We open on Brandon, played by versatile actor Michael Fassbender (Inglourious Basterds, X-Men: First Class), a New York City yuppie with a great job and seemingly normal bachelor life. However, nobody knows that he is secretly a sex addict, a compulsive masturbator and ladies man. You might think he’s just a horny guy looking for girls, but his addiction is much darker and frightening than that. He calls escorts almost every night, looks at pornography on his work computer, and even has a tense scene on a subway train flirtatiously starring at a clearly married woman who likes him too. There are a lot of women in New York and Brandon is trying to use them all. At one point he even tries to date office co-worker Marianne, played by Nicole Beharie (American Violet, The Express). At dinner he informs her on his idea of marriage:

Brandon: You come to restaurants, you see couples sitting together and they don’t even speak to one another. They don’t have anything to say, they don’t have anything.

Marianne: They probably don’t have to speak because they’re connected.

Brandon: Or they’re just bored with one another.

Meanwhile, during his late nights Brandon keeps getting voicemails from an unknown girl, and a very emotional one. Then one night he comes into his apartment and hears music, sees a woman’s clothes all around, hears a record player still on. Arming himself with a baseball bat, he opens the bathroom door and finds his sister Sissy, played by the lovely Carey Mulligan (Never Let Me Go, Drive), stark naked and more shocked than he is. She needs a place to crash for a while, and therefore Brandon suddenly has a problem. His private life is jeopardized when he can no longer practice his…habits. In his growing frustration and increasingly violent outbursts, he spirals into a path of terrible actions with dire consequences.

Writer/Director Steve McQueen (not that one, the British filmmaker) follows up his critically acclaimed “Hunger” with a look at the darkest side of human nature since 1969′s “Midnight Cowboy”. The characters of Brandon and Sissy are a perfect brother-sister combo in that they are self destructive and desperate for a loving embrace, though as siblings do they fight all the time. Fassbender and Mulligan work well off each other and it would be great to pair them up for another film. The landscape of New York City, while in other movies is beautiful, here becomes a threatening animal; a vile coil of steel beams and harsh neon lights. It’s as if the city is crushing on top of Brandon’s chastity. The depths of which he goes to have satisfaction is nauseating, and yet he is sad enough where we actually care about him.

“Shame” is a remarkable movie, one of the best movies to ever receive the NC-17 rating. Fassbender plays his most vulnerable character to date, and it’s a very moving experience.

We open on a fictional silent film star George Valentin, played with gusto by Jean Dujardin (Brice de Nice; OSS 117: Cairo, Nest of Spies). George is the hottest thing around, bringing sell-out crowds to all his films. On the night premiere of his latest film “A Russian Affair”, we discover that he is a bit of a showoff and hogs all the spotlight away from his peers, but on the whole he’s a likeable guy. He even has a pet dog he brings everywhere named Jack, played by canine superstar Uggie (Mr. Fix It, Water for Elephants). The pair are inseparable, except when George is on the red carpet hamming it up for photographers. Yet in the crowd of ladies begging for his autograph one girl happens to drop her purse in front of him. She sneaks past security to get it and raising back up meets his astonished gaze. Her name is Peppy Miller, an equally peppy Bérénice Bejo (A Knight’s Tale; OSS 117: Cairo, Nest of Spies). She is nervous that a bigshot would be staring at her, but George laughs it off and invites her to pose for pictures with him. This makes everyone else nervous with their pictures in the newspaper, such as his wife and studio producers. She even ends up being an extra in a movie with him, but they can’t do their takes right from pheromones in the air. A few years later Peppy is getting bigger roles and the audience loves her, but with the introduction of sound in movies and the stock market crash, George is suddenly old and expired while Peppy is the new big star of Hollywoodland. Though George is selling off all his possessions for booze money, the lives of these two stars will become linked once again.

