Mission: Impossible -- Ghost Protocol (2011)

Not many films dare to put the em dash in their title. Behind the slick, hyper-modern, Apple Computer veneer, this is sort of a throwback to a time before gritty and real and visceral (but still PG-13) were major buzzwords in tentpole action films. Tom Cruise leads a group of character archetypes through a massive conspiracy to stop a nuclear war. It's so strangely safe a plot that it has to be a race against the end of the world itself. But then, the story isn't the point; these are films about high tech, high tension set piece moments and action sequences with nearly unlimited budgets, and this is where the film largely delivers. First time live action director Brad Bird (yep, the guy who made Iron Giant and The Incredibles) is able to bring more than a few pulses of exceptionally nimble choreography, ranging from rousing and novel chases to a surprising number of quiet, clever, and subdued sleights of hand. The ragtag group of misfits chosen to save the world all find a great chemistry among the chaos, with each member given several chances to really shine and be featured. It's a movie absolutely overflowing with ideas to excite even as several of the story reveals fall flat. There's a sheer confidence to its goofy stride that, while it's certainly several notches over the top, it still manages to remain unpredictable and, best of all, damn entertaining.

8 out of 10.

Black Dynamite (2009)

Blaxploitation has to be a tough genre to revive in these over-sensitive times. For all the cheek we get out of other exploitation genres, it's hard not to cringe at the idea of making a film that “exploits” a racial culture. But then a riotous throwback like this comes along and you remember to ask “who cares as long as it's fun?” This film is as much about culture as Airplane! is about aviation. What this winds up being is a solid ninety minutes of smartly foul, hysterically absurd humor, poking fun at all the Blaxploitation tropes, from the sassy women to the giant afros to the ever-present fight against The Man. It's all here and it's all gloriously cheesy. Nunchucks are swung, asses are kicked, and fourth walls are broken, and by the end it's all a warm glow of fantastically trashy humor.

8 out of 10.

Wall Street (1987)

At the risk of dating this review and making it less relatable to future generations, within the confines of our current economic turmoil this entire thing feels almost like some sort of fable or fairy tale. Showing a man's meteoric rise to wealth under the wing of an entirely ruthless stock buyer, this is the kind of film that reminds a person of the reasons why our portfolios all droop and drag right now. The core of the film is simple rise-and-fall type stuff. It contains almost no surprises, but is still smart about what and how it shows you the machinations at play. Better than that, though, is Michael Douglass as the buyer. Every tiny piece of the character can best be described as “total bastard”, all the way from his suit to his “greed is good” speech. As a relic of a bygone era of infinite prosperity, it is behind the times, but it seems to know it was a snapshot and not a timeless yarn. For what it is, the bits and pieces are impressive, and Douglass is magnificent. Beyond that, it's almost depressing the things this film preceeded.

8 out of 10.

Iron Man 2 (2010)

While the first sailed by on a whip-smart script and a stellar performance by Robert Downey Jr., part 2 swings by on upped production values and a larger focus on things that aren't the metal man himself. It's a different approach that pays off in a completely different way, but it may bug you depending on what it was about the first that you enjoyed. Like any sequel, the budget is bigger and the cast flashier. There are more things to distract from genuine character building, and in some ways it seems drunk on its own success (at least one subplot could have been cut entirely without hurting the film). But the switch-up lets there be more variety. The moments with the stars have less to say, but feel more special for their rarity. The action sequences are bigger in scope and impact, and better integrated into the story. The new characters all fit in fairly well with the old. The most damning thing to say about the film is that it only does what the first did, but bigger. Yet still, that works for what is only meant to be fun and funny. By the end, less may feel accomplished, but it's a more impressive ride regardless.

8 out of 10.

12 Angry Men (1957)

Courtrooms always seem to get the glory—attractive lawyers passionately defending or prosecuting some complex case, snide remarks to a judge threatening contempt, and a resolution that feels hard-fought and just. Equally as important, yet often overlooked, are the juries who decide these cases. The story here is as simple as the title: a jury, retiring after the completion of a murder trial, deliberate and discuss the case to try to reach a verdict. What makes this story so damn interesting is how well chosen each of the twelve personalities are. Some just want to leave and get back to their lives, some genuinely want to discuss the case, some are convinced with solid thinking, some just go along with the prevailing crowd. It's fascinating to watch them bounce off of each other, arguing their perception of the facts, and slowly let a clearer view of their decision come together. The film doesn't play for some grander message about what is good and great about the justice system, merely that everything is more complicated than the surface tends to show.

