Reviews

Yes Man

Directed by Peyton Reed. Starring Jim Carrey, Zooey Deschanel and Bradley Cooper.

In the late '90s, Jim Carrey decided he'd had enough of playing the silly goofball and started on a path to more serious films like "The Truman Show." Ten years later, he's had his share of hits, but for the most part, his comedic efforts have fallen flat. Excusing 2003's fairly enjoyable "Bruce Almighty", Carrey hasn't had much recent success with the genre that he once dominated ("Fun with Dick and Jane", anyone?).

In "Yes Man", the skilled physical comedian has dusted off the cobwebs and is back in good form. Carrey really seems to be enjoying himself, putting on his best game face and immersing himself in the sight gags and slapstick madness that were so commonplace in his earlier films. He hasn't lost his touch or his talent at making people laugh, and he makes sure that the audience knows it.

Truthfully, the plot to "Yes Man" is irrelevant. Carl Allen (Carrey), a man afraid of living life, challenges himself to say 'yes' to everything for an entire year. Hilarity ensues and in the end, everyone learns a lesson. It's nothing more than a vehicle to showcase Carrey's ability. But really, which one of his comedies isn't? There are no unexpected twists or surprise endings, just Jim Carrey doing what Jim Carrey does best. Everything else is secondary.

The film is rounded out rather nicely by a few of its supporting players. Zooey Deschanel is a cute and bubbly romantic interest who even adds a bit of mayhem to the proceedings, instead of being relegated to straight-man status. "Flight of the Conchords'" Rhys Darby shines as Carl's Harry Potter-obsessed co-worker. However, some of the cast feels extraneous. Bradley Cooper and "That '70s Show's" Danny Masterson are given little to do, and contribute little as a result. The missed opportunities are irksome, but will do little to affect one's enjoyment of the film.

"Yes Man" is a fun time waiting to be had for those who know what to expect. The movie is generally funny throughout, but not clever or inventive enough to justify a second look. It's the kind of entertainment that leaves you chuckling, but won't be remembered long after viewing. The biggest thing going for the film is that it has re-energized Jim Carrey. He's an absolute joy to watch; one only wishes that "Yes Man" could keep up with him.

Final Grade: C+

Die Another Day

Directed by Lee Tamahori.

Starring Pierce Brosnan, Halle Berry and Judi Dench.

Pierce Brosnan's fourth effort as James Bond turns out to be by far his worst, resulting in the overly cheesy and disappointing "Die Another Day." Marking a double anniversary for the series (twenty films in forty years), the movie celebrates the tried-and-true Bond formula by tossing in at least one reference to each previous installment. While it may be fun to play 'Guess That Bond Movie' for a bit, there is generally not much enjoyment to be had in this uninspired entry.

The pre-title sequence kicks things off in typical Bond fashion. 007 invades a North Korean military base and, after an exciting hovercraft chase, is captured and imprisoned for over a year. As the credits roll -- to the sub par theme sung by Madonna -- the audience sees Bond beaten and tortured. MI6 only comes to his aid because they believe that he has cracked under pressure, and don't want the North Koreans siphoning important information. The once-heroic secret agent returns to his homeland a disgrace. The intro sets a serious tone for the film, duping its audience into suspecting that a similarly themed story will follow. That's what would have made sense, but it certainly isn't what occurs.

"Die Another Day" is split into two very different films. In the first half, it's a revenge story played relatively straight with interesting plot turns and developments. Bond, without the backing of his agency, seeks revenge for his betrayal in North Korea, following a trail (with stops at Hong Kong, Havana and Iceland) that eventually leads to diamond tycoon Gustav Graves (Toby Stephens). Graves is a pretty standard villain at first glance: rich, eccentric and power hungry. In fact, the entire first hour is business as usual for the series; nothing new but enjoyable nonetheless.

