Top 10 films of 2009

1. A Serious Man (Joel and Ethan Coen)
2. Where the Wild Things Are (Spike Jonze)
3. Inglorious Basterds (Quentin Tarantino)
4. Up (Pete Doctor)
5. District 9 (Neill Blomkamp)
6. Adventureland (Greg Motolla)
7. The Hurt Locker (Katherine Bigelow)
8. Moon (Duncan Jones)
9. Bright Star (Jane Campion)
10. Bad Lieutenant: Port of Call New Orleans (Werner Herzog)

Almost made it:

11. Sugar (Ryan Fleck and Anna Boden)
12. Antichrist (Lars von Trier)
13. Star Trek (J.J. Abrams)
14. Drag Me to Hell (Sam Raimi)
15. Watchmen (Zack Snyder)

Good:

16. Up in the Air (Jason Reitman)
17. Fish Tank (Andrea Arnold)
18. Avatar (James Cameron)
19. (500) Days of Summer (Marc Webb)
20. The Informant! (Stephen Soderbergh)

Best of the Rest:

Invictus
The Girlfriend Experience
Fantastic Mr.Fox
Zombieland
Goodbye Solo
Funny People
Public Enemies
I Love You, Man
The White Ribbon
World's Greatest Dad
The Box
Bruno
Big Fan

Didn't care for:

Paranormal Activity
The Imaginarium of Dr.Parnassus
In the Loop
Brothers
Away We Go
The Men Who Stare at Goats
The Hangover
Terminator: Salvation
Transformers: Revenge of the Fallen

Didn't see:

Bronson
The Cove
The Road
A Single Man
An Education
Summer Hours
A Prophet
Precious
Crazy Heart

The Imaginarium of Dr.Parnassus

"The Imaginarium of Dr.Parnassus"
Starring: Christopher Plummer, Heath Ledger, Verne Troyer, Tom Waits, Colin Farrell, Jude Law, Johhny Depp, Lily Cole, Andrew Garfield
Grade: C+

Terry Gilliam's Dr. Parnassus isn't as weird as it should be. Rather, it's maddening in the ways that it manages to be dull and un-involving. It meanders at it's own pace until it flares up for a few minutes, only to bring you back to it's rather un-interesting level of mediocrity.

The film follows a traveling circus group who perform in the streets of modern day London. The outfit consists of the old and weathered Dr.Parnassus, played by Christopher Plummer. His daughter Valentina, played by Lily Cole. A young man named Anton, around the same age or older than Valentina played by Andrew Garfield, and the midget oddity Percy, played by Verne Troyer. The outfit is struggling for money and meaning until they happen upon a suicidal drifter named Tony played by the late Heath Ledger.

Most will remember The Dark Knight as Ledger's final curtain call, but Parnassus was truly his last role. He's as charismatic and oddly charming in this film as one would expect, though his role isn't fully fledged for it to stand out on his short but accomplished resume. Ledger is what makes the film watchable, when Parnassus' outfit finds him, he's hanging over a lake. He becomes apart of there group, and brings new wrinkles and a fresh presentation to attract customers.

The film plays out on it's own terms, as all films should. With Parnassus, there is no destination, no significance, or even the hint of excitement. It has small moments, but with all of the intrigue seen in the trailer, and with the help of a talented cast, Gilliam's film amounts to very little. Johnny Depp, Jude Law, and Colin Farrell all make appearances, they filled in for Ledger after his death. Farrell is given the most to do, but each of the three are just footnotes to the picture.

There is the character of the devil, played by Tom Waits. His duel or "game" with Parnassus is the basis for the film. It's a twisted morality play, played out in modern London. As soon as humans enter the mirror in Parnassus' sideshow, there imagination is played out, or controlled, and they must choose between The Devil's temptation or to be spit back out of the Imaginarium. It's all very interesting, wink wink. While I didn't despise the film, one must wonder where the script and direction went wrong? Gilliam's visual's are mildly inspired, but they aren't as fun or intriguing as they should be.

The film wraps up nice and neat, and while I'm not even sure how everything happened, I didn't really care to know. Parnassus isn't dangerous enough, weird enough, or strange enough to make it's audience feel entranced by its surreal elements. When you're dealing with a film like this, it would have been wise for Gilliam to go all out, instead, the director teeters on fairy tale and mild danger, and the film suffers for it.

Up in the Air

"Up in the Air"
Starring: George Clooney, Vera Farmiga, Anna Kendrick, Danny McBride, Melanie Lynsky, J.K. Simmons
Grade: B

Jason Reitman's third film speaks to the current economic climate of today's workplace. More than anything else, "Up in the Air" examines downsizing through it's main protagonist, Ryan Bingham, played effortlessly by George Clooney. Reitman, the son of famous director Ivan Reitman is maturing, but with maturity comes playing it safe, in this case.

Bingham does the dirty work for companies across the country, "letting go" workers, and proving them with severance packages, and plans for their future. Some people effortlessly accept their departures, some put up a fight. There's many scenes involving Bingham working in his environment, which he is best at due to his lack of human relationships. Bingham lives in the sky, airports, and hotels basically for 270 days a year. He racks up frequent flyer miles in hopes to gain ultimate status as one of the few to earn 10 million miles.