8 out of 10.

The Curious Case of Benjamin Button (2008)

That this film is about a man who ages backwards is almost entirely beside the point. As a central hook the idea is all but wasted beyond the introductory set-up, and is more an excuse for Brad Pitt to get progressively more attractive as the film goes on. What this really is, is a treatise on death and loss, on endless time and people that come and go. In that way, the story is a tragedy almost from the moment it starts. Yes it tries to play your heartstrings like a harp, but there is so much beauty to be found along the way. The production is lavish, with director David Fincher's signature eye for incredibly small detail pouring over every frame. The acting hits home as well, with both Pitt and Cate Blanchett turning in work that ages gracefully even when their characters don't. Coupled with the script and story, based on a short work by F. Scott Fitzgerald, the result seems a darker take on themes similar to Forrest Gump. This is a remarkable film for reasons that are difficult to entirely nail down. It is effective but obvious, beautiful, familiar yet new, and is the kind of experience that can sneak up on someone when they're not expecting it. If you could do with a bit of wistful melancholy, you'll find exactly what you need.

8 out of 10.

Kick-Ass (2010)

Start with a goofy tale about an awkward, comics-obsessed teenager deciding to run out in brightly colored tights with a mission to save the world, toss in a mob plot, and a foulmouthed father/daughter crime-fighting duo. Stick it in a blender for two hours and out comes this weirdly lovable ultra-violent mess of a movie. Almost nothing here is by the numbers—the combat is bloody, the language extra salty, and the heroes aren't really that heroic. Unlike other comic adaptations, there isn't any overarching message, or a direct source to be ripping on, this is just a straight up violent popcorn-muncher. Largely this works. The momentum and build-up are spot on, the twists mostly obvious and fun, and the drama is light and breezy with just a slight edge to keep you invested. This isn't a grand filmmaking, merely some good, dirty amusement.

8 out of 10.

The Road (2009)

Quietly trudging through the wasteland after the end of the world, a father and son simply try to survive. Just as Cormac McCarthy wrote his silent story of desperation, so it is with this film. It is a surprisingly faithful adaptation, especially considering how devastating and cruel the remainder of the world is portrayed. There is no safety, no beauty, no kindness, nothing left in this setting. Still, for as accurately as the original vision has been fit to the screen there is a surprising, if slight, disconnect throughout. This may be a perfect example of something being lost in translation. Without the stream-of-conscious narrative of the book, the crushing weight of the main characters situation doesn't settle as heavily. Similarly, the few dangers the characters encounter feel less ominous, and far more direct. Yet still, despite the subtlety lessened impact brought about, there is more than enough gravity to circumstances, more than enough desperation to go around.

8 out of 10.

Sherlock Holmes (2009)

Director Guy Ritchie may have outgrown making stylish gangster flicks, but his talent for creatively smashing his way through British culture is very much alive and intact. Taking the grandfather of all super-detectives and giving him a heaping dose of modern cynicism may not do anything for purists of character continuity, but it makes something damn entertaining regardless. That it's the professional motormouth himself, Robert Downey Jr., as the man himself just makes things all the more fun. Meanwhile Ritchie's hyper detailed editing style lends itself perfectly to such a meticulous character. Series purists will of course lament the loss of his cocaine addiction and implications of invisible friends, or that he's more of a man of action than a dour riddle-solver. But this is a film that is aiming for pure, breezy, popcorn-munching entertainment, carefree and pleasantly complicated. About the only real knock against this film are the almost universally terrible CG effects. If you can get past that little tweak, and don't mind a few character liberties, there's very little to dislike in this hyperactive reimagining.

8 out of 10.

Hot Shots: Part Deux (1993)

When it comes to sequels, the comedy that surpasses its predecessor is rare indeed. The first was far from a classic, but in making this follow-up it's clear the makers did everything in their power (and budget) to improve the formula. So here we are again, this trading in the open sea of Top Gun for Rambo: First Blood Part 2's jungle forest setting. The jokes are bigger and flashier, the writing more amusingly convoluted, and they had the great sense to throw Lloyd Bridges onscreen much more than last time. It all works, and though the ravages of time have not been kind to some of the gags and plot points, the level of outlandish creativity tossed about is simply delightful.