Writer/director Michel Hazanavicius is not a name you may be familiar with but that might change with this film. He presents a silent movie era film as being, well, silent. Most of the movie has no spoken dialogue, just cue card subtitles on screen. It’s even presented in Black & White and the full screen ratio of 1.33:1, just like it would have been in the 1920′s-30′s. All the same, the movie doesn’t need spoken lines to get the point across, as much of the emotion and heartache comes from mime acting, but then again so does the comic relief. The life of George seems to mimic that of real life Douglas Fairbanks who couldn’t get a sustainable career once movies talked. There are many American stars in this such as John Goodman, James Cromwell, Missi Pyle, and Malcolm McDowell making welcome appearances. However, the real supporting star is dog Uggie who is even smarter than his owner and despite all the hardships never gives up on him.

“The Artist” has the feel of “A Star is Born” with elements of “Singing in the Rain”. It’s more than just a gimmick movie, it’s a powerfully told story on the fall and resurrection of stardom. I can’t wait to see it a second time.

The titular character is named Joey, an English thoroughbred born in the 1910′s who captures the amazement of young Albert, a starry-eyed Jeremy Irvine (Great Expectations). His father Ted is equally impressed with the foal, and is able to bid for Joey at a town auction and wins by spending everything he has. This is not well-accepted with Mum, a tough-as-nails Emily Watson (Corpse Bride, The Water Horse: Legend of the Deep). She knows that the horse they get has to be used for plowing to sell turnips to pay their landlord Lyons, played by David Thewlis (Black Beauty, Harry Potter III-VIII). He wants to throw Albert and his parents off the land, which all depends on whether Joey can plow the fields covered in rocks and seemingly barren. This is a lot to place on a young horse who is still being broken in, but with Albert’s parents, Lyons, and half the town watching the sight the boy and horse push through the cruel rain to finally strike rich soil! Yet even after the plants are destroyed by further rain, war breaks out between England and Germany. Since the family has no money for the landlord now, they have to sell Joey to the Army. Albert wants to go himself but he is just too young. Therefore, he is sold to Captain Nicholls, a sympathetic Tom Hiddleston (Midnight in Paris, The Avengers). He promises the boy he will try to bring Joey back as soon as possible. However, during the course of the movie and four long years or World War I he will pass to various owners such as two German deserters, a sick French girl and her grandfather, a German artillery troop, and finally ends up twisted in deadly barb-wire in No Man’s Land (is there a metaphor here?). It’s a brutal and harrowing journey that will claim many of his friends but ultimately lead back to where it all started.

Spielberg here creates a cross between his own “Saving Private Ryan” and “Black Beauty”, an odyssey of an animal having to change owners quickly in order to survive. The imagery is beautiful, some of the most majestic images we have ever seen in a Spielberg movie. The characters are hard-nosed, driven individuals who push through all barriers, especially Joey. Even John Williams’ score is at the top of his game. However, the only downsides are the clichés and sappy sentimentality that plague this movie, also the 2 1/2 hour running time that lurches forward at a slow pace. While I tried to overlook these flaws, they are unavoidable no matter how epic the movie is.

“War Horse” is a good movie, but it had so much potential to be GREAT. It’s shortcomings are going to deflect some viewers, but as for myself who grew up with horses it’s at least a nice change to see the horse be the real star of the film.

We open on Matt, played with vulnerability by George Clooney (Three Kings, Fantastic Mr. Fox). He is a Hawaii attorney living in what mainlanders would call paradise. His response: “F*** Paradise.” He has been busy with work and trying to sell off a portion of island property he inherited for millions of dollars, and therefore has missed seeing his wife Elizabeth and two daughters grow apart from him. However, when she has a boating accident that puts her in a coma, he is forced to step away from his desk and become a parent. The problem is: he really can’t cope with suddenly being a father to his headstrong teenage girls. First there is 10 year old Scottie, played by Amara Miller in her debut role. Also in tow is Alex, played by Shailene Woodley (Felicity: An American Girl Adventure, TV’s The Secret Life of the American Teenager). Alex is only 17 but already dating older men and getting wasted at every opportunity, of course being a bad influence on Scottie. Their excuse for being foul-mouthed brats: Mom. It’s true that Elizabeth hasn’t been a model parent either, and Matt decides that during this difficult time they all need to try to be a family again…but as Alex reveals to Matt there are some terrible secrets that need to be told. I won’t reveal the big twist in the story, but it forces Matt to take his girls out to a vacation to Kauai to confront an interloper and show his girls for the last time the gorgeous beach property which he wants to sell. By the end of the film, all these issues will be resolved one way or another.

