Mid-2014 Re-Launch

It’s been two and a half years since I posted a blog, and I disappeared in mid-Top Ten list.  There were a variety of personal reasons, from the break-up of a seven-year relationship that I’d poured my heart and soul into, to the diagnosis of my sister with a terminal illness.  It all just got to be too much, and I found myself without the desire to write about movies.  In fact, for a time, I really stopped going to the movies.  Which if you know me, is saying quite a lot.  I’m the person who was called “the movie guy” by friends in high school, and ran the organization that programmed my college’s film schedule.  I don’t think I have the kind of following at the moment to warrant going into an expansive detailing of my personal problems, but a brief explanation does seem necessary for whoever might have been waiting for, or curious about, those last two write-ups in my Top Ten of 2011.

At this point, I don’t really feel like going back and writing full reviews of those last two films from 2011.  Also, the films aren’t as fresh in my mind anymore.  If there were requests, as is always the case, I’d be happy to do it.  But for now, I think the mention of the titles should suffice.  So… drum roll, please… the titles of my top two of 2011 were The Help (#2) and The Artist (#1).  The Help was pretty much everything I want from a Hollywood drama, and the kind we rarely seem to get any more.  Great writing, great performances, with an important subject matter.  It definitely saddens me that super-hero films have taken over the landscape to the point where indie movies need to have A-list names to get wide theatrical distribution, and solid, meaningful dramas are few and far between.  I was excited to see The Artist from the first time I saw a trailer, perhaps six months prior to release, when I thought I’d probably be the only one who’d enjoy it.  As a huge cinephile, I loved the way it charted a course though some of the history of film, and commented on the shift from the silent era to talkies while also telling a very specific fable-like love story of its own.  It was a perfect gem of a film, and I was really elated to see it find a larger audience and win the Academy Award.

There are certainly criticisms to be made of either film: I’ve seen some say that The Artist is overly simple and not complex enough, and I’ve also read comments about how The Help essentially whitewashed its story by the narrator, and supposed hero, being a young, white woman.  I’d argue both points.  I don’t think a film like The Artist needs to be complex; in fact, the whole point of it was to tell a very specific, simple fairy tale-like story.  In my mind, it stands next to the best of Chaplin and Keaton, while not trying to compete with the kind of physical comedy that made those films great.  As for The Help, the narrator being Emma Stone’s Skeeter Phelan simply read to me as an honest depiction of the times and a necessary convention.  Viola Davis’ Aibileen Clark and Octavia Spencer’s Minnie Jackson were not weakened for me because of Skeeter’s inclusion, and I can’t think of a way that their story would have otherwise gotten to the upper-class whites and created a similar change.  But Skeeter was never the hero of the film to me, and I don’t think there was an agenda of the film to make her into one.  She was a catalyst character.  When I think of The Help, I think of Davis and Spencer and their strength and the racist, weak-minded whites that were so slow to change and required dissenting voices from within.  If the film had simply followed the black maids and not had a Skeeter Phelan in it, it would be a much different film.  We’d see the day-to-day of the their lives, and perhaps that story would be even bleaker and more naturalistic.  But there wouldn’t be a way for those lives to change. If you wanted to see a documentary about those times, obviously any big Hollywood movie isn’t going to scratch that itch, and this movie is not that film.  Often, real change takes generations and a slow erosion of prejudices over a long period of time; and that’s not always the stuff of a two-hour Hollywood movie.  What The Help did do was give us powerful performances across the board and put it all into the public consciousness, starting a larger conversation at a time when prejudice of all kinds, including racism, is still rampant in many parts of the country and the world.  The film jettisoned working actor Viola Davis onto the much-deserved A-list and proved that Tate Taylor could handle a large cast and direct an ensemble to career-best work.

Changing the topic and looking forward, I’m planning to start writing on this site again.  I’m hoping to do at least a few entries a week, and the posts will likely also include television, books, and video games as well as films.  Right now I’m really enjoying The Leftovers and The Bridge, reading A Game of Thrones (the first book in the A Song of Fire and Ice series) and Stephen King’s Mr. Mercedes, and playing Far Cry 2 and the point and click adventure A New Beginning.  I’d like to do smaller reviews for something I have an opinion on, like the fact that I’m enjoying Far Cry 2 now several years after the fact even though it has improvements that could be made, and likely have been, in the sequels.  But my video game list is long, and I’m spending some time now trying to catch back up with old stuff.  I also plan on soon playing the first two Medal of Honor games that were released for the original Playstation.  And I’d like to do longer reviews for something like Halt and Catch Fire, something that I’m experiencing along with the zeitgeist, at a time when opinions about it are very fractured.

