The Other Guys is a silly buddy-cop-action-comedy that makes you feel like you are riding in the car with someone who just learned how to drive a stick shift: the movie never really achieves a smooth ride.

With the help of narrator Ice-T, we are introduced to two mismatched New York City detectives, Allen Gamble (Will Ferrell) and Terry Hoitz (Mark Wahlberg), who are trying to fill the super-action shoes of their doomed police partner predecessors (played by Samuel L. Jackson and Dwayne Johnson). The problem is that Gamble doesn’t want to leave his desk and Hoitz is bound to his by past mistakes. They soon stumble into an evil plot that involves the abuses of Wall Street and a Bernie Madoff-inspired character, David Ershon (Steve Coogan), is at the center of it all.

This is the fourth time that director Adam McKay and Will Ferrell have worked together (following Anchorman, Talladega Nights and Step Brothers). Their attempt to educate the audience on the ills of Wall Street falls apart by the middle of the film and we are left with a ton of tiny sub-plots that distract the audience from the plot line … if there is one. The point they were trying to make was a good one – how badly the financial elite have screwed over the common folk in the last decade – but because of the utter lack of focus it is lost, never to be found.

The hardest thing to get over during this film is that the brilliantly funny moments shine a harsh spot light on the uninspired moments. You are left feeling a bit awkward because you want to like this film for those parts, but can not because most of the film falls flat. The actors seem to have the same idea as they clumsily wait for the next zinger to come into play.

I wanted to like this film. I wish I liked this film. It had the potential to be as hilarious as some of its predecessors, but was bogged down with an utter lack of focus. The Other Guys would be a wonderful DVD rental on a rainy day and with such a great cast, that’s a disappointment.

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I am in love with everything Tim Burton. For me, anything the man touches turns to gold; which is why the next few paragraphs were some of the hardest to write. Tim Burton’s take on Lewis Carroll’s classic Alice’s Adventures In Wonderland, lacks a cohesive storyline and relies too heavily on 3-D effects and nothing more.

Recently, the measuring stick by which all modern 3-D films are held is Avatar. I am not a James Cameron fan, but his creative, out of the box approach to the use of 3-D technology was astounding. I really didn’t understand how Cameron could be so forward-thinking with his film while Burton simply stumbles around. Burton’s idea of 3-D could be compared to films like My Bloody Valentine: films that rely on nothing more than tossing objects right at you. It made me think that Burton jumped on the 3-D bandwagon for no other reason than to be on the bandwagon – not cool.

As you may not already know, Burton’s Alice in Wonderland is a sequel to the original story, wherein Alice falls back down the rabbit hole several years after her first adventure. The entire film begs the question, “Why did Burton create Alice?” She has no memory of her first trip and she not only annoys the residents of Wonderland with her amnesia, but I also found her seeming ignorance intolerable. That wasn’t the only thing that was distracting and strange. Like a stubborn child, Wonderland dug its heels in and did not change. It seemed as though everyone and everything was just standing around waiting for Alice’s all-important come back.

The film introduces us to a young, spirited and progressive Alice at the beginning as she runs away from a marriage proposal. The she falls down the rabbit hole, somehow losing all confidence and sense of self. It was difficult to watch the iconic character of Alice be so used with no real sense of purpose; much like this film.

Let’s move forward to the content, or should I say lack thereof. The entire film went from one choppy segment to the next with no real direction. Burton never allowed time for character development, which left the viewer with no real connection. Alice’s needed realizations of her past, present and future were forced and rushed, which drove home the feeling that Burton never really developed the movie in his own mind. The only character that Burton seemed to spend any real time on was the Mad Hatter (Johnny Depp) and honestly, I don’t think Burton had anything to do with that; that was all Depp, and as we all know, Depp is brilliant!

Tim Burton’s Alice In Wonderland is nothing more than the freak show at the carnival; something to point and gawk at. It would have been wonderful if Burton would have decided to include a believable story to this patchwork of uninspired, but brightly colored characters, but unfortunately Burton failed to bring anything new to the table and it was frustrating.

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Scott Cooper’s directorial debut, Crazy Heart, is a tired storyline that is only brought back to life through a spectacular performance by Jeff Bridges. Crazy Heart is based on the 1987 novel of the same name by Thomas Cobb and includes a phenomenal score produced and written by T-Bone Burnett.

