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.

Inception (2010)

So few directors can orchestrate a mystery better than Christopher Nolan. Hot off of The Dark Knight, Nolen gives us an opus of a passion project, a film so cleverly intricate and expertly executed that there is little left to do in the end but marvel. At its core it is simply a grand heist movie, but when the goods are stored in a person's subconscious things start to get tricky. And surreal. Very surreal. What plays out is an incredibly labyrinthine story accented with mind-bending, well, mind-bending. It's unbelievably fascinating and expertly crafted. The sheer scale and breadth of thought that goes into some key sequences is enough to fill the imagination. Yet there Nolan is, confidently pushing along, and making the most complex of concepts sing and dance and comfortably layer on top of themselves. It's a total trip on a scale not seen since The Matrix. The only downside is that you'll spend so much of your brain coming to grips with its crazy ideas that the emotional side of the story has trouble staying potent. But for a film to fill the head with so very much, and successfully nudge the audience along down such a winding road, the few tiny flaws can easily be forgiven.

9 out of 10.

In Bruges (2008)

Straddling the line between comedy and drama is not an easy thing to do. Just ask the producers of this film, who manage to make a pretty decent drama-thriller, yet in the same turn almost entirely fail to make it funny. It certainly tries to be funny, but this tale of a pair of hitmen laying low in a quiet European hamlet after a job just doesn't have enough humor going for it. But even so, it's still a compelling film, with enough quiet turns and character moments to pull it through to the end. The assassins are both likable and interesting, if a bit off-kilter, the setting is quaint and pleasant to look at, and the script itself remains remarkably consistent. So no, it's not the black comedy it wants to be, but everything else seems to be on solid footing.

7 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.

Idiocracy (2006)

Once upon a long time ago, writer/director Mike Judge dealt a blow for the common cubicle dweller with Office Space. Now he's back, this time telling the sci-fi tale of an extremely average joe flung into a future populated by the offspring of dozens of generations of society's lowest, dumbest, horniest common denominator. Much like the flawed but smartly wry Office Space, Idiocracy starts off strong with likable characters and some great laughs, but also like its forbear it becomes considerably less entertaining as soon as it decides to develop a plot. As pure satire it still manages to stay witty and clever throughout, but the funny bits become too rare to sustain more than passing interest. It really is a shame, as the first half hints at something truly special, and manages to present moments of sheer stupidity that have already become iconic. Too bad that pesky plot had to get in the way.

5 out of 10.

The Incredible Hulk (2008)

Let it be known that 2008 was the year that the unified Marvel Universe finally came into being. Completely throwing out Ang Lee's much maligned (though technically fascinating) Hulk film from 2003, this iteration of Bruce Banner's anger-driven alter-ego is more like an extremely hyper-kinetic episode of the classic TV show. That's not all it throws out, either; the film doesn't have a first act. It assumes you know that lowly super-scientist Bruce Banner was infected with radiation that causes his anger to manifest as a giant, green, pissed off behemoth. This works to its advantage, creating a film that's lean, mean and, of course, green. There are still significant problems, of course—Liv Tyler's character is essentially a damsel in distress, and Tim Roth's growling commando character lacks proper depth for the choices he makes. But for everything it shaves off the top, it packs in so much on-the-run action, so much fan service, and so much pure movie fun that it's hard not to come out of the theater smiling.

8 out of 10.

Indiana Jones and the Raiders of the Lost Ark (1981)

No one in their right mind would deny this as a classic. Or proof that a deus ex machina is just fine if you actually use a deus. I'm really not sure what I'm supposed to tell you here. Harrison Ford may have given life to Han Solo, but his work as Indy is just as iconic, if not more so. Scene after scene, shot after shot, line after line of this film is a part of both pop culture and the cinematic lexicon. In every way possible it holds up just as well, if not better today than it did when it was minted. It's action packed, funny, rousing, romantic, perfectly performed and flawlessly executed. And frankly if you haven't seen it by now, you're a fool. Go rent it, buy it, enjoy it, study it, love it. This, without question, is among the very tip top best of what film has to offer.

10 out of 10.

Indiana Jones and the Temple of Doom (1984)

Ah yes, the sophomore slump. It isn't that the film is bad. It's actually pretty good, retaining much of the whimsy of Raiders, but there's a surprising lack of ambition, and an uncharacteristically dark undercurrent going on here. Indiana Jones is supposed to be synonymous with fun, and yet there are moments in this picture that are more disturbing than they ought to be. Despite this, it still manages to captivate and thrill. The action is still loaded with great moments and impossible feats of daring. Ford still shows off an excellent mix of desperation and humor. But the laughs and combat feel more brutal, more fatalistic. The plot feels less like a fight against world-destroying evil and more like a humanitarian mission gone awry. Then there's Kate Capshaw playing a damsel in distress lacking any of the independence, pragmatism, and chemistry of her forbear. There remains plenty to like here regardless. It's still an adventure, still strange and foreign where appropriate, and rousing when it needs to be. It's a serious step back from Raiders, but then again what isn't?

7 out of 10.