The story takes a turn for the outrageous in its second half, starting with Bond's initial encounter with Graves. The two quickly clash egos at a prestigious London fencing club. Their friendly match soon becomes an over-the-top sword fight that toes the line between exhilaration and camp. In the very next scene, Bond is reinstated at MI6 and "Die Another Day" simultaneously ditches the revenge theme. Apparently, Tamahori was no longer concerned with that aspect of the story, instead preferring to prop up his movie with ridiculous gadgets and unconvincing action sequences. The series typically employs stunt men to realize its fantastic feats, but this outing amps up the CGI to a disappointing degree. Seeing a computer-generated Pierce Brosnan riding a tidal wave and dodging icebergs on a makeshift surfboard is just too much. Remember, just because you can doesn't mean you should.

Brosnan's effort in "Die Another Day" recalls that of Sean Connery in his last 007 feature, "Diamonds Are Forever." Much like Connery at the time, Brosnan has simply lost interest and sleepwalks from scene to scene. His heart clearly isn't in it, whether it be due to the corniness of the film or boredom with the role in general. He stars opposite Halle Berry, whose Jinx character is set up as Bond's female equivalent. She's an American agent working for the NSA, with an appetite for sex and excitement. Despite the good intentions, Jinx is just a poorly disguised effort to appease feminist sensibilities (not to mention, she's just plain annoying). The producers make sure that she kicks butt, yet she is still the helpless damsel in distress when the time comes.

This twentieth installment means well, and in the hands of a more competent director it could have been much better, but "Die Another Day" ultimately fails because of its indecisiveness. The film sacrifices story to make way for mindless action, but in order for the audience to care about the action there needs to be a compelling story driving it along (I guess those responsible for the movie never heard about the chicken and the egg). It attempts to pay tribute to the past, but instead combines the worst bits of the old movies. As a result, "Die Another Day" takes its place alongside "Diamonds Are Forever", "Moonraker" and "A View to a Kill" as one of the worst Bond films ever made.

Final Grade: D

Batman Begins

Directed by Christopher Nolan.

Starring Christian Bale, Katie Holmes and Liam Neeson.

After Joel Schumacher finished running the Batman franchise into the ground with 1997's ridiculous "Batman & Robin", Christopher Nolan decided to pick up the pieces and mold a much grittier Dark Knight. "Batman Begins" isn't a perfect film, but it is a refreshing and unique take on the character and challenges typical notions of what a comic book movie can be.

"Begins" picks up on Bruce Wayne, Batman's billionaire alter-ego, living life as a criminal in a dank prison located thousands of miles from his home in Gotham City. Wayne (Christian Bale) has effectively gone off the map, breaking contact with old friends in Gotham on his quest to come to terms with the guilt he feels from witnessing his parents' death as a young boy. The result is somewhat satisfying, but it is when Bruce meets Ra's Al Ghul -- a deadly assassin who heads the vengeful League of Shadows -- that he really starts learning how to be a fear-inducing vigilante. Bruce studies under Henri Ducard (Liam Neeson) and quickly proves his worth, mastering the techniques that will serve him well in his future crime-fighting endeavors. He is willing to do all that is necessary in order to be effective, except for one thing: this new Batman's not too keen on taking lives. Unfortunately, his humane outlook isn't shared by his League comrades.

After forcefully parting ways with the League of Shadows, Bruce returns to his old stomping ground, ready and willing to make an impact on its criminal underbelly. Gotham City has become a breeding ground for the insane and the corrupt. Batman has his hands full dealing with both, from the nerve toxin-spraying Scarecrow (a delightfully eerie Cillian Murphy) to the city's own Godfather of Crime, Carmine Falcone (Tom Wilkinson). The film winds up biting off a bit more than it can chew, choosing to focus less time on more villains than vice versa, but no matter. The core of "Batman Begins" is all about what drives the tormented hero, studying Bruce Wayne's character with or without the cowl.

Much of the film's success is due to Bale and Nolan, who really reignite the series and take it in a much more interesting direction. Bale delivers, delving into Bruce Wayne's psyche and unleashing his Caped Crusader over the modern, depressing background of Nolan's Gotham City (the director filmed effectively in Chicago to represent the fictional city). Others, like Michael Caine's Alfred and Morgan Freeman's Lucius Fox (playing the billionaire's butler and gadget supplier, respectively) help round out the cast and add a bit of charm to the proceedings. The only real letdown is Katie Holmes as love interest Rachel Dawes. Holmes is out of her league in this fantastic cast, and is relegated merely to damsel-in-distress status.