8 out of 10.

Monty Python: Almost the Truth – The Lawyers Cut (2009)

Let's go ahead and assume you're already a fan of Python. Because if you are not, there is nothing in this documentary series that will change your mind nor, frankly, is their story remarkable enough to stand on its own. With that unpleasantness out of the way, it's probably safe to call this six-part documentary series absolutely essential for the fans. Covering everything, from each Python's early childhood, through college and meeting up, to Flying Circus, the films, Graham Chapman's death, and what they've been up to since it all came to a close, no stone is left unturned. Each sordid detail, every little anecdote, and the extremely candid nature of criticism and nostalgia that comes spilling out is utterly delightful for the devoted. Where available, it seems that almost anyone of significance in putting together and supporting the phenomenon makes an appearance. In other cases where it tries to show people who were influenced by the Pythons' work, it perhaps comes up a bit short. Despite this, for the pure breadth and scale of information provided, and for just being an excuse to geek out in remembrance for such an awesome pile of comedy, this series should not be missed.

8 out of 10.

The Brothers Bloom (2008)

Slick and suave, another group of con artists set out to swindle some loot from an unsuspecting mark. Abundant scheming and many a plot twist ensue. If you're going to try this old game on the screen again you'd better have something special up your sleeve. This film does. It has a fairy tale sensibility prevalent throughout which gives our dastardly heroes a misguided sense of whimsey, and the utterly ridiculous scenarios an unreal place to lay their foundations. The result is a madcap romp through one beautiful location after another, with a driving sense inevitability paradoxically mixed with the uncertainty of any traditional heist film. And it's all brought together with a visual sense that flows smoothly and is often quite striking. The movie may drag a bit in the second act, but on the whole it s every bit the pleasant surprise it sets out to be.

8 out of 10.

Choke (2008)

Much like Fight Club before it, Choke is a comedy about things that probably should not be funny. It shares a few other things with Fight Club as well: it is also about a mentally disturbed man whose scheme is uprooted by a woman, and it too is adapted from a book by Chuck Palahnuik. This tale gives us a sex addicted con-man whose mother is in the hospital and simply goes for a wild sprint from there. The raunchy humor comes at you sideways, catching you off-guard with a fantastically cruel sense of cynicism. Through it all Sam Rockwell's performance anchors things in a veil of ridiculous that fits the film like a glove. In the end it may lack some ambition, and a few scenes are somewhat dead, but the overall package is enough to keep you smiling from start to finish.

8 out of 10.

Watership Down (1979)

Respect for an audience can be a hard thing to come by in an animated film. For as many talking bears, singing princesses, and pieces of anthropomorphic silverware as have been drawn for the screen, few are given the chance to breathe and be part of something bigger than mere archetype. Watership Down is not a perfect film, but considering the time it was made and the general story, it's amazing that there was any consideration to make it more than just another kid's film, let alone a full-blown thriller. Seeing a group of rabbits strike out on their own to found a new colony wouldn't be this tense if it had been in more market-minded hands. But there's a confidence here, and a sense of respect enough for the laws of nature to show things maybe not as they really are, but as the could be. It's dark and it's violent sure, but it's honest, and doesn't let tragedy break its stride. Though at times it may seem more interested in how a rabbit moves about than in telling its story, there's definitely a sense of weight and intelligence to be appreciated.

8 out of 10.

Drag Me To Hell (2009)

Going back to your roots is always a risky proposition. As directors grow, the things that made them able to make the kind of experience that sparked their career fade. It's nice to see that Sam Raimi doesn't really have that problem. In some of the best possible ways this shows that Raimi may not have evolved at all since the days of Evil Dead. It's every bit the cheesy, crowd-pleasing scarefest that he cut his teeth on. The story of a woman cursed to be, of course, dragged off to Hell, has plenty of easy hooks and evenly placed jumps, but is also remarkably direct with its intentions. It knows exactly what kind of movie it is, and gives off clever smiles as often as demonic fright. In the end, it's nothing more than is standard for the genre, but is so much fun that it hardly matters.

8 out of 10.