I’ve also put up a Paypal button on the sidebar to the right.  I’d love to be able to work on this site and do several entries a day, but for that to happen I’d need to be making my primary income here. I don’t expect that to happen, but if it does take off over time as I’m able to write when I can, perhaps I’ll eventually be able to increase the amount of time I spend here.  For the time being, I’m also venturing into the world of self-publishing, and that may need to receive the lion’s share of my time, at least for now, for purely financial reasons.  But I do expect to be posting here again more regularly, and I hope you’ll join the mailing list and add your voices to the comments sections.

Oh, and finally, it looks like I’ll be attending TIFF for a few days in September.  Unfortunately, I’m only going to be able to catch 2/7 of the films I really want to see, since I’ll be there during the week and I don’t have any premium tickets.  So I won’t be seeing The Drop, Manglehorn, Nightcrawler, Top Five, or While We’re Young.  And because of simultaneous showings, I also probably won’t be able to make Wild or 99 Homes.  I’m also disappointed that Birdman won’t be playing the festival.  And since I’m attending with my mother and we’re attending screenings together, the midnight showing of REC 4 is probably also out.

But I am hoping to see Foxcatcher, Whiplash, and The Imitation Game.  I may also be seeing The Equalizer and The Keeping Room, or we may opt for Red Amnesia or A Second Chance.  I’ll post a final list once I’ve made my selections in a week or two, and you can expect to see write-ups for most of those in September.

 

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March 2012 releases

Over the next few days you’ll be seeing the reviews of my Top Ten of 2011 films.  I’ve tried to catch up on everything released in 2011 that could possibly upset the list, which is why there have been so many recent 2011 reviews.  I won’t be posting reviews for films I saw much earlier in the year upon their release.  However, I will take requests.  So if someone wants to see a review for a 2011 film that isn’t up after the Top Ten of 2011 reaches completion, by all means post something in the comments section and I’ll get a review up for it.  Chances are I’ve already seen it; there were several films in 2011 that I really liked that aren’t on the list and haven’t already received a review from me.

After the Top Ten of 2011, I’ll be putting up reviews for the remaining February releases I intend to review: Safe House, The Secret World of Arrietty, Wanderlust, and Gone.  Those should all be up before the end of the week.  I hope to get to The Perfect Sense once it finally opens in Los Angeles in the next week or two.  The same goes for Tomorrow, When the War Began, which appears to have only opened initially in New York.  I won’t be doing reviews for the new Ghost Rider movie or for Thin Ice.  The former has been so critically lambasted that I’m no longer interested in wasting time watching or reviewing it; I’d hoped it would fall into the so-bad-it’s-fun category of last year’s Drive Angry, but obviously Neveldine and Taylor are just getting more and more incomprehensible, and can’t hit the same kind of over-the-top, ludicrous genre delight of Todd Farmer and Patrick Lussier.  Thin Ice, the more I’ve considered it, just looks to be really trite, cliche indie fare, and not something even Billy Crudup can save.  Again, it’s something I’ve lost interest in reviewing and doesn’t seem to be worth the time.  Occasionally, there will be films where this happens.  However, I’m not adverse to reviewing something at the request of vocal fans, so make your voices heard in the comment section!  Also, there will occasionally be instances where I get dragged to something not on my schedule and end up doing a review for it.

After this recent slate of 2011 films and the upcoming Top Ten of 2011, things are going to slow down a bit with probably about 5 reviews posted a week instead of 2-5 a day.  In the future, I may add in special review projects such as reviewing all the films of selected directors.  I’d certainly be willing to take requests for that as well.  I’ve already seen all the films of Kurosawa, Scorsese, and Spielberg.  One director I have in mind for it, because I’m very interested to see the half of his filmography I haven’t yet watched, is Ingmar Bergman.  I’d go so far as to say that Bergman is my favorite director.