Going into the movie after seeing the previews, I imagined that this would be another of Payne’s slice-of-life movies, and it really is. However, the reason he has made such a good little movie is the subtle touches to add unexpected humor to an otherwise dark drama. For instance, the inclusion of Alex’s boyfriend Sid, a scenery-chewing Nick Krause (How to Eat Fried Worms, National Lampoon’s: Stoned Age), offers unexpected comic relief, especially his scene with cinema legend Robert Forster (Medium Cool, Jackie Brown,) playing Scott, Matt’s father. When Sid makes fun of Scott the only response is, “I’m gonna hit you.” and you can imagine the results. Also, when Matt finds out the big news he has to confirm it from his sister-in-law, meaning he has to run down the street in flip-flops, defusing most of the tension from the previous scene and even evoking some giggles. Also look for Judy Greer (Three Kings, TV’s Archer) in a pivotal role, giving a really great performance.

“The Descendants” works because it gives a predictable story a reality vibe making it a good, bittersweet feeling. And bring the kids.

“Good evening, dear reader. Your mission, should you decide to accept it, is to follow star Tom Cruise (Top Gun, Rock of Ages) as Agent Ethan Hunt. He was broken out of a Moscow prison by Agent Jane Carter, a lovely Paula Patton (Déjà Vu, Precious), and Agent Benji Dunn, the hilarious Simon Pegg (TV’s Band of Brothers, Star Trek). The trio the infiltrated the Kremlin to identify a nuclear extremist going by the code name “Cobalt”, as played by Michael Nyqvist (The Girl With the Dragon Tattoo, Abduction). When the IMF realized that someone had already stolen the protected documents, the Kremlin was then bombed by Cobalt himself with the agents barely escaping. The blame fell on the United States, and then fell on Hunt and his team. With only the three remaining of the entire IMF force, Hunt turned to the IMF Secretary, played by Tom Wilkinson (The Full Monty, Batman Begins) and his gun-toting analyst William Brandt, a very cool Jeremy Renner (The Hurt Locker, The Avengers). The chase for Cobalt and nuclear weapon activation codes took them from Russia to the United Arab Emirates and climaxing in India…”

Production for this film brought the budget up to $145 million, which shown on special IMAX cameras brings the world’s tallest building dizzyingly to life. Director Brad Bird (The Iron Giant, The Incredibles) has really made an action masterpiece, keeping the tense moments funny and the big ones unforgettable. For instance, that’s really Tom Cruise himself on the side of the Burj Khalifa Tower, with the only CGI being to hide the cables! Renner is given a more dramatic role and he does good with it, but honestly the storyline is nearly non-existent to all the big noise and explosions. Still, there is a lot of jaw-dropping fun to be had here, which is why we come to big blockbuster movies. The 4th Mission is certainly a welcome addition to the series.

“…this review will self-destruct in five seconds.”

The Girl with the Dragon Tattoo

In 2004 Swedish author Stieg Larsson passed away to have a three-part novel series published posthumously a year later. The title was Män som hatar kvinnor: “Men Who Hate Women”, and despite some really nasty stories this has turned into a world-wide phenomenon to rival the “Twilight” books. of course the title was wisely changed to “The Girl with the Dragon Tattoo” which has been adapted to a cinema trilogy which has broken box office records (for foreign films) grossing around $100 million. That much has been put into the budget for America’s remake of the movie (not to mention adapting the sequels too) released through Columbia Pictures and MGM Studios. Yet for all the star power and love for the original books, this version just can’t capture the spirit of the original.

We begin with Mr. Vanger, played by Christopher Plummer (The Return of the Pink Panther, Beginners) as he receives a strange mailed package: a flower pressed inside a picture frame. At the same time, a provocative left-wing magazine reporter Mikael Blomkvist, a handsome Daniel Craig (Casino Royale, Cowboys & Aliens) has been ostracized for falsely accusing a businessman of fraud and he needs something to do to lay low. Meanwhile, a computer hacker-researcher by the name of Lisbeth Salander, a thin and pale Rooney Mara (A Nightmare on Elm Street, The Social Network), is investigating Mikael for a security company but she finds him to be safe enough. She has her own problems though, being 23 years old and a genuine goth with tattoos and piercings and all black attire, but due to her past she needs a guardian of the state. Her new one denies her any money from earnings…unless she gives him sexual favors. While these stories all seem completely disjointed from each other, they all connect when Vanger hires Blomkvist and Salander to investigate a 40 year old mystery: which of his family members murdered his great-niece Harriet?