Bridges plays Bad Blake, a 57 year-old alcoholic country music singer/songwriter who has allowed his addiction to run his life. Once was a star of country music, a mentor to many, and one of the greats, he now earns a modest living playing one night gigs and living on the road alone or in cheap motels. He spends more time drinking than singing, and even less time writing.

Lost and full of guilt and regret, Blake blindly and sarcastically stumbles through his daily existence. However, all of this soon changes when he meets Jean Craddock (Maggie Gyllenhaal), a young divorced journalist with a four year-old son, Buddy (Jack Nation). This relationship is the motivation that Blake needs to get his life and career back on track, but we soon find out that old demons are never that easy to shake. As he struggles down the road to redemption, Blake learns that life will never be easy, but can be satisfying and worth it.

It is hard to pay proper homage to Jeff Bridges’ portrayal of Bad Blake. He brings his extensive knowledge, cunning, untailored charisma and humble brilliance to what I feel is his defining role. He is so attuned to ever feature of this character that you are lost within the two. Even though the storyline was played-out, Cooper lets you experience Blake’s slow revitalization right along with him.

The dry climate, dramatic red rock landscapes and empty flatlands of the US southwest were beautifully portrayed in the film. The stark environment only added to the desolate life Blake was living. The score at times felt more bluesy than country, which should be no surprise if you are aware of Burnett’s extensive and eclectic musical background. T-Bone Burnett and Ryan Bingham have been nominated for an Academy Award in the category of Best Song for The Weary Kind and it is well deserved.

This film is more forgiving to its characters than real life, but Crazy Heart is a beautiful portrait of a man unknowingly searching for redemption. The performance by Jeff Bridges can not be missed.

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Remember your grandmother’s or mother’s patchwork quilt? All those random pieces would come together to create a beautiful visual pattern. Peter Jackson’s The Lovely Bones looks like one of those quilts, but feels more like an awkward patchwork.

Based on the beloved novel by Alice Sebold, we take a journey through the eyes of Susie Salmon (Saoirse Ronan), a 14-year old girl who was raped and murdered by a serial killer. Susie spends most of the film in the “in-between” which is an ever-changing psychedelic landscape of nature. Mix this with the over-the-top 70s fashions that dominate the eye and you are transported into a film experience that feels dreamlike and disconnected. You feel lost at times and I wonder if this was what Jackson and director of photography Andrew Lesnie intended.

Unfortunately, the story was lost in all of the overpowering images and Jackson asks something of his audience that is way too farfetched: A 14 year old girl was raped and murdered. This is something pretty horrific, but the audience doesn’t seem to have the opportunity to connect emotionally. Susie’s mother (Rachel Weisz) and father (Mark Wahlberg) should be in a state of utter loss, but both seem void of any real emotion as Susie stumbles through the lonely in-between. It seems that Mark Wahlberg’s character was lost in the in-between with Susie; moving in a sleepy and tired manner which reinforces the lack of emotion within the film.

Jackson then wants us to believe that the perverted serial killer (Stanley Tucci), who wheels around homemade dollhouses, is never seen as a suspect. Really? A single, middle-aged man who makes dollhouses for little girls is interviewed by the police and forgotten. It makes no sense.

Another aspect of the film which requires too much from the audience is a strange teen romance between Susie and an older student. There is no background to make this believable for the audience. They have a few interactions and we are expected to believe that there is such a strong bond between the two that he actually “sees” her as she projects herself from the in-between to receive her first kiss.

Mixed-up in with all of these other speculative and emotionless stories is Jackson’s idea of comic relief: a cheeky grandmother played by Susan Sarandon. It is misguided and, like the rest of the film, a dusting of what the film might have been if it had the requisite depth required for believability.

The film Lovely Bones is empty and shallow; just a shadow of the wonderful book from which it sprang.