But for now here is what you can expect to see from me during the month of March, by release date:

March 2nd
The Lorax
Project X
The Snowtown Murders
Let the Bullets Fly

March 9th
John Carter
Silent House
Friends With Kids
Salmon Fishing in the Yemen
Footnote

March 16th
Jeff Who Lives at Home
Seeking Justice
Casa de mi Padre
The Kid With a Bike
Detachment

March 23rd
The Hunger Games
The Raid
The Trouble With Bliss
4:44 Last Day on Earth
The Deep Blue Sea

March 30th
Wrath of the Titans
Intruders
Goon

Published in: on February 28, 2012 at 2:51 am  Leave a Comment  

Back from the Dead!

I can’t believe it’s been over a year since I’ve touched this blog, and that was after only a brief 4-month run of posting reviews where it quickly got away from me– the number of films I was seeing and wanting to post reviews about far exceeding what I could actually keep up with in terms of writing & publishing reviews.  But here I am, back from the dead, with a second attempt.

Seeing as how it’s a brand new year, I’m going to kick things off with a 2011 Top Ten list (although I’m going to publish each short review separately).  And then it will be on to the new slate of 2012 releases.

The first official 2012 film I’ll be reviewing will be Haywire.  I’ll likely also be doing a review for The Grey, which is really the only other January release I’m excited to check out.

Here’s what I’m excited to see coming in February (and for which you can probably expect reviews):

Feb 3rd
The Woman in Black
Chronicle
The Innkeepers

Feb 10th
Safe House
Rampart
Perfect Sense

Feb 17th
Ghost Rider: Spirit of Vengeance
The Secret World of Arrietty
Thin Ice

Feb 24th
Wanderlust
Gone

Now, I don’t think all of these will be spectacular films.  Ghost Rider, for instance, I’m interested in seeing simply because of the Neveldine/Taylor directing team and how they may take Nic Cage’s forever escalating train wreck of a career to new insane places much like last year’s Drive Angry.  And I still haven’t seen the first Nic Cage Ghost Rider film, but this one has me slightly intrigued simply because of the Crank directing team.  If I end up seeing something off the list, say This Means War, and have something to say about it beyond “Another lobotomized action movie in the vein of the lobotomized Mr. and Mrs. Smith,” perhaps there will be a few surprise reviews showing up.

Finally, as a tease for the 2011 Top Ten list, here are the honorable mentions:

Midnight in Paris, Woody Allen

A fun, whimsical tale, perhaps one of Woody’s best in recent years.  Though his previous You Will Meet a Tall Dark Stranger was underrated and under-seen and surprisingly solid.  Paris doesn’t really have the gravitas to make it into the top ten list, and it loses some of the wind from its sails by the end of the picture.  Much like Gil’s late-night wanderings, it’s a pleasant and entertaining diversion that finally doesn’t amount to much more than the joie de vivre of its own enjoyable musings.  But it is a lot of fun, and it’s supported by a very game cast making the most of their eclectic and inspired roles.  It’s also refreshing to see Wilson back at home in his comedic element after his personal travails of the last few years, yet in something that’s a bit more than simple, brainless mainstream pandering.  And he’s a surprisingly good fit as an Allen protagonist, capturing all of the requisite doubt, insecurity, and pathos, yet bringing a good-natured charm and zeal to the archetype that sets it apart and actually strengthens the film as a result.