"Batman Begins" is a welcome addition to the Batman legacy, and will satisfy fans of all ages who are open to a darker interpretation. It successfully ignores the camp of the old films without sacrificing any of the fun. Long gone are the days of enlarged cod-pieces and curiously defined Bat-nipples. I, for one, couldn't be more pleased.

Final Grade: A-

Choke

Directed by Clark Gregg.

Starring Sam Rockwell, Anjelica Huston and Kelly Macdonald.

Coming almost ten years after the mind-blowing "Fight Club", author Chuck Palahniuk's second novel adapted for the big screen is the story of an addict's quest for self-fulfillment. No film has been able to establish the same quirky style of cool that was so palpitating in "Fight Club", and director Clark Gregg's "Choke" is no exception. The movie knows better than to try and recapture the magic of its spiritual predecessor, and is a decidedly different experience in both style and tone.

Victor Mancini (Rockwell) has a lot on his plate. His hospitalized mother (Huston), who suffers from Alzheimer's disease, has forgotten who he is. His dead-end job at Colonial Dunsboro has him playing indentured servant to failed drama students in the seventeenth century (Victor refers to himself as "the backbone of Colonial America"). And on top of it all, he may just be the last and most despicable descendant of the one and only Jesus Christ. The guy clearly can't catch a break, so no wonder he uses his group sex addict meetings to pick up chicks and pretends to choke in restaurants, hoping to mooch off of potential saviors.

"Choke" succeeds in capturing the peculiar and eccentric elements of Palahniuk's text, often to hilarious effect; whenever visiting his mother in the nursing home, Victor must confront a senile old woman pestering him for an apology for the time that he supposedly touched her "woo-woo." Such small comedic bits are where the film really shines, because the overarching story is ultimately handled without much urgency. Everything feels a bit disjointed, more like a series of gags than a succinct motion picture. Victor's motives are often unclear; he simply waits for things to happen to him, and then reacts. The film explains his various character flaws through flashbacks depicting his rough childhood at the hands of his fugitive, drug-addicted mother, but never bothers to give the matter much closure.

Despite the story's flaws, everyone in the cast is top-notch. Sam Rockwell thankfully makes for a great sleazebag, but still gives Victor enough humanity to keep the audience rooting for him. Kelly Macdonald ("No Country for Old Men") makes a surprising turn as a hospital nurse reluctant to succumb to Victor's persistent advances. Anjelica Huston has a fun time playing Ida Mancini, lending some credibility to the occasionally exaggerated role. Even the bit parts are of good quality, with the director stepping out from behind the camera long enough to play Victor's stuck-up boss at Colonial Dunsboro, sentencing those who defy him to a day in the stocks.

Much like its characters, the film is far from perfect, but it is not without a certain appeal. Those who give "Choke" a chance won't find it hard to swallow, but may be left hungering for more.

Final Grade: C+

Casino Royale

Directed by Martin Campbell.

Starring Daniel Craig, Eva Green and Judi Dench.

After a four year hiatus, newcomer Daniel Craig reinvents James Bond in "Casino Royale." Directed by Martin Campbell (who also launched Pierce Brosnan's Bond in 1995's "GoldenEye"), "Royale" reboots England's sophisticated super-spy by bringing him back to basics. Campbell steers clear of the excesses often associated with the franchise -- ditching the gadgets and avoiding the puns -- to create the most thrilling Bond adventure in the past decade.

The film's opening sequence sees Bond attaining his double-oh status by making his first two assigned kills; one while engaged in an intense bathroom brawl, and the other during a calm encounter in an expensive London flat. The scenes show the audience Bond's calm, collected exterior as well as the animosity the lies underneath. Craig establishes early on that his Bond will be a rougher creature, less like the camp-filled shenanigans of Roger Moore and more like the dark, brooding Timothy Dalton. It's a risky decision, considering Dalton's short tenure as 007, but it winds up paying off in "Royale."

