Like others before it, Prince of Persia is another forgettable video game adapted for the big screen, but there is one real difference with this one: it has legs. I can see a bright future for this Persian comedic adventure. It will make money and has “sequel ability.” Like the game of its origin, this movie is an excellent one to go see if you’re looking for mindless entertainment that is only slightly better with the presence of Jake Gyllenhaal.

Walt Disney and Jerry Bruckheimer present this film, directed by Mike Newell, and trust me; Disney will not let you forget it. The first five minutes of the film is literally a “non-animated” version of Aladdin and the rest of the story closely resembles The Lion King. Right when you think this film is going to a darker, more interesting place, Disney swoops in and brings it right back to fluffy. This action-adventure is set in the mystical lands of Persia. A rogue prince named Dastan (Jake Gyllenhaal) reluctantly joins forces with a mysterious princess Tamina (Gemma Arterton), and together they must fight dark forces to protect an ancient dagger that has the power to turn back time.

These types of light action adventure films are hard because they are what they are: sub-par films that will entertain, wow with amazing stunts and acrobatics, and titillate your darker side by including a mystical backdrop. The Prince of Persia stands out of the pack a bit due to the amazing performance by Gyllenhaal. He definitely out-shines the script and pulls the performance off by being a master of his craft and infusing his character with a genuine sense of purpose and a wry sense of humor.

Another surprising presence in the film was Ben Kingsley who plays the reprehensible Uncle Nizam. I always find it strange when you see an actor of that caliber in a film such as this. It was off-putting. Every time I saw him on screen, I wondered what “the Ben Kingsley” was doing here.

Last but not least would be the entertaining performance by Alfred Molina, most recently know for his amazing role in An Education. He plays a wily desert con man that has issues with “the man” and he is truly fun to watch. He brings a child-like feel to his role and is truly talented in everything he does.

Prince of Persia has an incredible but strange cast of characters who make the film enjoyable at times. As far as summertime films go, this one’s right down the middle; not too thought provoking, but adventurous and entertaining enough.

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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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Singer/Songwriter Justin Burke has manned numerous musical projects before, namely Jupiter’s Garden, as well as several Rock/Funk bands consisting of close friends, but his new album harkens back to an old sound. Familiar originals are given new life after years of performance refinement, and new tunes invite fans back to the Folk/Blues roots which have helped identify Burke as an island icon.

While playing with Jupiter’s Garden and occasionally with local band Dangermuffin, Burke’s performances have ultimately led to funky renditions of Beatles tunes, as well as other classic covers. In his inaugural album “Southern Son, So Far,” Burke opens the floor to island friends and musicians, all of whom contribute to this grassroots album of folk lyrics, bluegrass breakdowns and organic mixture of Southern music.

Although it seems that the use of so many different instruments throughout the album would set the stage for more elaborate compositions, the songs are surprisingly concise and to the point. Whether it involves keys or trumpet, banjo or mandolin, electric guitar or acoustic, Burke and his plethora of musicians create an atmosphere that is very relaxed, specific, and indefinably local.

Dan Lotti and Mike Sivilli of Dangermuffin are audibly visible throughout the album, with Lotti singing backing vocals and Sivilli lending some electric guitar solos on tracks like “In the Garden,” “Free Love,” and “I Know You Will.” Band of Horses front-man Ben Bridwell also throws in his range of vocals in “The Rescue.”

The majority of the songs feature melodic instrument accompaniments in an almost Southern ballad-type structure, though the album is also peppered with several rock tunes with classic electric guitar feedback and bluegrass progressions.

The content of Burke’s album should be familiar to anyone who has lived on the island, its overall style reminiscent of a combination of the Avett Brothers, Robert Johnson, Bob Dylan and The Band album “Basement Tapes.” His live sets are always extremely positive, and this mindset definitely translates into these well recorded studio tracks.