Clooney is an extremely likable guy and actor, we see a lot of himself in his roles, with Bingham, Clooney exudes world weariness and acceptance of his work of laying people off. It's what he does, and he's surely the best. Bingham meets his match in a sexy frequent flyer named Alex, played by the ever consistent Vera Farmiga. The two instantly connect and exchange witty banter that leads to sex. We sense that there could be something real there. There is also another women in Bingham's life. This one is Natalie Keener, a young Cornell grad who presents technology as an easier way to lay off people. Connect two people to a computer, and it's much easier Keener insists. Bingham's boss sends them on their way to many cities for Bingham to show the ambitious Natalie how things really work.

"Up in the Air" isn't challenging, nor forgettable, it exists on its own terms as the movie of the moment. The three leads play off each other effortlessly, their dynamics and views are fresh as they form true and likable characters. As first one would think that Natalie would be the annoying career obsessed women, she's not. Farmiga's Alex isn't just a stopping point for Bingham throughout the film, we see her vulnerable later on.

For all of it's easy going, fast paced nature, "Up in the Air" fails to present the resemblance of a tone or mood throughout. Some may argue that the tone is the on the go, city to city visits that Bingham and Kendrick make. The film is quick, but takes it's time to let the characters breathe. While Reitman's script is quite good at balancing humor and drama, there is the sense of a missing component throughout that I couldn't shrug of.

All three leads have a good chance to gain Oscar nominations, but look for Kendrick to have the best shot at a win. She's a nice young actress who doesn't play the cliche role of the young pupil along for the ride. It could be hard for Clooney to win, he's his charming self, but he doesn't have that crucial scene that Oscar loves. Bingham's motivations and goals are hidden for a while, but he's a relate guy that few could have played.

There is a moment near the end, where the film could have ended. I'm afraid that while Reitman isn't afraid to spread segments of melancholy throughout the film, that the director was afraid to end the film on a darker note. It will be interesting to see what people think. "Up in the Air" has been praised by nationwide critic groups and has a good chance to win the main prize at this year's Oscars. That was the film I wanted to see.

Avatar

"Avatar"
Starring: Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Giovanni Ribisi, Michelle Rodriguez
Grade: B+

James Cameron’s Avatar will remind audiences what it is to have fun again at the theaters. Cameron’s dream film, Avatar isn’t the best film of all time, but it’s the best film of it’s kind since the third Lord of the Rings installment. More than anything, Avatar is an event movie, much in the vein as the original Star Wars or Peter Jackson’s recent films. Cameron knows how to push the envelope visually, and has topped not only himself, but every other filmmaker in the craft. Cameron can tell a story fine, but with Avatar, Cameron’s visual palette surpasses any type of the story. The money is on the screen, and it has paid off tremendously.

Avatar is a simple story, it’s about Jake Sully, played by promising Aussie actor Sam Worthington, who Americans got their first glimpse of in the underwhelming “Terminator: Salvation.” Sully lays cryogenically frozen in space in 2154 until he is re-awoken to the news of his brothers death. Now, scientists and the military need Sully to fill his brother shoes on an epic scale. Sully is brought to Pandora, a gorgeous alien planet filled with frivolous detail of every plant, corral, and blade of grass. Sully’s mission is to transport his body into a remote controlled alien body called Avatars, which are made up of human and alien DNA.

The Avatar program is run by Grace, played by Sigourney Weaver, her interests in the natives and their land far supersede the intentions of her Military colleagues. Grace’s counterparts, look to use Jake and his marine skills to infiltrate the natives and convince them to move off of their land so the Military can search for “un-obtanium,” a key natural resource that sells for $25 million a kilo. Giovanni Ribisi plays Parker Selfridge, an arrogant suit that cares little for Grace’s beliefs. The super villain is played by the underused Stephen Lang, a scared colonel who speaks in the worst film clichés, but somehow makes them work. Lang also uses Jake to gain Intel into the Na’Vi land.

The planet Pandora is the star of the whole show. Pandora is home to the native Na’Vi, who are viewed as savage warriors by the U.S. military. Sully is also a paraplegic, and is promised that if he does his due diligence of getting the natives to move off of the their land, he will get his real legs back. Pandora is the highest visual spectacle of the year. The luminescent colors are radiating, as well as the numerous birds and beasts that live on Pandora. Cameron does a great job of writing this culture and species into an identifiable race. The main Na’Vi, or the female lead is Neytiri, a 12-foot gorgeous female garmented in blue skin, she is the love interest of Jake, and gives possibly the best performance in the film. Neytiri played by Zoe Saldana, is another promising young actress who was seen earlier this year in Star Trek. Neytiri and Jake’s relationship is the main component of the film. She introduces Jake to the Na’Vi’s spiritual beliefs and ideals, and makes Jake truly believe in the Na’Vi ways.