Moneyball, Bennett Miller

There’s really no criticism you can make about Moneyball.  This was originally supposed to be directed by Steven Soderbergh, but he was let go after several years developing it when the studio didn’t like his plan to intersperse documentary footage throughout and to cast some of the real people as themselves in the adapted narrative.  It’s true that this choice probably would have made the film slightly less commercial, but it’s also sad that a director like Soderbergh who routinely delivers commercial success and works diligently with the studios to strike a balance between commercialism and artistry isn’t given any leeway these days.  It’s largely this development nightmare that’s responsible for him wanting to take a 5-year hiatus from film directing to submerge himself in painting, where he doesn’t have to constantly answer to a board of entertainment executives and bankers to justify every creative choice ad nauseum.  And so we’ve ended up with the “safer” Miller version of Moneyball.  Billy Beane is a role that Brad Pitt easily slides right into, but it’s not a part that demands anything of him besides him mumbling and spitting his tobacco juice into a styrofoam cup.  It’s even a little mind-boggling that he’s being mentioned in the Best Actor race; he’s asked to do so very little in this film that doing it well is certainly no career high.  But much like the story behind Moneyball, the film’s success isn’t a result of hitting it out of the park, it’s a measured victory of doing everything right and minimizing any potential errors.  The supporting cast, from Philip Seymour Hoffman and Robin Wright to Jonah Hill and Chris Pratt, are all aces.  And the fresh take on the sports film from a card-counting, number crunching perspective is certainly fresh enough to make Moneyball an engrossing watch, even if it doesn’t have a strong enough emotional center to take it from being involving to outright compelling.  Still, 2012 featured such a dearth of quality films, specifically wide releases, that Moneyball has little competition while making so few errors.  If most of your competition are stillborn remakes and sequels, movies about toy lines from the 80s, and stillborn sequels about toy lines from the 80s, then you don’t have to be great to be the best, you simply need to be solid and not drop the catch.  And in the end, Moneyball is an extremely well-crafted film for which Miller deserves much of the kudos, no doubt a welcome coup after having had a project or two of his own stuck in development hell over the last few years, making this his first release since the outstanding Capote.  And its success appears to have helped Miller finally get a greenlight for his next film, Foxcatcher, with Steve Carell playing the paranoid schizophrenic John du Pont who murdered Olympic wrestler David Schultz.

Published in: on January 23, 2012 at 8:45 am  Leave a Comment  
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My Thoughts on the December 2010 Releases

I initially sent this in an email to a friend, then thought: this could be a kind of cool thing to post on my blog and hopefully generate a little feedback that is not happening in my review posts.  I could make it into a monthly feature, and it could be fun for people to see what I think of movies before I see them in comparison to my reviews afterward.  So here are my initial thoughts on the 12/10 releases.

Black Swan: it’s Aronofsky. Enough said.  Looks like Polanski becomes Argento.  Hope the trailer hasn’t ruined too much.  Bonus points for Cassel.  And could this be the start of a genuine career for Kunis?  And Winona Ryder is in this?  Oh, Aronofsky, you’re just stacking the deck against yourself, aren’t you.  I have no doubt you’ve succeeded, but is the toll that this challenge must have taken on you the real reason your marriage has collapsed?  As for Ryder, she’s going to have this critical darling in December and then the mainstream-friendly The Dilemma in January.  Could she possibly resuscitate her career after all these years as well?  Are these the kinds of doors that playing Spock’s mother for a few seconds opens?
 

I Love You Phillip Morris: delayed longer than God. Could it possibly be any good at this point? Considering mainstream America are homophobes and no one could figure out how to market “funny” Jim Carrey playing gay, possibly.  Or it could just be all kinds of an interesting misfire.  Even if it’s not great, should be worth a watch.  Carrey and McGregor look like an oddly successful pairing.

Rare Exports: should be interesting.  Hopefully it will be interesting, fun, and at least decent.  Certainly it will be different, and a far superior alternative to Little Fockers or Gulliver’s Travels.

The Warrior’s Way: this looks all kind of terrible.  Kate Bosworth, what are you doing to your career?  And Geoffrey Rush, you should know better.  There is no way this is a “paycheck” movie, and neither is it The King’s Speech.

The Tourist: I’m sure I’ll see it, but Johnny Depp looks badly miscast. Seems like this would be much better featuring an average guy who gets caught up with Angelina Jolie. Johnny Depp playing an average guy? That doesn’t work. Imagine if someone like Ed Helms had starred in this alongside Angelina. Now that would have been a fucking awesome movie. Or at least more realistically, an Edward Norton or Ryan Gosling or someone who can at least be this side of average in a Hollywood way. But not Johnny Depp in fucking mascara. Still it’s the American debut from the director of The Lives of Others, so there’s that.

The Tempest: I hate Julie Taymor. Titus was the longest 14 hour movie of my life. Even when Taymor directs well, she directs interminably.

The Voyage of the Dawn Treader: I will see it because I love the Narnia books, but the film adaptations just aren’t as effective at capturing the magic or being compelling as the Harry Potter movies. I’m not sure why this is. Perhaps Hilary Swank is a secret producer.

