Unforgiven (1992)

You can't argue that Clint Eastwood didn't have a good teacher when it comes to putting together a good western. For the most part, those lessons seems have been taken to heart, as this tale of beat up brothel girls and the men hired to exact revenge manages to hit all the right notes. You've got your wide and untamed expanses, a tough-as-nails sheriff trying to keep order, hookers with hearts of gold, and Eastwood himself bringing the permanent squint. The devil, of course, is in the details, and this in many ways feels like Leone's (and Eastwood's) Man with No Name character a few decades hence, reformed and deeply remorseful. Everything has an air of melancholic sadness, every shootout feels like a hollow victory. There's an emotional depth here uncommon in the genre, in contrast to the usual fond nostalgia for a bygone era. This is a film that takes its time not to build suspense, but to build a point. The result is a feeling of heartbreaking loss at what time and sorrow can do to a man.

9 out of 10.

Up (2009)

One of the things that makes this film so interesting is how it shows that even at their worst, the beloved animation studio Pixar can still enchant. Much like Wall-E before it, Up is strongest in the first act. It quickly spins up and creates an absolutely incredible and emotional prologue, telling a complete and remarkably touching story in the opening moments. From this expert beginning, however, things have trouble maintaining that sense of quiet dignity. As the main character, a grumpy old man fed up with life and people, decides to make a grand escape in a house held aloft by balloons, quiet subtlety gives way to high adventure, and while the emotional underpinnings reverberate throughout the remainder of the film, the beginning feels at odds with what follows. As things become more and more ridiculous, what started in one form jerks its way into a new one that doesn't feel nearly as sincere. That said, even at its lowest points the movie remains completely likeable, with the surly protagonist giving a great contrast to the kid-centric Disney heroes of old. While the heart of the film may sputter and slow, even a sloppy hand can't take away the solid smile and fantastical whimsey that is signature in every Pixar production.

7 out of 10.

Ultraviolet (2006)

Vapid, ridiculous, self-important, and nearly indecipherable, Ultraviolet still packs enough visual punch and audacity to earn begrudging respect. Director Kurt Wimmer's follow-up to 2002's generally excellent Equilibrium serves as a cogent example of Style over Substance. When the action is piling on hot and heavy the film is at its peak but the moment the bullets stop flying you find yourself checking your watch and hoping the next poorly accented “thespian” walking around the corner is hiding a gun behind his back. The good news is they often are, the bad is that it's not nearly often enough. When the body count is rising there are an astonishing amount of things happening on screen, most of them further extensions of Wimmer's semi-brilliant “Gun Kata” martial art invention from Equilibrium, all wrapped around a color palette that pushes straight past nauseating into downright experimental. The film doesn't involve your brain in any way that matters, and when the loud techno music and gunfire lullaby stop the film is just plain awful, but when the film kicks into fight mode there's enough visual flair to warrant a watch.

5 out of 10.

The Ultimate Gift (2006)

Cynically, I wonder if Abigail Breslin's charm and appeal will last past her child star years. Though released and marketed as espousing strong Christian overtones and values, the movie manages to stand on its own surprisingly well. It doesn't wear its religion on its sleeve, and the very few points where it does come up don't feel forced or preachy. With that out of the way, the film itself is a decent morality tale with sadly slipshod editing. The story is a good, if extremely clichéd, narrative of learning to value what you have. The problem is it's told with what feel like obvious gaps in the tale, where important character moments or critical situational set-up is missing. It doesn't cause the plot to miss any important lessons, but it makes the big moments where it tugs at your heartstrings have significantly less impact than it ought to. Pity, too. The acting, the overall directing, and the delightful turns the drama takes all work, but it's just missing the edges of time it would've needed to feel complete.

6 out of 10.

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