Director David Fincher (The Curious Case of Benjamin Button, The Social Network) takes the same approach to this as he did with “Se7en”: stylish and grimy. With that said it is nearly impossible to talk about this film without mentioning the original, and when watching this I already knew what would happen though Fincher does a good job of keeping the whole movie fresh and watchable, mostly with interesting camera moves. However, take away the style and this does not work as well as Niels Arden Oplev’s vision. Keep in mind that this movie features rape of a woman in a graphic and very disturbing way, which holds true to the original film and book. What doesn’t work is the character interaction of how Lisbeth is falling in love with Mikael, but he is more interested in his blonde editor. At least Noomi Rapace’s performance showed a strong woman, but for Rooney Mara having to be more vulnerable she at least pulls it off convincingly. They even add material that is completely unnecessary, for instance Mikael’s pet cat and what is done to it. I won’t spoil it, because it’s very shocking, but did they really have to show that?

Unfortunately “The Girl with the Dragon Tattoo” remade for America wallows too much in filth and sin, forgetting there is a real story somewhere. Columbia has promised us a remake of the sequels too if this one makes enough money. Even though I love and respect Fincher’s work, this may be an ill advised idea.

The titular young man with a cowlick in his red hair is voiced by Jamie Bell (Billy Elliot, King Kong). He is out on a nice day shopping with his white dog Snowy when he spots a rare and beautiful sea ship model for sale. As soon as he buys it he is harassed by an American FBI agent and then a mysterious man named Sakharine, played by Daniel Craig (Lara Croft: Tomb Raider, Casino Royale). The former is willing to pay any price but Tintin refuses. Later the model ship is missing and his apartment in shambles, but not before his cute Snowy has revealed an odd little cylinder containing a tiny scroll decades old. It leads Tintin to an old seemingly abandoned mansion where he hopes to find answers, instead finding the evil Sakharine. While Tintin is allowed to leave unharmed, he does learn that there is more than one model ship, three ships to be precise, all with the bust of a Unicorn and all containing a separate scroll. Before he can gather his thoughts, the inquisitive boy is kidnapped and thrown aboard a sea freighter. On his way to escape he discovers more clues, particularly a living breathing one: Captain Haddock, portrayed by the chameleon-like Andy Serkis (King Kong, Rise of the Planet of the Apes). Haddock is a drunk seaman, half-witted, and always gets in more trouble than he can handle. However, he is also a vital key in solving the big mystery. Tintin and Haddock will have to battle thugs, the Sahara desert, and possibly the worst Opera singer on Earth.

Paramount Pictures, Columbia Pictures, Amblin Entertainment, and Nickelodeon Movies have made this one heck of a movie from start to blazing finish. PG-rated CGI action/adventure doesn’t get bigger than this. Co-produced by Peter Jackson (Lord of the Rings, King Kong), Tintin has a CGI animated world similar to “The Polar Express”, but despite the characters being life-like cartoons, they are all very life-like. You can easily be mistaken that you’re watching a live-action film, except for some oddly shaped noses. Look carefully for a cameo by Spielberg himself. Kids should root for the lead with enthusiasm, adults will be giddy with all the fast action and hilarious jokes:

“My memory is not what it used to be.”

“What did it use to be?”

“I’ve forgotten… ”

There is also an amusing dual police inspector team of Simon Pegg and Nick Frost, bumbling around but also helping Tintin in their own way. Now there was some brief problems I had with this, for instance a man is shot down and uses his own blood to spell a message before dying. Also, Haddock alcoholism is a message on substance abuse, not exactly kid’s stuff. My only thought on this is maybe it should have garnered the PG-13 rating instead.

“The Adventures of Tintin” is a rip-snorting action movie with energy to spare and family fun. At the sneak peek the audience gave it a standing ovation, I think you will too.