The Company Men: I’m actually really interested in this one, even with Ben Affleck acting. But this looks like it’s been downgraded from wide release to limited. Either it’s going to platform out and be a surprise hit of the holiday season as it connects with audiences who can empathize in the failing economy, or it’s going to be a tree falling in the forest that no one will hear and it will run for 1-2 weeks and then disappear. It’s the theatrical directorial debut of ER showrunner John Wells, so there’s that. Plus some really good older talent like Chris Cooper and Tommy Lee Jones. Conservative Republicans could potentially eat this one up if given a chance.

The Fighter: I’m there, even though I’m not the world’s biggest Mark Wahlberg fan. But I like Christian Bale and I like Amy Adams, and I’m curious to see what David O. Russell has done taking over after Aronofsky left, with a movie that seems like it would have been perfect for Aronofsky (I guess once you do The Wrestler, you’re not doing The Fighter, too).

Tron: Legacy: this is the fanboy drooling pad of the end of the year, and I’m so there. I think Kosinski is going to be pumped up as the next Spielberg/Fincher after this comes out. Hopefully Garrett Hedlund doesn’t ruin the whole movie, but The Matrix ended up being Keanu-proof, so you never know.

Yogi Bear: shoot me in the fucking head, hell no.

How Do You Know: yes, I will take more Paul Rudd with a side serving of Owen Wilson (and I say this as a straight man who just happens to like both of them), and it looks like the best thing Brooks has directed in a long time. I used to really like Reese Witherspoon, but she is starting to age in a bizarre way, and perhaps not making the best movie choices lately, either. Still, I don’t think she’ll actively detract from the film.

All Good Things: I’m there for Gosling, even if it looks predictable and likely bad.

Rabbit Hole: Kidman, Eckhart, Cameron Mitchell, script by Lindsay-Abaire. Hell yes, bring on the depressing dead kid drama. Perhaps this will be the antidote after the inevitable Little Fockers viewing.

Casino Jack: it’s probably good, or possibly not. Either way, it looks kind of boring. If someone twists my arm or I read a bunch of good reviews, I could be convinced.

Frankie and Alice: Halle Berry bad is too much for even Stellan Starsgard good. Probably not.

Little Fockers: I can see it happening, God help me. Particularly around the holidays with some friends or family with questionable and mainstream-only taste.

True Grit: yes, this is a done deal. Going to be an interesting holiday season for Bridges, and he looks great in this. He’s somehow aged into one of the few Hollywood living legends over the last few years; before that he was simply an aging (and good) actor. Still, with all of the potential, for some reason I’m a little worried the Coens may succeed in making a smart, brilliant version all their own that doesn’t get criticism from fans of the original, yet still fumbles the ball in an odd way near the end. Hope not.  And no, I don’t think Damon will be the weak link, even if I’m in the minority in saying that, though I’ll admit he may not have been that well-served by the trailer.

Somehow: eh, I’ll see it. But Sofia Coppola you are becoming pretentious and your trailer doesn’t help. Nor does what looks to be too close a retread to Lost in Translation. And Stephen Dorff is no (insert talented actor here, or anyone I might have preferred to see in this part… let’s say Josh Brolin to stick to a similar type).

The Illusionist: somehow not very interested. Could positive feedback on this change my mind?

Gulliver’s Travels: I don’t see how I can manage both this one and Little Fockers. It has to be one or the other. Both and I will receive a shotgun blast to the head in the middle of the night courtesy of the Taste Police.

Country Strong: I have a feeling this movie will show, in the aftermath of Tron: Legacy, that Garrett Hedlund actually CAN act.  Still, I hate country music.  I also haven’t yet seen Duets, and if I have to see Gwyneth Paltrow singing in a movie, I would prefer to finally rent that one.

Blue Valentine: hell yes. Even if it gets an extremely limited NC-17 release, I will be there.

Biutiful: I’ve been waiting for this one for ages. It’s the first Inarritu film since the parting with Arriaga, and it looks awesome. Like Inarritu’s take on Shyamalan’s Unbreakable. Bardem is always amazing; and seeing him play a romantic, existential, beleagured, blue-collar family man trying to make sense of seemingly supernatural powers looks right up my alley. Too bad this thing is going to get dumped into an extremely limited release, me thinks.