After the initial set-up, the plot meanders for an hour or so, and Campbell rounds out the film with some impressive filler. Bond's exhilarating foot chase after terrorist Mollaka (played by Parkour pioneer Sébastien Foucan) is one of the most inventive in the series' history. Other scenes, like 007's attempt to thwart the destruction of an expensive new commercial airliner, are just as exciting.

The story really begins when Bond is assigned to Le Chiffre (Mads Mikkelsen), a banker to the world's terrorists who has carelessly lost his clients' money. In an effort to win back the fortune -- and avoid the repercussions -- he sets up a high-stakes poker game in Montenegro. MI6 reluctantly enters Bond in the game (as luck would have it, he's a gifted player) to prevent Le Chiffre from winning, hoping to gain information from him in return for protection once he has lost. Along for the ride is Vesper Lynd (Eva Green), representing the treasury and making sure (unsuccessfully) that things don't get out of hand. It's not long before Bond develops an attachment to her, jeopardizing his career and even his own safety.

There is an underlying sincerity in Craig's Bond that has not been seen since 1969's "On Her Majesty's Secret Service." When he falls in love with Vesper, it is convincing and feels completely genuine. When he is unable to best Le Chiffre, he loses his cool and panics. The human touches work well because they prove that James Bond is fallible, even if only for those brief moments.

The charm and stylishness of "Casino Royale" cannot be denied, and neither can Craig's impact as 007. The film reminds action fans that, while there are many imitators, James Bond is still at the head of the pack.

Final Grade: A

Quantum of Solace

Directed by Marc Forster. Starring Daniel Craig, Olga Kurylenko and Judi Dench.

Despite having possibly the worst title of any 007 feature, I was very excited to see the follow-up to 2006's fantastic "Casino Royale." Bond's character was reborn in "Royale," the best installment since 1995's "GoldenEye." Most fans were hoping for "Quantum of Solace" to continue the trend. Unfortunately, the new film backtracks and completely fails to meet expectations.

Daniel Craig returns as the charming English spy and is just as good as before, albeit with much less to do. This time he's looking to avenge the death of Vesper Lynd, the woman who betrayed his love. Going on the little information received from the sinister Mr. White, Bond seeks out members of Quantum, an ominous organization with unknown motives. Even though 007 deals with many of its henchmen, not much information is given about the SPECTRE-like group. This is most likely to set up for the next film and stir up excitement among audiences.

After hopping through more exotic locations than you can shake a martini at, Bond tracks down Dominic Greene -- one of Quantum's top operatives -- and uncovers his plot to control Bolivia's water supply. Though the movie notes that water is the world's most valuable resource, the scheme just isn't interesting or villainous enough. For that matter, neither is Greene (Mathieu Amalric, who works well with what he's given). Bland as he may be, Greene isn't short of any enemies. While scoping out the villain, Bond encounters the beautiful Camille (Olga Kurylenko). Like Bond, she also has revenge on her mind, and is using Greene to settle a score. The character has potential to be deep and interesting, but Kurylenko is ultimately unable to commit.

Throughout the mission, Bond has to deal with an increasingly irritated -- and irritating -- M (Dame Judi Dench), who is given far too big a role. "Quantum" has other things that it should be focusing on, and would have been better suited keeping 007's boss behind her desk.

Forster's direction is unsatisfying, and his final product suffers from two major aspects of film-making: pacing and editing. It starts up with a visually distracting car chase, filmed primarily with shaky hand-held cameras, that leaves the audience playing catch-up as to what took place on-screen. The scenes are reminiscent of the "Bourne" films, and for good reason. The producers hired the crew from 2007's "The Bourne Ultimatum" to film the action pieces. Bond was once reborn, but now he's 're-Bourne.' The transition is a failure, and will hopefully be ditched for future Bond movies.