Jake soon becomes accustomed to the Na’Vi’s ways and learns there lifestyle and language. Jake has to choose what side to join, his humans and violent military outfit, or the understated wild Na’Vi. Not that any of this matters. Sure the film is predictable, it plays like Dances with Wolves, except with blue aliens and the military. The casting of Worthington and other noticeable, but not big name actors also work in the film’s favor. Worthington's protagonist is clearly identifiable, as first he is a broken man, but comes to realize his destiny. The arcs of the characters, especially Sully and Neytiri are on first impression rushed and not fully developed. Upon second viewing, it works just fine. Worthington and Saldana do strong work here, as well as Weaver, and the over the top Stephen Lang.

The film’s pacing and narrative start to become familiar, but Cameron who also wrote the film, takes the viewer out of seeing a semi-clichéd story about a man being re-born into another society. Cameron’s narrative, while well paced and intriguing, doesn’t hold up to the dazzling effects which make the film. Pandora is simply an amazing place, filled with vivid wildlife and natural surroundings, it represents a getaway for Jake and his past. Sure, Pandora is home to the natives, but Jake finds solace in this safe and dangerous haven. Jake Avatar must adapt to the true nature of the Na’Vi people, Cameron cross-cuts this part of the narrative with the on goings of the humans, as Jake reports back to them with Intel and information. Soon, Jake is one of the Na’Vi and the game changes drastically.

While some may find it distracting to adapt to the look of the Na'Vi, fear not. Cameron has broken the mold with his re-discovery and ambitious use of CGI. Avatar is truly the most beautiful film of the year. The frame is constantly filled with exquisite wildlife, action, and wonder. I said it before, Avatar is not the best film of all time, and probably not the best film of the year, but Cameron has truly delivered here, and it must be noted. The future of film making may surely change because of Cameron and this film.

Invictus

"Invictus"
Starring: Morgan Freeman, Matt Damon
Grade: B

Clint Eastwood's latest knows exactly what it wants to be, and for the most part, does what it set out to do. At the age of 82, Eastwood has proven he can still be an effective filmmaker. Few can rival his diligence behind the camera, and his passion for storytelling. Eastwood who worked with Morgan Freeman previously on "Million Dollar Baby," directs Freeman on the easy road to an Oscar nomination. Freeman plays South African President Nelson Mandela circa early 90's.

Freeman is the kind of actor that can surpass the difficulties to playing such an important world figure. Freeman humanizes Mandela, instead of mimicking him to the point of no return. Freeman transports his being into this character, and it serves the film correctly. AS the film opens, Mandela has been released from prison, and is looked down upon by whites in South Africa. The film chronicles Mandela's strategy to put an end to apartheid in the country.

While half of the film is about Mandela, the other half is devoted to his relationship and strategic partner, the captain of the South African rugby team, Francois Pienaar, played by Matt Damon. Damon is perfectly cast, he doesn't have as many rousing speeches as Mandela, but Damon's Pienaar conveys emotions through his body language and his dedication to his team and to Mandela. This is a nice role for Damon, that supports the fact that he's one of the best actor of his generation.

Eastwood's pacing works well, the first half of the film deals with the inner workings and lead up to Mandela's meeting with Pienaar. We see the inside world that Mandela evokes, his offices, his workers, his closest assistants. The film spends many scenes following Mandela's black and white body guards, who come to respect each other. While Eastwood is certainly following the trajectory of the script and his past efforts behind the camera, one can't help but admire the passion and spirit put into this project.

There is a certain tone about the film that is always admiring, and respectful to it's audience. We do get more than a few inspiring monologues from Mandela, but the script does just enough to support the performances. The apartheid commentary is always present, but that's what the film is about, there is no easy way around political parallels to today's political climate.

Back to the pacing, the 2nd and most effective hour is devoted to Pienaar and his teams World Cup efforts. The team isn't very good, and aren't favored to do very well. Most of the players don't respect Mandela, but it's Pienaar who gives them hope when all seems lost. There are some good scenes involving the team visiting the prison Mandela was in for nearly 30 years. Damon works best in this scenes, with little dialogue, Damon's Pienaar understands what needs done.

While "Invictus," is certainly no masterpiece, it results in a great attempt by it's orchestrators and actors to re-create a time and place most have no knowledge of. It's a dedicated sports film, a light history lesson, and a showcase for the great Morgan Freeman

Brothers

"Brothers"
Starring: Tobey Maguire, Jake Gyllenhaal, Natalie Portman, Sam Shepard
Grade: C

Jim Sheridan's new film "Brothers," based off of a Danish film of the same name is well intentioned and features some good performance, but in the end adds up to very little. It stars 3 of the most talented young actors going. Tobey Maguire, Jake Gyllenhhal, and Natalie Portman. It's up to these 3 to make the story plausible and with meaning, and while they try there best, none of them can make up for the uninspired script by David Benioff, who also wrote "25th Hour," which is one of my favorite films of the decade.

Maguire who gives maybe the most convincing performance plays Sam Cahill, a career military man, husband, and father. Sam is married to Grace played by Portman, in a restrained yet quietly effective role. They have two young daughters, who are written to be cute and funny for the sake of comic relief throughout the film. As the film opens, Sam is about to leave for Afghanistan, but not before he can pick up his screw up brother from prison. Gyllenhaal plays Tommy, a well intentioned guy who is seen as a failure in the eyes of his dad Hank, played by Sam Shepard. Hank openly favors Sam, as they've both served their country. The script hits us way over the top with Tommy and Hank not seeing eye to eye.