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Nine is truly a spectacle of the eyes and ears for everyone. It is packed with great talent, marvelous costumes and interesting choreography but lacks in making a true bond with the typical audience member. To fully appreciate this film you need to do your homework. As a young movie buff, I was advised to look carefully into the origins of this Broadway musical and I feel it was the only reason I was able to make a connection with the film.
This film comes from the book by Arthur Kopit and Mario Fratti and then created into a Broadway musical with lyrics and music by Maury Yeston. The story is based on Mario Fratti’s adaptation of Federico Fellini’s semi-autobiographical film 8 ½. Fellini came up with the title 8 ½ from counting his bodies of work which included six full length films, two short films and one film that he co-directed. Yeston put a spine on that when titling the musical Nine stating that by adding music to 8 ½, “it’s like half a number more”.
The plot goes something like this: Not ten days before filming is suppose to begin on director Guido Contini’s (Daniel Day-Lewis) next big hit, we find that there is a huge problem; Contini hasn’t event written the script! Contending with a mid-life crisis and severe writer’s block, Contini finds himself more obsessed with his personal life than his professional and it is getting him into trouble. Suffocating himself and his creative genius with multiple relationships including haunting visions of his mother (Sophia Loren), an obsessive mistress (Penelope Cruz), his muse (Nicole Kidman) and his wife (Marion Cotillard) Contini finds himself struggling with balancing the demons that plague true artists and what he truly wants from reality. In the middle of all of this is a film career on the brink of destruction.
Comparing the research I did on the play and the film, director Rob Marshall seems to have taken a lighter approach to the musical itself and I think that is where the disconnect occurred. The play seemed to be much darker and really delved into Contini’s anguish and struggles. The film never allowed you to truly connect with his inner demons the way I imagine the Broadway version did. Yes, it was present in the film and yes, it was well acted by Lewis, but it left you needing and wanting more.
Visually, the film was stunning, jumping between black and white to color to gritty textures to whimsical dream sequences. Colleen Atwood designed the costumes for the film and all where a feast for the eyes. Truly bringing Marshall’s vision to life and only amplifying the beauty of the predominately female-based cast. I feel the music could have been more captivating than it was for contemporary movie audiences. If you would compare the score to Evita, Les Miserable or even Moulin Rouge you would find that it could not stand on its own.
All in all, Nine was a joy to watch but not very fulfilling for me. With such an amazing cast, Daniel Day Lewis and Marion Cotillard stealing the show, it was sad to see it not reach its true potential.

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Guy Ritchie’s resurrection of the beloved adventures of Sir Arthur Conan Doyle’s Sherlock Holmes is truly a Holmes for the new decade. The film is a brilliant modern action adventure that breathes new life into one of the great detectives of all time. With an incredibly dark and mystical storyline by Lionel Wigram, the audience is reminded of one of our long lost friends: the great detective Sherlock Holmes.

Sherlock Holmes is an exciting movie that promises to be a successful franchise.

Holmes (Robert Downey Jr.) plays an incredibly deductive genius that wows us with his extensive knowledge and observation skills. Ritchie takes Doyle’s Holmes and places him under a microscope, amplifying the character and forcing Holmes’ other eccentricities to the forefront. Alluded to within Doyle’s writing, Holmes’ “only vice” is his drug use, manic depressive states, and unorganized surroundings. Holmes is recognizable in the film but exaggerated by Ritchie’s warped view. Ritchie creates Holmes as an eccentric, disheveled savant that is lost within his own madness who only breathes reality while honing in on the solution to a mystery.

Downey portrays a highly disturbed, yet mesmerizing, Holmes that coyly plays with our curiosity. Downey walks the line between charismatic and hauntingly exceptional. His deep friendship with his counterpart Watson (Jude Law) only cements Holmes more deeply into the audience’s minds and hearts. Watson is the ying to Holmes’ yang: a confident, well-mannered gentleman trying to create a normal existence while fighting his inner demons instead of wholeheartedly embracing them. The duo is cinematic excitement in the making. Their chemistry is undeniable and only heightens the fun.
Incorporating Holmes extensive martial arts knowledge and weaponry, John Watkiss brings us incredible images of a gritty Holmes that reminds one of a 19th century super hero. Watkiss creates a stunningly visual film that animates the London of the last century to a degree that the original Sherlock Holmes movies could not portray. With incredible camera techniques and unique shots, Watkiss brings mundane fight scenes to life. Integrating coarse and sweeping cityscapes, one is immediately whisked away into Holmes’s world of late 1800s England.
The film centers on the duo’s race to stop the dark Lord Blackwood. As the darkness takes over the film, Holmes’ and Watson’s constant comical banter allows a touch of brightness to shine through, but like any Holmes adventure you never know what is around the next corner. The film captures the same unrestricted fun of films like Indiana Jones, Romancing the Stone or Ocean’s Eleven without losing the mystery. It has something for everyone. And like any good franchise, the film ended leaving you wanting more.

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New Moon, the newest film installment of the Twilight series, was difficult to love.