"Quantum's" unrelenting pace doesn't let up as the movie progresses, and neither do the unstable cameras and quick-cut edits. The movie is bereft of almost any breathing room, leaving the James Bond character little time to develop. Normally, griping about character development in a Bond film would be futile. After twenty-two films spanning over forty years, one would think that there's little left of 007 to explore. And yet with "Casino Royale", the series brought a much needed shot of humanity to the world's most famous secret agent. It's a big disappointment to see that compassion ignored this time around.

"Quantum" is not overtly bad as much as it just isn't very good. Hopefully this is just a misstep, and the next Bond film will be a worthy addition to the series. Craig deserves another fantastic outing to truly solidify his depiction of James Bond. Unfortunately, after "Quantum of Solace", he's still waiting for one.

Final Grade: C

Role Models

Directed by David Wain.

Starring Paul Rudd, Seann William Scott and Elizabeth Banks.

Apparently no longer content with playing second fiddle to Seth Rogen and Steve Carell, Paul Rudd steps firmly into the limelight for "Role Models." Rudd's big break has been long overdue; the actor is most popular for peppering already funny movies with his supporting roles. Here, however, he proves to be an excellent leading man. Perhaps this is due to his experience in the genre, or maybe it's his confidence in the material (Rudd co-wrote the script with David Wain, the film's director).

The set-up is simple: Danny (Rudd) finds himself bitter when he is forced to reflect on his dead-end job. He works everyday with Wheeler (Seann William Scott, likable but typical), an easygoing but unambitious partner with an ever-positive attitude. The two spend their day peddling energy drinks in public high school auditoriums, leading to Danny's sour moods. When Danny's girlfriend (Elizabeth Banks) gets fed up with his pessimism, she sends him packing. His ensuing meltdown while on the job goes more than a bit too far, and both he and Wheeler wind up in trouble with the law. In a bid to dodge jail time, the two out-of-luck losers reluctantly accept their only alternative: mentoring kids. The rest is typical comedic fare, considerably heightened by a talented cast and smart writing.

Much of the film's success is a result of Rudd and Scott's chemistry, both with each other and with their unwilling child assignments. Wheeler is assigned to Ronnie Shields (played by 12 year-old scene stealer Bobb'e J. Thompson), a pint-sized pain who takes joy in raising hell for his mentor. Meanwhile, Danny is tasked with relating to Augie Farks (Christopher Mintz-Plasse; "Superbad's" infamous McLovin), a reluctant loner and a make-believe knight who takes to donning capes and carrying around fake swords.

Both mentors initially have trouble relating to their pupils, and, of course, things get way out of hand. "Role Models" isn't going to redefine the conventions of its genre, but it is self-aware and embracing of this fact. There are plenty of laughs to be had, and thankfully the movie never gets too sappy or self-important when the time inevitably comes to present its moral. "Role Models" encourages viewers to be themselves, but not at the expense of humor.

The film is sincerely satisfying because it never tries to fool its audience. "Role Models" knows its place and tries only to stir up laughs, which is very refreshing. Hopefully this is just Rudd's first of many ventures into screen writing, because he has made a truly smart comedy about a pair of idiots.

Final Grade: B+

Zach and Miri Make a Porno

Directed by Kevin Smith. Starring Seth Rogen, Elizabeth Banks and Jason Mewes.

Popular for his "Clerks" films, New Jersey native Kevin Smith proposed to mix things up with "Zach and Miri" by making a film that didn't rely on his old iconic characters, Jay & Silent Bob. He has tried this before, the result being 2004's forgettable "Jersey Girl," and thankfully Smith has learned from his past mistakes.

"Zach and Miri" may feature an entirely new slew of slacker characters, but Smith is hardly mixing things up. By casting old friends Jason Mewes and Jeff Anderson in supporting roles, he gives his fans a bit of familiarity to branch off from. He also gives a supporting role to "The Office's" Craig Robinson, who makes a hilarious turn and steals every scene that he's in.