The story progresses as Sam and one of his fellow soldiers are taken captive by Afghan troops, they're starved, tired, and running out of options until a bizarre plot development enters the film. Meanwhile back at home, Grace gets false news that Sam has been killed in the line of duty, Tommy steps into the father role to console Grace and the kids, as they all start to become happy again.

The Afghan scenes are uninspired. Sam stresses to his friend not to give out any information to the enemy, but he betrays his beliefs and more in order to get home. This plot device serves as a cliche and improper motivation for his characters transformation once he arrives home.

Sheridan does his best to direct with a sure and inspiring hand, but the material just isn't there. Once Maguire's character arrives back home there are a few decent scenes, but nothing to bring the film together as a coherent and credible whole. The daughters clearly favor Tommy, and they let Sam know in a hurry, causing him to lash out in anger and frustration.

There is a part in the film when Portman and Gyllenhaal are exchanging dialogue over smoking pot, Portman's character describes herself in high school to Tommy. "I was such a cliche." Yes, you and the movie. While I was mildly engaged at times, "Brothers," does little to redeem itself by the final act, which comes around way too quickly.

Director Jim Sheridan has proved that he can make fine films, but "Brothers," will not be remembered as one his achievements, the film is well intentioned, but never decides what it wants to be, and how it wants to be.

Starting Out in the Evening

"Starting Out in the Evening"
Starring: Frank Langella, Lili Taylor, Lauren Ambrose
Grade: B

Frank Langella rarely ever gets his due, sure he was noticed for "Frost Nixon," but he's never been more vulnerable than in this filn. Langella plays aging writer Leonard Schiller. His books are out of print, and he's looking for one accomplished work before he disappears into literary obscurity.

The film is traditional in terms of plot, and character development, but that's what makes it so nuanced. Lauren Ambrose from the series Six Feet Under, plays Heather Wolfe, a young and ambitious woman who is smitten at the thought of writing her graduate thesis on the career and works of Leonard. The two strike up a bond that transcends common cliches. Leonard's daughter Ariel, is played by the underrated Lili Taylor. Ariel has relationship troubles with her father, and can't find a man to commit to her. These three characters are the nucleus of the film, one could argue that without Leonard, there would be no Ariel, without Heather, there would be no Leonard.

The film takes place in the autumn/winter of New York, where the atmosphere caters to the creative minds of writers and their admirers. The film demonstrates a sense of discovery, especially in the way the characters react and talk to each other. Heather and Leonard meet many times to discuss his works, and each time plays like a mild chess match. Leonard at first is guarded and on the defense of Heather's straight to the point questions. A lesser film would have Leonard teaching her life lessons, but this film has it's own tone and structure.

"Staring Out in the Evening" is no masterpiece, but it welcomes its audience with warm and dynamic characters. The film isn't all about Leonard, most of the time Leonard's scenes are followed by scenes of Ariel dealing with her on again off again partner Casey. Ariel and Casey's dynamics are of a different generation, much like Leonard's and Heathers.

Fantasic Mr.Fox

"Fantastic Mr.Fox"
Starring: George Clooney, Meryl Streep, Jason Schwartzman, Bill Murray, Willem Dafoe, Owen Wilson.
Grade: B

Wes Anderson has stuck to his vision and created another entertaining, if not thoroughly engaging film. While his better films reside in the first half of his career, Mr. Fox is certainly an upgrade over the emotionally tepid, "The Darjeeling Limited." This is Anderson's first go around with animation, and it results in a nice, and delightful fit.

George Clooney, who is appearing in almost everything these days, voices Mr.Fox, the cunning and witty husband to Mrs.Fox, who is voiced fittingly by Meryl Streep. Their angst ridden young son Ash, is voiced by Jason Schwartzman, an Anderson regular. As we are first introduced, these three are living in a pleasant and suitable tree that is in close proximity to three nasty and intolerable farmers who all own different goods that interests Mr.Fox. Fox looks to formulate heist plans to infiltrate the farmers land.

Mr. Fox's goal is to outsmart and outmaneuver his 3 neighbors, while trying not to put his family and friends in danger. Anderson creates maps and title cards to show the proximity of Fox and his neighbors. The cat and mouse game gets remains witty, but slowly stalls out as the film goes on. The dialogue is laugh to yourself throughout, but that's obviously what Anderson is going for. The biggest strength the film possesses is it's detailed and lush visuals.

Without going further, Mr. Fox is George Clooney, they're the same person. Anderson did a great job with the casting. Clooney brings his quick witted snappy comments, and his charm to the role, as Streep plays his disapproving, yet loving wife. The family are angst ridden, and striving for more, especially the un-coordinated Ash who can't live up to the hype of his athletic cousin Kristofferson who Mr. Fox admires. Anderson presents the family, plot, and all of the episodic events in his usual storytelling manor, this is clever, yet repetitive.

The animation is what makes the film appealing. Anderson litters each frame with minute and impressive detail to enhance his vision. While the film is PG, it certainly appeals to all audiences, much in the same vein as many other animated films this year. It appears that Anderson has sacrificed very little, as the film is trademark Anderson.