For days now I have been pondering whether I liked this film or not. It is like one of those Law & Order episodes where you are left with both sides equally argued and a sinking feeling of still being unsure or undecided. By the end of this film, I was a fish out of water.

Bella (Kristen Stewart) and Edward’s (Robert Pattinson) love intensifies along with the dangers that surround Bella. By forcing herself deeper into the Cullen’s’ world, she ends up losing what is most important to her. Bella finds herself alone and forced to start a new life and new relationships, but she finds out that there are other surprises in store within these new affairs. As the secrets unfold and Bella learns the truth, she finds herself in a race against the clock to save her family, herself and most importantly, Edward.

The film really tried to be true to the book and it almost succeeded. I am not sure if it was the script or the acting, but the film was missing a certain “something”. One scene that does stand out in its need for greater depth and emotion is when Edward leaves Bella. Stewart’s inability to portray complex life experiences shines through during this scene. The viewer gets the feeling that Stewart has never really lost anyone in real life or, if she has, the emotion of that just never sank in. Unfortunately, this pivotal scene was lost and in turn failed the audience miserably.

The series of four Twilight books is an addictive love story. That lack of true obsession, true wanting and carnal hunger are missing. Bella and Edward are supposed to be each other’s everything, but the actors leave you feeling absent inside. I am not sure if that lack of true emotion was left out of the script or if the actors failed in an accurate portrayal of their characters. I will leave that up to you, but I felt let down, though at the same time I did enjoy certain aspects of the film.

The storyline is excellent, but a lot was lost on those that didn’t read the book. Many might even feel bored at times. The film was visually beautiful, with stunning landscapes and picturesque meadows. The coloring was muted, but bright when needed and the supporting cast was excellent. At times I wanted to see more of the scenery than I did Edward and Bella. Dakota Fanning, who played the malevolent Jane, was brilliant, and Jackson Rathbone, who plays Jasper Whitlock, stole the few scenes he was in. As a fan of the books, I know we will see more of them, which is definitely exciting.

I flopped back and forth like a fish out of water with this film, which is not an all together pleasant feeling, but if it was a hit-or-miss decision, I’d say this film is a miss.

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With the holidays just around the corner, we’re all trying to save our pennies, so in the spirit of things I decided to cruise downtown to the $1.00 kiosk and see what I could find. There was a pretty good selection of films there and I was pleasantly surprised when I saw Up in stock! This animated film was on my must see list, but I never got around to seeing it.
Hands down, Up is one of these best animated films of the year and is packed with family fun for everyone.
The film is a Disney-Pixar comedy-adventure about an elderly balloon salesman, Carl Fredricksen (Ed Asner), who finally fulfills his and his wife’s lifelong dream—participating in a great adventure where he ties thousands of balloons to his house and flies away into the “wild blue” floating over the untamed jungles of South America. What he doesn’t know is that he has floated away with a lot more than just his house. He has a stow-away aboard in the form of a rambunctious eight-year-old named Russell (Jordan Nagai). The unlikely pair go on a hilarious journey together.
With films like Up it is no surprise Oscar has expanded their animated film roster this year. Up has everything including an exceptional plot, great voice actors and is visually stunning; pure perfection! I hope this film vies for top honors at the awards.
When it comes down to it, the storytelling is what captured my attention and would be most appreciated by any adult who has read stories to their children. The plot is plausible and the first 30 minutes of the film is some of the finest storytelling I have had the pleasure of hearing or seeing. The beginning montage transports you into the lives of Carl and his wife Ellie and is beautiful, funny and heart-breaking. Filled with surprise and intrigue, it tells a timeless tale of adventure and aging that touches on every emotion. One moment I was crying and the next laughing hysterically.
It is an incredible story that will make good family time viewing at home over the holidays. So if you are looking for the next WALL-E, Finding Nemo, Monsters Inc. or Toy Story, Up is the film for you and your family!