Another Year: it’s Mike Leigh, so probably, unless it gets lost in the shuffle as I travel between L.A. and Buffalo and it ends up only playing in those cities when I’m not there.  Can’t say I’m super excited, and I’ve missed the last few Leigh releases, but really, it’s time to change that and fill in the holes in my Leigh catalogue.

So what are you all looking forward to in December?  Anything here that’s new to you that looks interesting?

Published in: on November 13, 2010 at 2:51 am  Comments (3)  

An Introduction

Welcome to my new film review blog!  I encourage your comments, and am hoping to build this blog into a place that can spawn some film discussion.

I definitely consider myself a cinephile, and try to see as many films released each year theatrically as possible.  Even though in this digital era the selection of films available in the home is wider than ever, and there are certainly plenty of home theater options to make the viewing experience as pleasant as possible, there’s still something magical about seeing a film in the theater as intended.  There’s a loss of control the audience has when they go see a film in a public venue which contributes to the experience that anything can happen; and it’s my opinion that it’s this very experience that helps a film to work properly on the audience and have an effect on our subconscious.  We can study a movie all we want in the comfort of our home and its hermetic environment, but we can also lose that experience of being part of the journey of the film; I’d liken it to the difference between observing or studying something, and participating in it so that is has a more profound and visceral effect.  This experience is heightened by knowing as little about a film as possible going into it, which is why I try to keep my general reviews plot-free and focus more on the effectiveness of a film’s various elements.

I live in Los Angeles, CA, so I’m lucky to have access to almost all theatrically released films, be it a large or small scale release.  I also have a wide variety of taste, from foreign to indie to the classics to Hollywood blockbusters.  I really have a love for all film, and my main criteria is simply high quality and the hope of witnessing something that hasn’t quite been done in the same way before, and in very special circumstances advances its genre or even film in general in some way.

It’s my belief that storytelling, when done well, can be a means to transform the audience.  We’re all here in this world on our individual journeys, and a good film gives us the opportunity to take a glimpse at humanity from a fresh perspective and apply the experiences of the characters up on the screen to our own personal struggles.  It can be cathartic and make us laugh and take comfort in a larger shared commonality; or it can take us to a stark, dark underbelly where we may find something to inspire us with the most difficult of our struggles.

I use a 1-10 rating scale, and for those used to a five star system, I’d equate it like this:
Five stars = 10, a classic and a must-see
Four stars = 8-9, highly recommended, would be worth owning the film
Three stars = 6-7, moderate recommendation to an audience with a predisposition to it
Two stars = 3-5, some audiences may get something out of it, but unless you have a vested interest in it, likely not worth your time
One star = 1-2, likely not worth anyone’s time

I try to avoid seeing anything I think I’d end up rating 1-2; and because I’m a fan of certain genres I may occasionally see something I think I’d rate a 3-5 and still enjoy it on some level.  But in general, even though I do see a large number of films, I do still try to target those I think are worth my time and I will really appreciate (I say appreciate because there are great films that you don’t always like in the sense that you find them enjoyable to watch, such as Michael Haneke’s Funny Games).

Other than hoping to inspire a discussion on film while sharing my opinions, my goal with this blog is two-fold, and is in part intended for the more casual filmgoer who doesn’t get a chance in today’s busy world to go out and see a lot of films.  The first is to bring to their attention films that they really should not miss, which is everything in the 8-10 category.  And the second is to provide an opinion on those middle-of-the road films that they may be considering spending a night out to go see.  If I rate a film 6-7, it probably won’t wow anyone, but it’s also likely you won’t consider it a waste of your time.  If I rate a film 3-5, I consider that falling below the line of something most moviegoers will want to waste their time with, unless of course there’s something about the film that has you itching to see it come hell or high water, in which case you’re probably not really seeking anyone’s opinion about it in the first place.

I can’t promise I will review every film I see.  Does anyone really need to read yet another review of some Hollywood blockbuster that they already know is a must-see, or a bomb to be avoided at all costs?  Instead, I’ll be prioritizing the films that I feel mainstream audiences may be overlooking entirely, or those that, while performing successfully, are so good that they deserve another voice championing them.