Many other Anderson usual's appear, including Bill Murray voicing a badger, Willem Dafoe as a villainous rat, and Owen Wilson as a gym-teacher. While Anderson certainly does his best to cross his style of film-making with animation, the film stalls at certain points and loses it's sudden charm which is laid on thick and convincingly in the first half.

I'm not sure whether Anderson is growing as a film-maker, but this different approach can't hurt his career, which needed an immediate boost. While Mr.Fox isn't as good as it's title says, it possesses enough wit, charm, and surprises for any age to admire. While the material is harmlessly adapted, it feels more light than forgettable by the time the film ends.

George Washington

"George Washington"
Starring: Donald Holden, Curtis Cotton III, Paul Schneider, Candace Evanofski
Grade: B+

David Gordon Green's debut film evokes much of the same stylistic choices as legendary auteur Terence Malick. While Green is certainly influenced by Malick, Green brings his own aesthetic choices to the table. The film centers around young adolescents in a run down Southern town. It's Summer, and a young boy named Buddy has just had his heart broken by Nasia, who's a year younger than Buddy, but is looking for a more mature man. Nasia narrates the film, admiring her friends and the way they live, express, and remain mysterious. This particular Summer will change all of them.

George is the hero of the film, he has a disorder in which his head is very delicate, much like a baby's. He can't go into water, but saves a young kid one day from drowning. While this occurs about halfway through the film, it could have taken place at any other moment and felt just as true. The narrative weaves in and out of the daily occurrences of these kids. Most of the time they're doing nothing, but that's sort of the point. Green looks to capture the everyday nothingness of this Summer, but as these characters grow they'll realize how memorable this Summer was.

One day, something happens, it doesn't take place as a plot twist, but as something natural and inevitable. The film goes on in the same manner, but the loss of innocence and the realization of guilt rings true with the viewer. These types of films are my favorite, there is no trace of plot, but many ideas and plentiful scenes. Green has such a keen eye for the beauty among the broken. The film is littered with gorgeous, elegiac images that speak the most to the influence of Malick. What also stands out is the how Green's narrative switches gears on a dime, dropping in on minor characters to the most important at any time.

This film reminds me of a more recent film I watched called "Ballast." Both films were debut's for there directors that convey poor youths experiencing life's mysterious and hardships through run down social climates. I don't know what attracts me to these type of films, but both were excellent in there attempts to make it's viewer feel as if they lived among these kids, and felt what they felt.

The Ice Storm

"The Ice Storm"
Starring: Kevin Kline, Joan Allen, Tobey Maguire, Christina Ricci, Sigourney Weaver, Elijah Wood
Grade: B+

Ang Lee's "The Ice Storm" is a prime example of an American film. The film chronicles the Thanksgiving festivities of two upper middle class families in Connecticut during the Watergate scandal, which is ever present on TV's in the background of more than a few scenes.

Ben played by Kevin Kline is married to Elena played by Joan Allen. They've recently dropped out of marriage counseling, and both are on the edge of infidelity. They're two kids played by Tobey Maguire and Christina Ricci are young, curious, and are experimenting with drugs, and the opposite sex. The other family is the Carvers, the parents played by Sigourney Weaver and Henry Czerny. They have two boys, both of whom are interested in Ricci's character.

The film takes place over a long Thanksgiving weekend. The weather is nasty, and as the sins of the parents and kids gets worse, the weather worsens. There is no general plot, but an insight into the infidelities of parents, and struggles of growing up on kids. There are no main characters, but every character has there own dynamic scene where they're spotlighted. This isn't an ensemble drama as it might read like one. "The Ice Storm" exists on many levels. It has a dreary and morbid undercurrent as it goes along, but it's also funny. Consider the scene in which awkward sexual advances are being made by two kids of each the families. A parents walks in, and one of the kids is wearing a Nixon mask.

Ang Lee gets the best out of his actors, Kline and Allen are particularly strong. The kids all hold there own, they're feelings and character developments are just as important as the adults. "The Ice Storm" is a fluid drama at 120 minutes, but there is a late plot development that is maybe too dark for the stories own good. All in all, this is a very good film.

Zombieland

"Zombieland"
Starring: Jesse Eisenberg, Woody Harrelson, Emma Stone, Abigail Breslin
Grade: B

Zombieland exists in the sub-genre of Zombie films, with other films like Shaun of The Dead and Fido coming before this one, Zombieland adds it's own twist and originality to the genre. It plays as a Zombie film survival guide as the lead character stresses many rules as they pop up as text throughout the film. Never go in bathrooms, the importance of cardio when fleeing from Zombies, never being a hero, etc.

Jesse Eisenberg plays Columbus, an anxiety fueled teen who models the actions and expressions of every role Michael Cera has ever played. Eisenburg is a good actor, but his roles can be classified as poor man Michael Cera roles. Columbus tells the audience that most of country has been destroyed in a comic book type Apocalypse manner. While the film certainly isn't bleak, there's humor in the decay of the country.

Columbus soon teams up with an eccentric redneck who has a pension for Twinkies, this man is Tallahassee, played by Woody Harrerlson. They're complete opposites, but mutual survivors of this zombie plague. Tallahassee demonstrates his despise of zombies throughout the film, much to Columbus' disgust. The duo run into a couple of female con-artist sisters played by Abigail Breslin and Emma Stone. The duo becomes a foursome after some small plot twists and don't get along all of a sudden.