The film's protagonists are the two titular characters, played by "Pineapple Express's" Seth Rogen and "W.'s" Elizabeth Banks. Zach and Miri live blissfully together as strictly platonic friends. They reside in a cramped, two-bedroom apartment, and only turn to porn as a solution to their otherwise insurmountable debt. Aided by their friends, the duo set out to take the industry by storm -- writing, directing and starring in their own pornographic film. Things get muddled as filming progresses when both Miri and Zach realize that their feelings for one another are evolving into something more than friendly.

For the most part, "Zach and Miri Make a Porno" is filled with crude dialogue and gross-out gags that are on par with Kevin Smith's previous projects. It is only when the film takes a turn for the sentimental --playing up the love aspect between the main characters -- that it veers off course. Completely shifting gears in the third act, Smith winds up with an uninspired conclusion to his crass romantic-comedy. If the writer/director had taken a few notes from the porn movies that he lampoons he might have remembered that everything has to build up to the climax. Unfortunately, the film gives audiences a generic ending that is woefully predictable.

Luckily, the strong start and charismatic cast give "Zach and Miri" enough momentum to remain an enjoyable experience. It may not be another "Clerks," but it is thankfully far better than "Jersey Girl," and it justifies Kevin Smith's choice to distance himself from Jay & Silent Bob. Just as long as there's not too much distance.

Final Grade: B-

Run Fatboy Run

Directed by David Schwimmer.

Starring Simon Pegg, Thandie Newton and Hank Azaria.

Making his motion picture directorial debut, David Schwimmer shows that he is surprisingly adept at pleasing audiences with "Run Fatboy Run." The former "Friends" star remembers a few things from his sitcom tenure, most important of which is the trick of injecting life and energy into a predictable story. If it helped "Friends" for ten popular seasons, why shouldn't it work for "Fatboy"?

When everyman Dennis Doyle (Pegg) knocks up his girlfriend Libby (Newton), he chooses to do the right thing… and leave her at the altar on their wedding day. Dennis fears that his future is bleak, and decides that his desertion will ultimately be what is best for Libby and their unborn child. With that glimmer of selflessness buried underneath Dennis's self-centered act, Schwimmer has the audience rooting for his leading man instead of cursing him. It's a smart move, especially when the leading man is someone as effortlessly likable as Simon Pegg.

After a few years have passed, Dennis's prediction of an unfulfilled life has been fulfilled. He is working as a security guard at a local clothing store, which would be fine if he didn't have to occasionally get off his butt to run down shoplifters. Everything that he does is half-assed, except for his devotion to his son, Jake. The type of parenting that Dennis employs with his son is sometimes chaotic, but always loving.

When an American hotshot named Whit (Azaria) moves in with Libby, Dennis is forced to realize the consequences of his inaction. He attempts to compete with the new boyfriend, entering a 26-mile marathon in hopes of beating the American. Essentially, Dennis needs to do what he does best in order to fix things: run. But this time he is running to show his responsibility, instead of trying to avoid it.

All in all, "Fatboy" is enjoyable, but don't expect it to reinvent the wheel. It can be very funny at times, which is perhaps why its failings are so disappointing. There is potential to be great, but the film ultimately settles for just being good.

The movie mingles with the same clumsy clichés that plague most romantic comedies, and has its share of corny moments. Schwimmer is smart to keep the focus on his actors, because they are the ones who really keep the viewer engaged when the movie sinks into predictability. And seeing Pegg clumsily running around London in a fat suit ought to be worth something.

Final Grade: B

Vicky Cristina Barcelona

Directed by Woody Allen.

Starring Rebecca Hall, Scarlett Johansson, Javier Bardem and Penelope Cruz.

Woody Allen's latest film finds the writer/director exploring love and all of its manifestations through the experiences of two American tourists on summer vacation in Barcelona. The girls, Vicky (Hall) and Cristina (Johansson, in her third Allen film), both fall for Juan Antonio, a local painter and lothario who still mourns the disastrous failure of his marriage. Antonio (Bardem) is something of a conundrum to both girls: Cristina, because she has always enjoyed strange and mysterious relationships, and Vicky, because she never has.