Since we’re already well into 2010 as I’m starting this blog, I’m going to do a quick list here of everything I’ve seen theatrically this year to-date.  Things are rated within their genre, so keep in mind that if I give a 6-7 to something in a genre that you generally HATE, you’re still probably not going to like it and, in such a case, might want to wait until I give something in that genre a 9-10 to check it out. And there’s always the case that my opinion is, at the end of the day, still just an opinion; there may occasionally be a film that I fell in love with which someone else may loathe. But disclaimers aside, anything in bold comes highly recommended!

The White Ribbon, Michael Haneke, 10/10
Daybreakers, the Spierig Brothers, 6/10
Youth in Revolt, Miguel Arteta, 6/10
The Book of Eli, the Hughes Brothers, 7/10
Fish Tank, Andrea Arnold, 6/10
Legion, Scott Stewart, 6/10
Creation, Jon Amiel, 8/10
The Girl on the Train, Andre Techine, 7/10
Edge of Darkness, Martin Campbell, 7/10
Terribly Happy, Henrik Ruben Genz, 6/10
From Paris With Love, Pierre Morel, 4/10
Frozen, Adam Green, 7/10
Red Riding Trilogy: 1974, Julian Jarrold, 8/10
Red Riding Trilogy: 1980, James Marsh, 7/10
Red Riding Trilogy: 1983, Anand Tucker, 8/10
The Wolfman, Joe Johnston, 2/10
Percy Jackson & The Olympians: The Lightning Thief, Chris Columbus, 5/10
Shutter Island, Martin Scorsese, 9/10
The Ghost Writer, Roman Polanski, 7/10
The Crazies, Breck Eisner, 8/10
Easier With Practice, Kyle Patrick Alvarez, 10/10
Cop Out, Kevin Smith, 1/10
The Yellow Handkerchief, Udayan Prasad, 10/10
A Prophet, Jacques Adiard, 8/10
Alice in Wonderland, Tim Burton, 4/10
Brooklyn’s Finest, Antoine Fuqua, 8/10
The Secret of Kells, Tom Moore & Nora Twomey, 3/10
Green Zone, Paul Greengrass, 7/10
Remember Me, Allen Coulter, 5/10
She’s Out of My League, Jim Field Smith, 7/10
Mother, Joon-ho Bong, 6/10
The Bounty Hunter, Andy Tennant, 6/10
The Runaways, Floria Sigismondi, 7/10
Repo Men, Miguel Sapochnik, 5/10
The Girl With The Dragon Tattoo, Niels Arden Oplev, 8/10
How to Train Your Dragon, Dean DeBlois & Chris Sanders, 7/10
Greenberg, Noah Baumbach, 8/10
Chloe, Atom Egoyan, 9/10

Hot Tub Time Machine, Steve Pink, 7/10
The Eclipse, Conor McPherson, 8/10
Clash of the Titans, Louis Leterrier, 5/10
Date Night, Shawn Levy, 4/10
The Square, Nash Edgerton, 7/10
Kick-Ass, Matthew Vaughn, 8/10
The Secret in Their Eyes, Juan Jose Campanella, 8/10

The Joneses, Derrick Borte, 7/10
A Nightmare on Elm Street, Samuel Bayer, 7/10
Harry Brown, Daniel Barber, 7/10
Iron Man 2, Jon Favreau 6/10
Prince of Persia: The Sands of Time, Mike Newell, 6/10
Splice, Vicenzo Natali, 7/10
The A-Team, Joe Carnahan, 7/10
Toy Story 3, Lee Unkrich, 8/10
Cyrus, the Duplass Brothers, 7/10
Knight & Day, James Mangold, 7/10
Predators, Nimrod Antal, 7/10
The Kids Are All Right, Lisa Cholodenko, 9/10
The Girl Who Played With Fire, Daniel Alfredson, 6/10
Rec 2, Jaume Balaguero & Paco Plaza, 7/10
Inception, Christopher Nolan, 9/10
Salt, Phillip Noyce, 6/10
Dinner for Schmucks, Jay Roach, 8/10
Middle Men, George Gallo, 8/10

Animal Kingdom, David Michod, 8/10

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http://www.netflix.com/BeMyFriend/PeFzSPQl1m9x8fWfUY34

Published in: on August 16, 2010 at 7:24 pm  Leave a Comment  
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