The characters each have separate destinations, as Columbus looks to get home, Tallahassee seeks out fresh Twinkies, which serves as a re-occurring and awkward subplot, and the sisters look to find safety in California. The film is fun, scary at times, and breezy at 85 minutes, but the last act suffers from lazy writing and plot conventions. Throughout the film we learn small tidbits about the characters through flashbacks, some of which succeed in being funny, some of which are filler.

There's a great cameo about halfway through that shouldn't be spoiled. Some may guess who it will be at a certain point, but the build up and the outcome of the situation may be the funniest scene of the whole year. More than half of the film is predictable, and while the humor isn't always there, it's fun being in the company of the characters for most of the run-time. Zombieland doesn't represent the best of it's own genre, but there's enough blood, laughs, and gags to serve it's purpose.

The Box

"The Box"
Starring: James Marsden, Cameron Diaz, Frank Langella
Grade: B-

Richard Kelly has had a rocky career thus far. His first film Donnie Darko, was a surprise hit amongst critics, and an even bigger hit amongst fans, the film now ranks as a huge cult classic. His 2nd film, Southland Tales, was a disaster, and ranks as one of the worst films from 2007. Now, Kelly has written and directed The Box. A small scaled Twilight Zone esque thriller which features interesting concepts, and a few good performances.

The film stars James Marsden and Cameron Diaz as Arthur and Norma, a young Virginia couple in the 1970's. They have a son who is old enough to be embarrassed as his mom hugs and kisses him just seconds before the school bus arrives. Norma is a school teacher and Arthur is an up and coming pilot for NASA. One night a package is dropped off on their doorstep. The couple open it and find a wooden box with a red button inside. They don't know what it is, only that a man named Arlington Steward left it for them.

Steward is played by the great Frank Langella, a graceful actor whom appears as a hideous old man in this film. He is dressed in a suit at all times, but bears a hideous burn on his left cheek. The man appears the next day with a proposition, press the button, and the couple will receive $1 million dollars from Steward; the catch, someone, somewhere, will instantly die.

The concept of the box may seem like a cheap plot device stolen from other movies. But, Kelly is too smart and lets the film unfold gradually until the 2nd half where all hell breaks loose in the family's perfect little world. The film carries a bleak and mysterious tone which consistently works throughout. Kelly isn't concerned with building mood, but his score and first half pacing are on point.

The film blends human morality with sci-fi, NASA, bloody noses, prosthetic feet, creepy banquet waiters, Christmas, awful 70's wallpaper, and whatever else Kelly has thrown at the audience. While the film wasn't made for the performances, Marsden contributes a credible role to his filmography, with Langella playing a sinister mystery man. Diaz is serviceable, but feels slightly miscast. The film may stumble at times, exposing the jumbled narrative, but Kelly's vision is held intact until the final minutes. The Box is a mildly entertaining head-scratcher, which stands as the year's biggest guilty pleasure.

The Men Who Stare at Goats

"The Men Who Stare at Goats"
Starring: George Clooney, Ewan McGregor, Jeff Bridges, Kevin Spacey
Grade: C-

With all of the talent surrounding this political satire, one would think a moderately good, if not great final product could be produced. This is not the case with Goats, which runs at 90 minutes, feels too long by 10-15 minutes. One could question that the script and ideas portrayed on the film are too shallow, or even not executed right to warrant a good film. But why not, the talented actors alone should be enough to make a solid comedy, something doesn't add up here.

Ewan McGregor plays Bob, a divorced journalist who wants to cover something important and groundbreaking to gain back the respect of his wife, whom has left him for a less than suitable man. Bob stumbles upon a secret military uniform that was based out of Fort Bragg in the 60's in which soldiers were trained and taught to become "Jedi Warriors." Not only did McGregor himself play a Jedi in Star Wars, but the lame inside joke between the filmmakers and the audience serves no one.

While in Kuwait looking for a story, Bob stumbles upon Lyn Cassidy, played by a world weary George Clooney, in what looks to be a role Clooney could have played in 2 weeks. Lyn lets Bob in on all of the secrets and traits of the soldiers that were trained under Bill Django, played by Jeff Bridges in the film's most playful and humorous role. Django is a pony-tailed hippie who Bridges plays like a version of his former self from The Big Lebowski.

Lyn and Bob eventually up in Iraq where the story loses all momentum and any credibility, especially in the final act. Most of the little humor comes from flashbacks told by Len, showing his past training, and the ways in which the Jedi Warriors were taught and trained. Kevin Spacey shows up mid-film as a straight-laced soldier, who despises Lyn and Django. They're paths meet again in the muddled and sloppy final act.

The film directed by Grant Heslov, a close friend of Clooney, is un-even, and unfocused throughout. The film's tone is one note the whole way through, and it takes zero risks. The satire proves to be less than credible, with the actors looking bored at every turn. The film looked liked it could have been fun to make, but in this case that doesn't translate into a good film

Paranormal Activity

"Paranormal Activity"
Starring: Katie Featherston, Micah Sloat
Grade: C+

Maybe if I would have seen this movie months before anyone, I would have bought into the hype. Much like the Blair Witch Project, Paranormal Activity borrows much of the same technique and tone. Non-actors portraying an event with no explanation, only the horrific aftermath.