We begin on a series of bombings in England which may or may not be related to shaky politics between France and Germany. Then we shift to Irene Adler, a returning Rachel McAdams (Morning Glory, Midnight in Paris), who is delivering a package to a previously unseen character: Professor Moriarty played by Jared Harris (The Curious Case of Benjamin Button, TV’s Mad Men). He knows of her “relationship” with Holmes and decides to extinguish her services…permanently. Meanwhile, Watson is finally getting married, so Holmes decides to take him out to a stag party with his sarcastic brother Mycroft, played by Stephen Fry (V for Vendetta, Alice in Wonderland). He calls Sherlock “Sherley” and constantly mutters to himself, but when the boys are busy at a nightclub our hero follows a suspicious character up into the private parlors. There he meets a gypsy woman named Sim, a beautiful Noomi Rapace (The Girl with the Dragon Tattoo, Prometheus). She has an assassin after her, but Holmes saves her life. Little does he know that this woman is very crucial to catching the criminal Moriarty, and all these seemingly unconnected events will come crashing down into one wild and dizzying conclusion.

Director Guy Ritchie (Snatch, RocknRolla) clearly loves action, and brings back Downey, Jr’s premeditative martial arts fighting back in super slo-mo. However, this is brought back into better use during his and Harris’s climatic chess match in Switzerland; it sounds odd but it all makes sense in the end. The conspiracies point to an inevitable early 20th century event which Moriarty is both enacting himself and planning for. So, clearly there is some drudgery and long speeches which do little except bore the audience, but there are still some qualities which make this better than the last one. For instance, there are way less explosions and thankfully too. Also our heroes get out of dreary London and into vogue Europe, a smart move. I’m sorry to say that Rapace has little to do except guide the boys through the woods and be involved in an assassination plot (someone else’s), oh and she can throw knives. Still, watching Watson duel a sniper and Moriarty torturing Holmes  while singing opera is a step in the right direction.

“… A Game of Shadows” still isn’t as good as it should have been, but it’s a notch better than the first Sherlock, and it ends in a very peculiar but funny manner.

“Midnight…” stars Owen Wilson (Wedding Crashers, Cars) as Gil, an American writer visiting the City of Light with his fiancée Inez, played by Rachel McAdams (Wedding Crashers, Sherlock Holmes). She is busy doing touristy stuff with some friends and her simpleton parents, but Gil has come to Paris for a different purpose: to find inspiration again in writing. After making Hollywood screenplays he’s a little burnt out, so after a night of drinking he opts out of a dance club and instead walks back to his hotel. On the way there, at the precise strike of 12:00, a taxi pulls up to him where a crowd of Parisians invite him along. Gil decides to go with them, laughing and drinking even more on the way to a party not understanding a word of French. When he arrives he can see several people dressed in vintage 1920′s clothing and listening to a piano played by Cole Porter. Then he is introduced to a woman named Zelda, her husband Scott Fitzgerald, their literary companion Ernest Hemingway, and whoa! What the heck is happening to Gil? He was drinking a lot of good French wine, but is it possible that he has jumped back 110 years into the past? Yes, he certainly has, and after that one night he goes back to 2011 in the morning. Gil tries to tell Inez and the others but they all think he’s got a brain tumor. He doesn’t care because every night he sneaks away from his dreadful fiancée to meet other amazing people such as Gertrude Stein, Pablo Picasso, Salvador Dalí, Luis Buñuel, T. S. Eliot, and many others. This is all wonderful as they, being artists too, help Gil with his work; but when he meets a muse named Adriana, a charming Marion Cotillard (La Vie en Rose, The Dark Knight Rises). She is the most amazing woman he has ever seen, falls for her instantly, and as it turns out Gil has to choose between living in the 21st century with Inez, or in the 20th century with Adriana.

Writer/Director Allen has given us something of real magic for adults that inspires and dazzles in itself. Even the skeptical audiences who have never seen the city will be entertained and may even laugh out loud for how much outrageous fun they’re having. Adrien Brody (The Pianist, The Darjeeling Limited) has a hilarious scene as Salvador Dalí, and the chemistry between Wilson and Cotillard is genuine. My only gripe is that the ending is quite predictable, especially if you’re familiar with Allen’s 40 other films, but the overall experience is still quite a rush. “Midnight in Paris” is purely for the artist crowd, but it’s a fun wild ride all the same.