The subject matters of Justin’s songs are always soulful and optimistic, mainly dealing with the joys of living set to clean, emotive arrangements. On songs like “I Know You Will,” and “Turn This Thing Around,” Burke unleashes this Dixieland sentiment: “Take me back to the good old days, when I was young, I know you will.”

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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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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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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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"Cirque du Freak: The Vampire's Assistant" is a huge disappointment to fans of the book series and finishes well short of a promising potential.

By Megan Carroll

Cirque du Freak: The Vampire’s Assistant sucked the life right out of me. It was one of the worst film’s I’ve seen this year, hands down. All I wanted to do was get up and actually enjoy the rest of my Sunday, but I took one for the team.

The series of books written by Darren Shan was wonderfully written, imaginative and a total joy to read. I am not sure what happened between the book and the screenplay, but the ball was dropped. I find it extremely frustrating and confusing when the filmmakers/screenwriters don’t tap into the author’s voice and vision. From DarrenShan.com, under the frequently asked questions section, Shan states, “I have nothing to do with the movie side of things”. This speaks volumes as to why the film was made so poorly. When directors, screenwriters and authors work closely together, you see the benefits of that relationship in the film, such as with director Spike Jonze’s and author Maurice Sendak’s Where the Wild Things Are.

This film was overstuffed, scatter-brained and had zero character development. The story felt rushed and lacked feeling. The viewer had nothing to connect with on screen and that all comes down to Weitz not taking the time to create a film with which the audience could relate. And what makes it even more frustrating is that he had an excellent cast at his finger tips and a series of books which could have turned this film into the next Twilight saga. John C. Reilly was the saving grace for me. He was brilliant, and really tried to make the prosaic script work.

Visually, the film was dated; another piece of evidence that Weitz lacks vision and imagination. It felt like a made-for-TV movie on the ABC Family Channel. The person in charge of costumes and makeup could not have been over the age of 5; you could see exactly where the costumes ended and the actors began. It was so bad it was almost laughable.

Weitz and the other half of the screen writing team, Brian Helgeland, never allowed this film to actually rise from the grave. They stunted the magic that was Cirque du Freak, the frightening story of a boy who chooses a life of adventure and unknowingly fulfills his destiny. Ignore this film and get the books, because Weitz failed miserably in his attempt. The only thing Weitz created was a colossal bore of a teen vampire film which felt like a CW sitcom.

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As much as we admonish others and remind ourselves with the oft quoted saying, the majority of us are still inclined to judge a book by its cover. I am ashamed to say that I did just that with a book that was given to me for review. As a lover of political science, historical fiction and any book from which I come away knowing more about the world than I did going in, I am the first to condemn romance novels. Full of over-embellished similes and metaphors and rife with situations that leave me blushing for several hours after completing a chapter, most of the time I would rather read a detailed analysis of the use of the Navier-Stokes equation in practical large scale drainage use than open a Harlequin novel.

So it was with heavy judgment and preconceived opinions that I opened the Regency romance novel The Nude by Folly Beach author Dorothy McFalls: and I was pleasantly surprised to find myself completely and utterly wrong.

Part of my prejudgment error was in assuming that a Regency romance novel is just another name for a Harlequin romance novel. In fact, if there were a hierarchy of romance novels, Regency would be considered the most elite and least sexual of them all. Typically written with a high degree of intelligent, fast paced dialog, Regency novels are set in the 19th century and are loosely based on the styles of Jane Austen and Georgette Heyer. The name “Regency” comes from the British Regency era, when the Prince of Wales (later George IV), ruled at Prince Regent after his father, George III, was deemed unfit for rule. His rule, from approximately 1811 – 1837, was a time of great excess in terms of the arts and culture, as well as flagrant hedonism for the era’s beau monde; the nickname for Britain’s most affluent families.

McFalls’ novel opens in London, 1814. A desperate artist applies the finely ground, sparkling dust of sapphires and rubies to a painting he has struggled for several sleepless days and nights to complete. With a final stroke, the artist, known only as Dionysus, passes out, exhausted, at the base of his creation.