The film follows a young twenty something couple who live in an enormous house. I'm not sure what else we learn about them other than their professions and the horrible demonic spirit that haunts them. The film is shot on a hand held camera, and most of the suspense occurs last at night as we view the couple in there room via a camera on a tri-pod. The hours fast-forward, and then slow down when it catches something spooky, or the characters hear something; a door shutting, a light turning on, etc.

The film runs about 90 minutes, and the novelty wears off about 45 minutes into the film. The actors are serviceable, but that's not what the movie is going for. Much of the tone and aesthetic stems from the YouTube generation, where filming anything can get you noticed. While this film certainly has true origins, it may inspire other films like this, as this film was made for a meager $11,000.

The main problem with the film is that most of the scares and jolts are shown in the trailer. The best parts come in the last 10-15 minutes, but by then it doesn't matter. While the last shot will payoff most audiences, it's a cheap trick that follows the previous 85 minutes that constantly tease us.

I certainly didn't hate the movie, I even bought into it more and more as it went along. I think it plays better as a rental, or a midnight movie rather than a good theater experience. After all, most of my audience was laughing, and making obnoxious comments; never a good mixture with a mild letdown of a movie.

Paris, Texas

"Paris, Texas"
Starring: Harry Dean Stanton
Grade: B+/A-

The 1984 winner of the top prize at Cannes has been hiding from me. I recently watched it and discovered how good, if not great, a film it is. The protagonist is a lonely, thin, worn down drifter who is wandering in a Mexican desert as the film opens. The protagonist is Travis, a lonely man who is estranged from his wife and young son Hunter who is now taken care of by his brother and wife.

The film examines Travis' re-integration into society and the rekindling relationship by he and his young son. Travis is searching for more, he seeks redemption with his lost wife he doesn't know the whereabouts of. The film plays best as a road picture, the photography captures elegant cities, landscapes, and borders. All of the performances are top notch, each actor relays human emotion, especially Travis, who looks to seal old wounds.

Paris, Texas is unlike anything I've ever seen, I didn't think much of it at first, but it slowly brought me into it's world, and then devastated me. A haunting picture from start to finish.

A Serious Man

"A Serious Man"
Starring: Michael Stuhlbarg, Richard Kind, Fred Melamed, Aaron Wolff, Sari Lennick
Grade: A

The latest film by Joel and Ethan Coen appears to be their most personal work yet. A Serious Man takes place in the conservative suburbs of Minnesota in 1967 where physics professor and father, Larry Gopnik is trying to hold together the growing angst of his heavily Jewish family. An opening prologue introduces us to yet another unusual tale of morals and chance the film will heavily mirror.

Unknown and clean cut actor Michael Stuhlbarg plays the troubled protagonist, who's life begins to spiral away from him when his wife informs him that they must separate due to her affair with a man named Sy Ableman, a grizzly-bearded man who tries to convince Larry that everything in time will be okay. Larry is baffled at his simplicity, and earnestness in light of the devastating circumstances. Sy offers hugs and reason, while Larry begins to crumble. Larry has two teenage kids, a boy who is on the verge of his bar mitzvah, and a girl who is annoyed at her inability to spend time grooming herself in the bathroom due to Larry's loafing brother Arthur. The son listens to Jefferson Airplane song that serves as a footnote to the film, and experiments with pot in order to escape the boredom of his Hebrew schooling.

As Larry begins to question his life, things go from bad to worse in a Coen-esque way. Larry begins to seek out Rabbi's that will instruct and point him in the right way. Some are too busy "thinking" to meet with Larry, while others offer him stories that he may be able to relate to. No such luck arises for this honest and decent man, who has been forced to leave his house and move into a meager motel with his moping, and all the while mysterious brother.

The film is based and rooted in the ideals and traditions of Jewish folk. The Coen's poke fun at their own background often, as the films characters possess many humorous stares, coughs, names, and ticks. While some may feel the audience is left out of the joke, this is not the case with A Serious Man, which does its best job of letting the non-Jewish audience relate to the 60's Jewish culture by examining there own.

While the film is certainly a black comedy at heart, the Coen's decorate the film with an extra coating of foreboding, and a haunting tone that is only hinted at in some of their earlier work. While the narrative may come across as a boring exercise in satire to many, there is much to appreciate other than the brilliant script. The cast fits the film perfectly, as many Broadway and unknown actors flourish with their roles.

Outside of this review and the films trailer, there will be many perks in going into this film fresh. The Coen's are at their bizarre and witty best, as they've crafted another modern American gem which will resonate beyond this year. The film feels like a mish-mash of there filmography, throw No Country for Old Men, Barton Fink and Fargo into a blender and out comes A Serious Man. Many critics have taken note of the film's haunting final image, which may serve as an understatement. I caution viewers, if you hated the ending to No Country for Old Men, call me and I'll tell you when to leave this movie.