After a secret affair with Juan Antonio, Vicky tries to force herself to abide by her old life plan. She is engaged to a successful New York businessman but suddenly finds herself doubting what she thought she always wanted out of love and life. Cristina picks up where Vicky leaves off, falling in love and eventually moving in with Juan Antonio. She is all the while unsure of her new life with the charming painter, especially when his ex-wife (Cruz) comes back into the picture.

Penelope Cruz is wonderful as Maria Elena, a mentally unstable muddle of emotions. She and Bardem have great chemistry, during tender moments of intimacy and heated bouts of screaming. She stirs things up just as the film starts to get a bit too predictable. Her scene with Johansson's Cristina, developing photos in a darkroom, is very sensual and not soon forgotten once the movie ends.

The film is typical of Woody Allen with its sharp dialogue and fully fleshed-out characters. However, "Barcelona" is slightly hindered by unnecessary narration from Christopher Evan Welch. The commentary adds nothing to the picture and sometimes glosses over scenes that require more attention.

Allen tends to be a better writer than director, but he really utilizes Spain's beautiful city as a fantastic backdrop to his picture. He manages to do for Barcelona what he used to do for New York so many years ago. By filming the city's culture instead of generic monuments, Allen manages to unearth its heart. If Spain's tourism industry sees a spike in visits to Barcelona, they ought to send him a check.

"Vicky Cristina Barcelona" is a solid, thought-provoking film that is a great addition to the long list of Woody Allen's works. It is not unlike his 1977 classic "Annie Hall" in its comical and sometimes unsatisfactory view of love, although Allen tends to focus more on cynicism than witticism these days. No matter, at least he still has something interesting to say.

Final Grade: B+

Indiana Jones and the Kingdom of the Crystal Skull

Directed by Steven Spielberg. Starring Harrison Ford, Shia LaBeouf and Cate Blanchett.

With one of cinema's most beloved trilogies under their collective belt, George Lucas and Steven Spielberg ran the risk of tarnishing the reputation of their iconic films when they decided to make "Indiana Jones and the Kingdom of the Crystal Skull." Nevertheless, the duo decided that it was time for Indy to dust off his fedora and prove to an expecting audience that the classic hero still has that crack in his whip.

Spielberg once again occupies the director's chair and brings Lucas's story to the big screen. Nineteen years have passed since the last adventure, a difference that is accounted for in the film, as the world has changed for Indiana Jones. He is an old man adapting to the new social norms of the 1950s. Harrison Ford still plays him with as much wit and charm as ever, as he reluctantly faces the fact that his days of seeking out sacred artifacts in foreign lands are nearing an end. This may be true, but not before one final journey of car chases and sword fights, with some flesh eating ants thrown in for good measure.

The film picks up on Indy in 1957, when anti-Communist sentiment was in full swing. He is wrinkled and almost completely gray, but the 65 year-old still packs a punch. This time around it's the Russians who receive the blows. Led by the sinister Irina Spalko, played by Cate Blanchett with a thick accent and telepathic tendencies, the communist Russians try to get their "red" hands on the Crystal Skull in order to unlock its secrets.

Jones teams up with Mutt Williams, a young greaser played by "Transformers"' Shia LaBeouf. Together they also seek the Crystal Skull, which is yet another one of those objects of unspeakable power that the archaeologist always seems to be chasing.

In terms of plot, the film isn't much different from its predecessors: Indy and his sidekick chase after a mystical object in various exotic locales. The Indiana Jones films aren't made to showcase thought-provoking plot lines, so the viewer expecting something different should think twice before watching the film. But if viewers want an adventure story with large set pieces and incredible stunts for which the films have always been known, Spielberg does not disappoint.

Some of the plot - particularly the films' foray into inter-dimensional territory - may seem a bit far-fetched even for Indiana Jones, but the minor flaws are outweighed by the enjoyment of seeing the classic hero back on the big screen. "Crystal Skull" is mindless fun of the highest caliber. It may not be nearly as good as the 1981 original "Raiders of the Lost Ark", but it shows that Indy can still be just as exciting. As Indiana Jones himself said not too long ago, "It's not the years, honey, it's the mileage." He still has many miles left in him.