We begin in 1956 just as a young English studio assistant Colin Clark, played by the fresh actor Eddie Redmayne (Elizabeth: The Golden Age, The Other Boleyn Girl), is looking at the dynamite Marilyn on screen in wonder. Against his parents’ wishes, he joins a film studio headed by cinema legend Sir Laurence Olivier, an appropriate Kenneth Branagh (Henry V, Hamlet). Colin gets to work as a 3rd Assistant Director on Laurence’s latest film: “The Prince and the Showgirl”. For those who are unfamiliar with the position, Colin is pretty much a gopher who takes care of little details in keeping the movie run smoothly. Now the lead actress for this movie is a big international star about to make her first trip to England and lo behold! it’s Marilyn Monroe herself! His job is to keep her safe and happy for the shoot, but that’s hard to do when her husband Arthur Miller, her acting coach, her agent, her bodyguard, and Director Laurence all want to use and train her in classical British acting, of which she cannot adjust to. When the photographers are gone and the entourage has gone to bed, plus her husband going back overseas, this is when Colin really gets to know her as she is. He makes no assumptions, no sexual passes, she is just a real person to him. She picks up on this quick as he is a breath of fresh air, and she relies on his judgment and support more than anybody else’s. Of course, when Colin happens to be dating Emma Watson (Harry Potter, The Tale of Despereaux) there begins the jealousy. Even Laurence’s wife Vivien Leigh is jealous and all the women hate their men for paying so much attention to the American blonde. Marilyn and Colin just want to be young people away from the phony world, so they escape together to the English countryside for one day of being friends. However, it’s during this day that they begin to find something more that could either mean a blossoming romance or total disaster.

Colin Clark’s real life memoirs come to life through meticulous recreation of 1950′s life in a wonderful production. The decades old 35mm Technicolor cameras, the Rolls Royce cars, and don’t forget the elegant wardrobe that Marilyn fans will swoon over; it all comes together in such beautiful fashion. The casting is dead-on, but if Branagh isn’t close enough then gorgeous Michelle Williams (Brokeback Mountain, Blue Valentine) in the titular role is inspired genius. She does not just play Marilyn, Williams IS Marilyn. Based on her performances and interviews, Williams catches her nuances and personality perfectly. While it’s a treat to watch, sadly Director Simon Curtis only shows average skill and while this is a first-person account of the bombshell, fans may feel cheated at not really learning anything new about her.

“My Week with Marilyn” is almost a great movie, but manages to show an interesting personal side of the actress’s life.

Instead of focusing on Kermit the Frog, Miss Piggy, Fozzie Bear, or Gonzo the Great, we instead begin with a Muppet who is not exactly part of the group: Walter. Since the early 1980′s he has lived with his big brother Gary, a goofball Jason Segel (Forgetting Sarah Marshall, Despicable Me). Walter is dying to see Hollywood and meet the gang and has been all his life. Gary on the other hand is gearing up for his anniversary with Mary played as over-emotional Amy Adams (The Fighter, Man of Steel). She wants the most romantic night of her life with Gary, but feels uncomfortable with Walter tagging along. Gary just wants to see everybody happy, so he takes them to Hollywood for a Muppets tour and an unforgettable night of love. However, once the trio arrives at the Muppet studios, it’s the most devastating disappointment. The studio is not only out of operation, but in shambles. What’s worse is the land is being sold to an oil tycoon by the name of Tex Richman, a dastardly villain from Oscar-winning actor Chris Cooper (Adaptation, Seabiscuit). Walter just take the truth, so he decides to look through the studio for any of the guys and runs into Kermit himself! Kermit explains that they are just too separated and too passé for modern audiences and would be glad to put the past behind him, but our heroes convince him that they could still keep the old show going. So their mission is to find the whole gang, put on a telethon to raise $10,000,000, and save the Muppets. Don’t forget that Jack Black is tied up and forced to host!