When the painting is finally revealed, however, its subject has no idea that she has been imagined, prostrate and completely naked, on the artist’s canvas. The scandal rocks the town and Elsbeth Mercer, the hapless victim, is determined to uncover the artist’s true identity at all costs.

In the meantime, Nigel Purbeck, the sixth Marquess of Edgeware, takes pity on Elsbeth and determines to do what he can to return her good name. Generally regarded as a wealthy recluse, Purbeck opens the doors of his country estate to the beau monde for a week-long party and makes it a point that Elsbeth attends; a social invitation that would never been offered to a woman of loose morals. The invitation, coupled with Purbeck’s constant attentions, is slowly bringing Elsbeth’s reputation out of the gutter when disaster strikes. A killer is on the loose and Purbeck is their target.

Although the story starts slowly, the twists and turns become rapid-fire once the guests arrive at the Purbeck country estate. McFalls has certainly done her homework as well, as many of the references to era paints, stonework, architecture, customs, language and political activities are accurately peppered throughout the novel’s 350+ pages.

Secret chambers, mysterious lockets, illegal smuggling, vicious killers and yes, even a midnight trist, are all excellent reasons to pick up a copy of McFalls’ novel, The Nude. As if that wasn’t enough, you’ll probably even learn something by the end.

Dorothy McFalls is a Folly Beach native, living with her sculptor husband and two dogs. At 28 years old, this is her sixth book and she looks forward to penning many more. For more information about McFalls or her books, visit www.dorothymcfalls.com.

The Nude is available at amazon.com, Barnes & Noble, as well as your local book stores.

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'The Hangover' is a must-see for the 2009 summer.

You know that old adage, “try, try again”? Well, Todd Phillips must have been listening when he heard it. Phillips has produced some rather forgettable films, starting in 2000 with Road Trip. Then he seemed to get started in 2003 when he directed Old School, a film that was met with some critical success. Now we have The Hangover, a film that he absolutely got right.
The Hangover is a laugh out loud film that just doesn’t stop. I can not remember the last time I actually laughed in a theater as much as I did while watching this film. It was getting a lot of word-of-mouth hype from friends and family, yet I was a little nervous when I thought of the Las-Vegas-bachelor-party-gone-bad premise, and was worried that it would be 96 minutes of boob shots, low lifes, prostitutes, gambling, and tawdry affairs. But my apprehensions proved to be unfounded as the film bordered on comic brilliance.

The film begins with the morning after – a quick prologue to introduce you to the major characters and the storyline. To recap: Two days before his wedding, Doug (Justin Bartha) heads to Vegas with his two best friends, a contemptuous school teacher named Phil (Bradley Cooper) and an emasculated dentist named Stu (Ed Helms), for one final binge. Along for the party is Alan (Zach Galifianakis), Doug’s soon to be brother-in-law who is … let’s just say he is special and, in a Jack Black kind of way, absolutely hilarious. The night begins like most bachelor parties with Jager shots, then quickly cuts to the next morning. The scene begins with Stu waking up with a missing tooth, Phil with a hospital band on his wrist and Alan stumbling upon a tiger in the bathroom. These are all small complications compared to the huge issue that is staring them in the face; they can not remember a thing about last night and even worse, Doug is missing.  With the wedding looming ever closer, the guys try to piece tiny clues together in hopes of making sense out of the previous night.

Written by Jon Lucas and Scott Moore, whose past work isn’t even worth mentioning, The Hangover was actually a marvelous achievement. The whole crew did an amazing job with this film, even though they struggled with a non-existent budget and no A-list actors. (If you are familiar with Justin, Bradley or Ed, then please take the comment above with a grain of salt.)

Along with a phenomenal ensemble cast, the film also includes hilarious guest appearances. Heather Graham plays a sassy stripper and Mike Tyson plays himself. Who knew Mike could do great air-drums to Phil Collins’ In the Air Tonight? Rachel Harris, who plays Stu’s overbearing girlfriend, deserves kudos as well.

The Hangover is a welcome surprise this summer. A must see!

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