Ghost World

"Ghost World"
Starring: Thora Birch, Scarlett Johansson, Steve Buscemi
Grade: B

Ghost World is a nice little coming of age story from director Terry Zwigoff, starring mainly Thora Birch, and Scarlett Johansson before she broke out. The film based off of a comic tells a familiar yet original story of outsiders, teen angst, friendship, and relationships.

The directing isn't flashy, but the performances and script do more than enough to suffice. The story revolves around Enid played by Birch and her curiosity about a middle-aged man Seymour, played effortlessly by Steve Buscemi. They don't have much in common, but quickly learns things about each other and life, in this semi-romance/friendship.

The film is about growing up and progression. When the film starts, the two females have just graduated high school, and plan on doing what every girl wants to do, get a job, move into an apartment together and so on. The script identifies with modern youth in their hesitance towards responsibility and growing up

Where The Wild Things Are

"Where The Wild Things Are"
Starring: Max Records, James Gandolfini, Catherine O'Hara, Forest Whitaker, Chris Cooper, Lauren Ambrose, Paul Dano, Catherine Keener
Grade: A-

It's really hard to imagine how this film got made. The genius behind critical hits of years past has crafted a film that will split audiences opinions, and puzzle little kids. Spike Jonze, the auteur behind all of this made sure he got permission from writer Maurice Sendak, to adapt his beloved children's novel into a live-action film. The film has had a rough time line in terms of production, it was due out last year, but studio executives thought it was too dark for its target audience. Yes, the same audience who marvel at the yearly Pixar films.

This $80 million dollar spectacle is now finally released, and is something to behold. The film stars Max Records a Max, a confused, lonely, and angry little boy who is sent to him room one night after screaming at his busied mother played by the lovely Catherine Keener. He jumps onto the kitchen table and yells, "Feed me women!." Max then runs away into the woods where he finds an imaginary boat that will take him through a treacherous journey to the island of the wild things.

The wild things, are a marvel to look at, they're 9 feet tall puppets, that look as real as humans. They're all voiced by numerous A-list actors including James Gandolfini as Carol, Forest Whitaker as Ira, Catherine O'Hara as Judith, Lauren Ambrose as KW, Paul Dano as Alexander, and Chris Cooper as Douglas. They live amongst each other as a sad, and broken family until Max takes his role as king and promises that he will "make the sadness go away." The sadness is layered on thick, especially in Carol, voice by Gandolfini, who has violent and angry mood swings. I'll leave the social commentary subtext for others to decide upon, but I'll just say that the film is simple and complicated all at once.

We watch Max enjoy his time with these creatures as they erect forts, sleep in piles, and throw dirt clods at each other. This will all appeal to the younger crowd, but it's the innocence and honesty that rings true in almost every scene. Director Spike Jonze's portrayal of childhood is one of wonder, fear, and excitment.

The score by Karen O and The Kids, along with Carter Burwell is nuanced and haunting. The film which was shot by Lance Accord is lush and beautiful in imagery, the sweeping landscapes and oceans signify an honest and believable departure for Max. The film serves up a melancholic tone of sadness throughout, which may confuse the youngsters. The screenplay by Spike Jonze and Dave Eggers gives these creatures interesting dialogue, and realistic ways of expressing themselves.

I get the distinct feeling that this is the film Jonze wanted to make, a bittersweet and honest love letter to the rigors of childhood and all the fear, and isolation that comes with it. As of now, this is my favorite film of the year.

Paranoid Park

"Paranoid Park"
Starring: Gabe Nevins
Grade: B

Gus Van Sant has made a living off of directing films that show alienated youths and there social surroundings. This time, Van Sant favors style over minimalism, and makes a pretty good film about a young teen dealing with guilt and loneliness.

Gabe Nevins plays Alex, a teen, who is involved in the "skater community," as a cop puts it. Alex has a girlfriend who doesn't interest him much, and his parents are divorced. He likes to skate, write in his journal, and not much else.

The film takes an interesting turn as it builds towards an answer, and then ends in uncertainty. Van Sant uses a lot of slo-mo, glamorizing young skaters in Portland, the footage is littered throughout, and while it may be distracting to some, Van Sant is clearly trying to build mood.

The film isn't for everyone, if your a fan of Van Sant, who is known for commercial successes such as Good Will Hunting and Milk, this is a different kind of film, one I believe is worth checking out.

Away We Go

"Away We Go"
Starring: John Krasinksi, Maya Rudolph, Jeff Daniels, Catherine O'Hara, Allison Janney, Maggie Gyllenhaal, Paul Scheinder
Grade: C

Sam Mendes gets the chance to work on a smaller and modest scale, and in the end turns in an un-even and flat effort. Away We Go is a road picture starring two young leads that are un-married and expecting a baby. Verona asks Burt, "Are we fuck ups?," he's unsure.

The script written by Dave Eggers and Vendela Vida features too many annoying characters to even keep us interested. Only towards the end does the resemblance of real people outside of Burt and Verona make their way into the film.

With a soundtrack filled mostly with songs from Alexi Murdoch, and a flawed script, Away We Go is never worth caring about. The leads are serviceable, but the script lacks any raw emotion. The film deals with important life questions, but never presents any real truth or emotion with its audience, making Away We Go a less than mediocre effort