Believe it or not, it was Jason Segel himself who developed this, the 8th Muppets film. Not long after his memorable puppet musical in “Forgetting Sarah Marshall” Disney gave the Kermit the greenlight (ha ha). We are treated to some really great musical numbers like Life’s a Happy Song and The Rainbow Connection. Yet after a $45 million budget, little has changed about these guys. Gonzo still shoots himself out of a cannon, Fozzie’s jokes are still hammy, and speaking of which Miss Piggy is still a neurotic diva. Contrary to the film’s premise, the Muppets are still very entertaining, heartwarming, and funny as heck. There are virtually no unwatchable moments and the songs are wonderful. I try to avoid this phrase, but it really is a perfect film for the whole family.

We open on 1920′s Paris where Asa Butterfield (Son of Rambow, The Wolfman) is a boy by the name of Hugo Cabret. He lives in a train station up in the service rafters fixing clocks and looking for parts to his own device: an automaton. This early robot is the last possession from his deceased father played by Jude Law (A.I. Artificial Intelligence, Sherlock Holmes). Hugo believes that when this mechanical man is fixed and operational it will deliver a message from his father. Meanwhile, he is without a penny to his name and has to cautiously sneak croissants and bottles of milk. This is not well received by the station Inspector, a hilarious Sacha Baron Cohen (Madagascar, Sweeney Todd: The Demon Barber of Fleet Street) sporting a Snidely Whiplash mustache. He wants to snatch up little Hugo and any other orphans he can, despite growing up an orphan himself. At the same time, the parts from Hugo’s automaton have to be taken from clock gears or a station toy seller. However, he’s caught by the old cantankerous man revealed later to be named Papa Georges and has a cute teenage daughter Isabelle. She is played wonderfully by Chloë Grace Moretz (Diary of a Wimpy Kid, Kick-Ass) and Sir Ben Kingsley is Georges (Gandhi, Shutter Island); and though he seems to be rough and mean there is a sensitive, even painful side to him. The lives of Hugo and Georges will come together in a way you will never see coming yet the experience will be wholly satisfying.

Right from the beginning Scorsese shows us that he has energy to spare and takes the 3D camera along for a fantastic ride. Hugo slides down drop chutes, climbs through gigantic gears, and in a scene echoing Harold Lloyd’s “Safety Last!” he hangs off a giant clock face! The station, likely modeled after the Gare de Lyon, becomes a living presence itself with supporting characters finding romance in the most unlikely ways. The character of Georges, whose full name I will not reveal for the sake of not spoiling the surprise end, is one of the most fascinating characters of recent memory. For all the big spectacle and complex story, there is surprisingly very little dialogue but each phrase rings true. Maybe the one thing I wasn’t too keen on is how Hugo is forced to steal in order to survive, but much like Robin Hood he does so for a greater cause than himself.

I wish I could write more about “Hugo” because I loved it so much, but that could fill a separate book just for analysis alone. Kids will be amazed, teens will be impressed, and adults will be inspired by a little childlike fantasy and real movie magic.

The Twilight Saga: Eclipse

Summit Entertainment is a film studio only twenty years old but in the last three it has exploded out of obscurity and into becoming a major Hollywood player. So you’re asking, how did they do it? A simple two-syllable word which has helped shape the modern day teenage movie: twi•light. Mysterious vampires, aggressive werewolves, and a teen caught in the middle of a soap opera romance. Maybe this premise wouldn’t have made it past the bargain bin at Barnes & Noble, but after a whopping $1,792,300,241 in box office grossings after only three little movies, something must be right. Now we begin the most serious chapter in the story: “Breaking Dawn”…part 1.