A Fistful of Dollars (1964)

Also known as Per un pugno di dollari.
As far as remakes go, this one is hard to beat. Taking Akira Kurosawa's classic Yojimbo and reimagining it as a western works better for this story than one would expect; the desolate desert countryside, the bandit gangs' pistols replacing samurai swordsmen, it all fits together extremely well. Just like Yojimbo, a man rides into an isolated town in the middle of a war between two gangs. Deciding something needs doing, he sets out destroy both, whether the townspeople want it or not. The resulting clever manipulation and chaos is solid entertainment. Clint Eastwood is in his early prime here, squinting his way through one tough situation after another and giving his grumpy gunfighter a great sense of humor and stubbornness. Meanwhile all of the points that its predecessor got right are mimicked here to great effect, and often perfectly expanded upon. While it's easy to label this movie a plagiarized remake of an earlier great film, that doesn't mean it can't succeed on its own.

8 out of 10.

Moon (2009)

Like a lot of the great fiction, Moon gives us a very small idea and just lets it grow. What starts as an ominous musing on loneliness as a single technician wraps up a 3-year solo tour overseeing an automated mining operation on the lunar surface quickly pushes in all sorts of odd directions, turning itself on its ear and becoming fascinatingly unpredictable. The tweaks that come in the story are the kind of stuff that make up the best of short fiction, expanded out to just the right size. At the film's core is an essentially one-man show by Sam Rockwell, who turns in a career performance while trying to sort out the increasingly bizarre circumstances of his job. For those who like a little more drama and a bit more concept in their sci-fi, this strange, manic tale hits all the right notes.

8 out of 10.

Kung Fu Panda (2008)

With all due respect, Dreamworks is simply not known for delivering on the same level as Pixar. They always output very competent films, but the writing always feels more spastic, the storytelling more forced and less meaningful. Then along comes Kung Fu Panda, a movie that takes the studio's trademarked shallowness and turns it into an asset, delivering a light and breezy martial arts fable with just enough characterization, just enough action, and just the right kind of wit. It's a bout of perfectly pure entertainment, funny and exciting throughout. It is absolutely gorgeous too, telling its story of a goofy panda's quest to become a martial arts master with a sense of artistic flair steeped deep in Chinese iconography. For some solid laughs, a bit of time with fun characters, and some beautiful visuals, this is an excellent way to put a smile on.

8 out of 10.

Inglorious Basterds (2009)

Quentin Tarrantino has a knack for pushing the progress of cinema backwards a few decades. With every film, he embraces the roots of today’s movies, creating a gleefully anachronistic throwback. Inglorious Basterds is his (intentionally misspelled) salute to the World War II movies of yore, embracing both the gung-ho camp and intricate conspiracies of that era. Seeing Brad Pitt strut around as a sadistic Nazi-hunter leading a band of angry Jews is delightful, gruesome fun, but the film’s heart and much of its plot belong to a revenge tale waiting in the wings. It makes for an awkward, though terribly interesting trip through Nazi-occupied France, with cheesy enthusiasm intercut with a deadly serious story of justice. Tarrantino’s ever-present talent for dialogue is at full strength as well, with brilliantly meandering conversations framing every move the story makes; it's especially interesting considering the vast majority of the film is in either French or German. As a whole, it is exactly what it sets out to be—the kind of film they just don’t make anymore, delivered with love from one of the best talents in the business.

8 out of 10.

Ponyo (2008)

Also known as Gake no ue no Ponyo.
Once again, legendary director Hayao Miyazaki shows us what's possible with animated films. Pitched similarly to the classic My Neighbor Totoro, Ponyo is a tale perfect for children, and a solid dose of enchantment for the inner child as well. The story is a familiar one, as it is based on the same book as Disney's classic The Little Mermaid. Miyazaki's take on the “fish-person wants to be human” story is significantly different however, even if the central conceit is the same. It's not a musical for one, and the entire production has a danger-less, carefree feel. The palette is full of warm blues and friendly yellows coloring characters that simply accept the situation in front of them with little question, and tied with a brisk pace that helps the whole thing go down easy, if ultimately inconsequential. It is pure escapism, crafted with a sure hand and obsessive eye for detail. Every moment of the film appears hand drawn, with Miyazaki's aversion to computer generated imagery in full swing. There may not be a single computer animated frame in the entire film—a true rarity in this age—and the result is a visual masterpiece. Even so, the story and childish tone may be a hard sell for demanding adults. If you have a playful inner child who can enjoy lush scenery with pretty colors and adorable creatures, you will definitely finish this with a smile.

8 out of 10.