Final Grade: B

American Gangster

Directed by Ridley Scott. Starring Denzel Washington, Russell Crowe and Chiwetel Ejiofor.

About halfway into "American Gangster", it becomes clear where the movie's strengths lie. The strong leading performances from Denzel Washington and Russell Crowe lift the film above typical gangster fare, but are not quite enough to secure it a place among classics such as "The Godfather" or "Goodfellas." The movie tells the true story of Frank Lucas, the man who gained notoriety in the 1970s for smuggling cocaine into the U.S. during the Vietnam War. Washington effortlessly embodies Lucas's persona, making the transformation from two-bit thug to unofficial King of Harlem all the more fascinating to watch on-screen.

Director Ridley Scott knows his way around violent films, having collaborated with Crowe before in "Gladiator." However, Scott decides to ease up on the aggression this time around, allowing his more-than-capable stars to draw the audience in with their natural abilities. Of course, with a title like "American Gangster", one should not expect anything remotely kid-friendly. "Gangster" has its brutal moments, but they are not Scott's primary concern. He sets out to tell the story of Frank Lucas, and he takes an interesting approach.

"Gangster" spends the first two acts glorifying what Lucas does. It seems as though the life of this drug dealer is without significant problems. Only as the movie winds down does it begin to show the darker side of the business. This is where Scott slips up. Lucas is faced with problems at every turn, from the police to his own family, and it leaves him with feelings of mistrust and paranoia. But by praising Washington's character for two thirds of the film, it feels insincere when Scott suddenly becomes critical. This is the man the audience has been rooting for, and now he is supposed to be seen as the bad guy? The director seems unable to make up his mind, and it is illustrated in the film.

Overall, "American Gangster" is one of the most entertaining films of the year. The running time may be pushing three hours and it may send out mixed messages, but great performances and thrilling action sequences more than make up for any missteps. Even the mildest fans of the crime genre owe it to themselves to give it a try and enjoy the ride.

Final Grade: B+

Saw II

Directed by Darren Lynn Bousman.

Starring Donnie Wahlberg, Shawnee Smith and Tobin Bell.

With a troubled son, a pending divorce, and a serial killer who asks for him by name, Detective Eric Mathews (Wahlberg, "Band of Brothers", "Dreamcatcher") is having a rough time. Matters only worsen when the aforementioned serial killer (a frighteningly matter-of-fact Tobin Bell) begins his new "game." The murderer, dubbed Jigsaw by the media, sticks several ex-con stereotypes in a booby-trapped house and watches the chaos ensue from his hideout. Mathews discovers Jigsaw's lair, and takes his team to bring the maniac to justice. When the detective discovers his son is one of the unlucky few inside the house, the case becomes a blurred line between Mathews' personal and professional interests.

With the departure of director James Wan (who helmed the first film), Darren Lynn Bousman, a relative unknown, fastens himself into the blood-encrusted shackles. Bousman does not stray far from the formula used by Wan in the original: quick cuts in times of panic, dizzying camera angles, overall confusion.

The tag line boasts, "Oh yes, there will be blood," and oh yes, there was. "Saw II" requires from its viewers a high tolerance of gore. Knowing that no one can argue that it is a tame affair, the filmmakers try a little too hard to make "Saw II" more than it is. Much like "Saw", the film tries to cram as much guts as it can fit down the audiences' throats while also leaving them with something to think about when the credits begin to roll. Do Jigsaw's subjects deserve to live if they cannot make the necessary sacrifices? Does Detective Mathews' history of police brutality justify his son's torment? These are interesting questions, but are ultimately irrelevant. The filmmakers are more concerned with burning people alive or having them crawl through hypodermic needles than focusing on why any of it happens at all.

"Saw II" is an above average horror movie, at best. It is memorable only to the fans that can stomach the blood and guts genre that is horror. It'll certainly keep audiences on the edge of their seat, but in the end it falls in line with typical frightful fare. Most enjoyable to watch with friends late at night, just make sure you don't have to walk home alone.

Final Grade: C+