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Contemporary director Spike Jonze collaborates with renowned author Maurice Sendak to bring to life one of the most beloved books of all time to the big screen in Where the Wilds Things Are. A classic story about childhood and the places children go to try and figure out how the world works.
The film tells the story of Max, a sensitive and boisterous boy who feels left out and misunderstood by his family. He is highly creative and intelligent, which is why it is no surprise that Max finds himself on an island where the “wilds things are”. We are quickly introduced to the mysterious and strange monsters that inhabit this island and find that they are not really monsters but more like you and I – sensitive and boisterous. The monsters are seeking a leader and Max is frantically seeking a world that he fits into and understands, so being their King is a remedy with which both are satisfied. When Max dons the crown, he promises to create a place where everyone will be happy, but he soon finds out that promising and delivering on those promises are two different things.
I felt I should have revisited the book before I went to see this film because I found myself overwhelmed with the depth of Max’s sorrow and loneliness. I know that Jonze took some liberties with the plot with Sendak’s endorsement, but it is funny how, as children, we see things as being adventurous, exciting and kind of scary (which is how I remember the book) versus how we view things as adults.
The film brought a whole new light to what the book was actually trying to tell me as a child. The passage from First Corinthians never rang more true in my mind as I watched this film: “When I was a child, I spoke as a child, I understood as a child, I thought as a child. But when I became a man, I put away childish things.” I found myself constantly fighting my inner child to see this film through my imagination instead of my logical adult mind. If you don’t allow your imagination to take over you will be unable to fully enjoy this film and miss its breathtaking beauty, groundbreaking filmmaking and stunning storytelling.
Jonze and Sendak bring to life Max’s story with such intensity and realism that I found myself inundated at the films depth of character and emotion. Visually, the film is muted, mostly shades of brown and gray, but throughout the entire film you’re asking, “how did they do that!?” Jonze’s blend of people in costumes, puppetry and CGI is genius, totally believable! Not one part of this film feels like a special effect. This mastery of film creates the whole picture for us; an incredible story in an incredible place.
Where the Wilds Things Are is an intelligently made, creative masterpiece that should be seen and enjoyed by all. The film reminds us of childhood; a time of freedom long forgotten, but maybe a time we should visit more often.

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By Megan Carroll

'500 Days of Summer' breaks the vapid mold of most romantic comedies.

Romantic comedies are a guilty pleasure of mine. I don’t often share that with many folks, because I more often than not am disappointed with them on screen. Shallow, vapid, and silly come to mind.  But after seeing 500 Days of Summer I felt a need to “come out of the closet.” This quirky movie left me grinning ear to ear and I knew I had to share this small independent film with you no matter the consequences! 500 Days of Summer is charming, funny and its take on this staple of movie genres is truly original. And they flat out tell you that in the first few moments of the movie!

Tom (Joseph Gordon-Levitt) is a shy greeting card writer who is instantly infatuated when he meets the new temp in the office by the name of Summer (Zooey Deschanel). She encompasses everything he thinks he wants and needs in a woman. As things heat up, and they certainly do, she suddenly slams on the brakes leaves Tom flustered, frustrated and infatuated. As the days go by Tom finds himself lost in Summer. His men friends are of no help and his precocious little sister (Chloe Moretz) uncharacteristically cannot offer any sage advice.

One of the more interesting things about this film is how it is shot. It would be too easy to do this sequentially so director Mike Webb scrambles the 500 days of the relationship in a very logical yet disorienting way. Trust me, you have to experience it to see how well it works. Tom falls deeper and deeper in love just as Summer pulls farther and farther away. As the audience we know things are going badly for Tom, but we have no idea why, and we definitely cannot tell where it is all going to end. Even though we see the 500^th day way before the end of the movie, the director and writer keep us guessing until the very end of the film. We are definitely one with Tom and even Summer.

Gordon-Levitt encompasses this character–he is offbeat and likeable at the same time. He makes Tom lovable, vulnerable and even a little sexy. You cannot help but care for him. Gordon-Levitt allows us to see Tom’s gifts and flaws. We see Tom trying to find himself and finally tapping into his true abilities and intelligence. Meanwhile, Deschanel is enchanting and her sexy quirkiness makes it easy to see why Tom has fallen so hard.

These two make such a cute couple that when boy loses girl, as it must happen, I was truly heartbroken. Tom’s pain seeps off the screen and into your heart and it hurts. The film does have some surprises up its sleeve which keeps your mind off the heartbreak. Jumping from one hilarious scene to one of more substance and back to hilarity, keeps the ambiance light. Office karaoke party—need I say more?

The films photography and sound score are done with such thought and beauty that it only adds to your feelings of love and loss. If they make a soundtrack you must go buy it! Best music in a film since, well since, any Quentin Tarantino film. 500 Days of Summer is an invigorating honest look at attraction, relationships and the architecture of love. Just like love this film will make you smile uncontrollable and at the same time takes your breath away with the pain of a loved lost.

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