Indiana Jones and the Last Crusade (1989)

You just can't go wrong using Nazis as the bad guys. Crusade represents a triumphant return to form, bringing back the excellent energy and spontaneity (and Nazis) of Raiders, throwing in some extremely ambitious action sequences, and Sean Connery giving his most watchable performance outside of the early James Bond films. It's fantastic and fantastical, everything fans of the fedora would want, from the farcical, physical comedy-laden action to the flawless chemistry between Connery and Ford. The very few places that the film falls short have to do with some uneven pacing in parts, and a somewhat stilted (albeit with justification) female lead. It also winds up treading some of the exact same ground as Raiders in terms of mythology and geography (and Nazis). In the end, it's delightfully unpredictable in just the right ways to make it a true follow-up to the first film. It's not an unquestioned classic, but the action and adventure and ridiculous fun (and Nazis) of it all are gleefully intact.

9 out of 10.

Indiana Jones and the Kingdom of the Crystal Skull (2008)

Damn it's good to have him back. After nearly two decades the fedora, the whip, and that iconic music returns! George Lucas has had mixed results with his revivals of old franchises, but fans needn't worry if this one is any good. It's not a classic, nor is it "merely" great, but what's here is just the kind of infectious fun you expect and crave. Fun is key here. Lucas and director Steven Spielberg know that these aren't serious movies; they're basically B-movie plots wrapped around amusing archetypes. And in fairness Crystal Skull skews surprisingly deep into that realm in often unexpected, frequently bizarre ways. It's all in cheesy, predictable revelry, though the film still falls a bit short of its pedigree. The emphasis seems to be set squarely on a sense of humorous impossibility. It makes for a few great laughs, but the cheerful seriousness and inherent danger of previous installments is all but gone here, replaced by Ford mugging for the camera with an “I'm too old for this,” look on his face. Speaking of which, Ford seems unfortunately past his prime here. He lacks his strength and rugged verve of yesteryear, instead seeming tired and almost disinterested. That's okay though, since almost all the characters surrounding him are done exceptionally well, especially a surprisingly capable Shia Lebouf as a plucky leather-clad biker, and the magnificent return of a character from an earlier film. In all, it's worth your time, and for the most part a worthy follow-up to its legendary namesake.

7 out of 10.

Iron Man (2008)

Play it all for fun and laughs and it's surprising how far you can go. There's barely a stitch of serious thought in this film; the plot is casually predictable, the storytelling cheesy, and the general logic of it goes against everything I spent entire seconds vaguely daydreaming through in film class. It's pure comic book pulp. But cast Robert Downy Jr. as the lead, with his caustic wit and utterly self-absorbed confidence, and you're guaranteed something narcissistically delicious. In this case, you get a hilarious two-hour improv reel gussied up all nice and purty with summer blockbuster noise and effects. Seeing him play a multi-billionaire arms dealer cum mechanical superhero gives his clearly giganti-large ego a lot of excellent material to play with. Unfortunately anything that isn't Downy Jr. is bulldozed straight off the screen, which is surprising of such talent as Jeff Bridges, Terrance Howard and Gweneth Paltrow. They wind up completely overpowered at almost every turn. In the end, that's not a bad thing—the filmmakers know where the focus needs to be, and mostly keep it there. Ultimately, some cool action sequences, wide appeal, and the fantastically neurotic antics of its lead manage to make this film far more entertaining than it ought to be. And if the after-the-credits sequence is any indication it can only get better from here.

8 out of 10.

In the Name of the King: A Dungeon Siege Tale (2008)

Calling this director Uwe Boll's best film yet is like calling something the best doctoral dissertation given by someone with an IQ less than 50. Simply put, if the best thing your movie has going for it is a camp-tacular performance by Matthew Lillard of all people, you ought to just give up. But no, Boll marches on. And in the case of King, you get two hours of feces that alternates between being laughably bad and a prescription strength sleep aid. Sadly, this is a step up from his previous work. How does this man keep getting funding? It used to be because of a loophole in German tax law, but with that closed there's no reason for this man to be employed. More importantly, how does he keep getting such notable actors to slum it? I can understand that Ray Liotta, John-Rhys Davies, and Burt Reynolds might be desperate for a paycheck, but Ron Pearlman and Jason Statham aren't exactly hurting for work lately. And how can Kristanna Loken have made this mistake TWICE?! This is an awful movie made by an awful director whose actors have made awful choices. Unless you like torturing yourself, or have a crowd of friends and enough mild-altering substances to change reality itself, do not give Uwe Boll any reason to release another atrocity.

1 out of 10.

The Invisible (2007)

Needlessly tragic and scripted with the subtlety of a sledgehammer, there are a lot of reasons to dislike this movie, but enough good things going on to keep you from turning it off completely. If nothing else, this trippy tale of a kid's struggle to solve his own murder is at least original in both concept and execution, but for the most part it just gets used as a venue to vent gigantic gobs of teen angst. You've got your standard issue absentee parents, faux friends with confused alliances, and a soundtrack piled high with “no one understands me” alterna-rock. And all the voyeuristic wanderings where we see everyone's reaction to our protagonist's death makes it come off like a charmless retelling of It's A Wonderful Life. Still, the story is complex enough to not be dull and even includes an unexpected twist or two, and the scenery is wonderful in a wet and cloudy sort of way. One's enjoyment here probably depends on how sturdy your gag reflex is for typical adolescent melancholy. Neat story idea aside, what's here isn't much of anything special, but not particularly bad either.

