult themes, nudity, recreational drug use, religious issues, postmortem issues, and the absurdity about death. Remember this is an adult comic opera taken to the extreme. At this funeral the mourners may come with their inhabitation's in check but due to the outlandish antics of many of the other grievous members assembled, all of the gathered, loose all claim to sanity. The audience becomes one with the collected zany members of this grieving group. Since the players on film have lost their inhabitation's so to does the audience. Remember this is an adult, knee slapping, laugh out loud farce. This film is outrageously funny, in an adult vein, not intended for children. If you go to a sporting event, after you have paid for your ticket and bought your seat, people around you cheer, yell, scream and sometimes even in funny costumes as well. A film house is the same communally shared type of experience and environment for entertainment but patrons of the silver screen tend to hold their laughter within, as of being afraid of upsetting the patron in the next seat. Is it not time to unshackle this age old concept and enjoy yourself along with others? I am certain that is the reason why Frank Oz made this film, so the audience could laugh and laugh at themselves. I personally want to thank you Mr. Oz for the laughter and the comedy of Death at a Funeral.