5 out of 10.

I Am Legend (2007)

Great performances can come from just about anywhere, in any film. I Am Legend, I expect, didn't aspire to be much more than a mega-budget December release, eager to cash in on the crowds as many of them begin their holiday vacations. It has a so-so script that's big on set pieces but light on breadth, top notch effects (well, at least the deserted New York is top notch; some of the other effects don't fair so well), and a big name to headline it. And then Will Smith makes it magic. In the guise of a post-apocalyptic thriller, Smith's take on the day-to-day desolation and mania that comes along with longterm isolation is riveting, and for the most part it elevates this film from a generic seat-filler to a tightly-wound, often somber character piece. The film as a whole benefits from it, whether it's the exceptionally creepy darkness scenes or the quiet moments Smith shares with his dog. While in the final analysis, this movie lacks the depth and wide-ranging appeal to push this into must-see territory (not to mention that it has almost nothing to do with the book it's supposedly based on), what's here is a fantastic little genre pic, effortlessly carried on the shoulders of its star.

8 out of 10.

Into the Wild (2007)

Alternating between being an purposeful and thought provoking meditation on society's many ills, and being agenda driven snobbish tripe, this is a movie that's extremely difficult to love, but easy to admire. It's clear that a lot of passion and dedication went into the making of this film, but despite its real-life trappings, much of it comes off as a bit too idealistic. Director Sean Penn paints his scenery and characters in fairly clear black and white: Nature and hippies = Good. Cities and people with jobs = Bad. This is absolutely backed up by the score by Eddie Vedder, with folk tunes about wilderness and the supposed joys of being penniless. There's certainly merit to the thinking, but as it's portrayed here it comes off as too simplistic. On the other hand, Emile Hirsch puts on an amazing performance as the brash, and very real, Christopher McCandless. Likewise, the location scouts did an outstanding job of finding gorgeous locales to set the film in. While the central conceits of the film are a bit too basic, the excellent settings and great acting make this an interesting example of what happens when idealism crashes head-on with reality.

7 out of 10.

In July (2000)

Also known as Im Juli.
What to make of this strange little road trip flick. It's not perfect by any means, but it still a very enjoyable way to kill 90 minutes. Basically you've got your sort-of Oscar Wilde tangle of misplaced affection, a quasi-cross-continent road trip in which shenanigans ensue, and an almost heartwarming story of looking for love in many of the wrong places. Along the way you see a bit of somewhat nice scenery, and nearly a few lessons in both German and Turkish (Gurkish?). What doesn't work so well is an intentionally, but perhaps overly misleading story, and a generally miscast lead. Maybe it's my dumb-American sensibilities, but the lead male just never looked the part throughout the whole film. At least the acting is decent, if a bit overt. The road trip movie is well past its heyday, but a few gems peek through from time to time. In July is hardly a great film, but it serves very well to show the sweet and fun side of the genre.

7 out of 10.

In the Valley of Elah (2007)

Paul Haggis seems to be at it again, though you'd be hard pressed to tell that this film came from the writer/director of Crash. With a pace set somewhere between “mosey” and “molasses going uphill” and a feel far removed from his colorful vision of Los Angeles, you could almost start thinking he's grown up. The subject matter is handled with extreme sensitivity but enough rough-and-tumble to feel realistic and honest, while his directing moves toward the thinking man's drama. For the most part, Haggis and company do a beautiful job. In fact, about the only negatives to the film are the very things that make it what it is. The slow pace kills much of the story's momentum before it even takes root, leaving exceptional actors to fill in the space (which they do admirably!). Meanwhile, the extreme honestly and mind toward its potentially politically charged tale means that it's hard to feel that you're watching something you yourself haven't encountered either in real life or in another, more commercially viable movie. You could either be slowly pulled into its emotional storytelling, or put to sleep by it—could go either way. For my money, it's a very good film if you're of the kind who can appreciate acting in place of tempo.

8 out of 10.

'It's Not News It's Fark: How Mass Media Tries to Pass Off Crap as News' by Drew Curtis (Book - 2007)

If I were to take everything I learned in college about analyzing mass media, then to add in everything I've learned the last several years actually working in mass media, distill it down into 300 pages and add a witty writing style, it would only be about half as informative and quintessentially true as this book. Drew Curtis, who owns and runs one of the most popular news sites on the Internet, tears the whole process of news gathering and reporting down at such a backbreaking level that it's almost insulting. A book on how news is gathered and distributed is probably not everyone's cup of tea, but speaking as someone who's been an insider of the industry for a good portion of my life now, Curtis gets it right. You'll laugh, you'll learn, and you'll probably feel more than a little slighted at the conclusions he draws, but it strikes true enough that you can't help but wonder how the News business survives in the first place. An absolute must for anyone in or studying media, and a piece of near-brilliant observation for any news junkie.

8 out of 10.

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