Bella and Edward are getting married, big whoop (just kidding!). Her father Charlie gets a wedding invitation, her mother Renée gets an invitation, but the smiles end when Jacob gets an invitation. He’s so pissed off, that he runs out angry in the rain, angrily throws the invitation on the ground, angrily takes his shirt off, angrily transforms into a wolf, and angrily runs off into the woods. That’s the 1st moment of unintentional laughter. Then we get a teenage wedding, where most of the guests give terrible drunken speeches. Jacob arrives and stirs up trouble, Charlie hugs his daughter goodbye, Edward takes her away in the night. This wedding was alright, but nothing special. It’s certainly pretty, but not very satisfying. Well moving on, Bella and Edward continue to their honeymoon in Rio de Janeiro, fun right? Well that sneaky charmer Ed has planned for a stop at his private island. I’ll say that again, his private island. Gorgeous tropical setting, a big fancy house, and of course the bedroom where the inevitable will happen. On their wedding night, they are both nervous but for different reasons. Bella is just a barely legal ovulating young virgin with all the pressures that provides, but Edward is even more scared because a male vampire’s sex drive is too violent for humans. In short, he’s afraid he’ll kill her. Of course in the morning the entire bedroom is destroyed and she has bruises all over, but she seems to like it rough. Now, she wants more lovin’, but Edward would rather play chess with her. As a matter of fact, his complete lack of masculinity is the 2nd moment of campy humor. For God’s sake, man-up already! Then again, after two weeks in the platonic sun Bella starts to get morning sickness, and yes a mild swelling around the midsection. She is officially knocked up, but this means something terrifying for everybody in the story. The baby is killing her slowly, forcing them to return to Forks, Washington where Carlisle attempts to care for her. Of course in a small town these things are never quiet, as Jacob’s tribe of Indian wolves immediately prepare for an attack. All sides are watching to see what happens, and as Bella is on the brink of death there is only one thing that can save her: drinking blood.

The 3rd moment of Taylor Lautner making a fool of himself comes when he and his wolf pack converge at the beach to growl at each other, speaking through telepathy…I guess. 4th is the stylized dialogue:

“You have to accept what is.”

“If you kill her you kill me!”

The biggest laugh of all, once the baby girl is delivered safely, is her name: Renesmee. Only those who can pronounce it won’t be laughing their asses off. Poor director Bill Condon (Gods and Monsters, Dreamgirls) blatantly has little control over this film as his own filmmaking style barely surfaces, perhaps on the strings of the producers. “Breaking Dawn Part 1″ sadly only sets up for the climax of this franchise, but if it’s anything like the previous installments then we’ll all walk out of the theater feeling cheated.

a mental condition characterized by great depression of spirits and gloomy forebodings.

Who can say what people will do during a crisis? How can people react when inevitable death approaches? For some it’s panic and chaos, yet others it’s a state of blissful acceptance. The new film from controversial writer/director Lars von Trier (Antichrist) explores a woman’s inner torment as the world comes to an end.

The film opens with a prologue of several images shot in super slow-motion. They show two planets moving toward each other for collision, as we see two women and a boy in other odd and surreal scenes. Then we look at a young bride and groom Justine and Michael. They are Kirsten Dunst (Interview with the Vampire, Spider-Man) as Justine and Alexander Skarsgård (TV’s True Blood, Straw Dogs 2011) as Michael. They are late to their own reception because their stretch limousine can’t make it up the hill to the party, forcing the giggly couple to walk. However, this angers the horde of family members who have waited for two hours to see the old traditions of a wedding. Of course, when Justine’s family includes such diverse actors as Charlotte Gainsbourg, Kiefer Sutherland, Charlotte Rampling, John Hurt, and rotten employer Stellan Skarsgård you can expect friction. The night has some joys, but most of it is filled with bitterness and hate. In about twelve hours, Justine’s world will come crumbling down around her.

This whole movie was conceived through von Trier’s therapy sessions and exchanges with actress Penélope Cruz. On the other hand this ties in with the planetary collision as a metaphor on death. The audience is asked to share Justine’s pain and terrible depression, especially when she says:

“The Earth is evil; there’s no need to grieve for it.”

The only reason I didn’t care for this movie was that a lot of things are left unexplained. The bean counting contest, the horse unable to pass a bridge even when it’s nearly whipped to death, why Justine cannot love her husband but screws a random man at her reception, the art books on the wall, first snow on a bright sunny day, the 19th hole on a golf course, the “magic cave”, it’s difficult for the average viewer to interpret this. Maybe then that’s the whole point, maybe life has no point and therefore clinical depression is the purest form of living. However, art-house patrons should revel in the movie’s overall heartache and misery. On the other hand, Dunst is really hypnotic to watch with an excellent acting performance. She may very well find herself at the Oscars for a very subtle yet powerful performance.

“Melancholia” is mysterious and gloomy, obviously not for everybody. However, if you’re looking for an experience that is thought provoking and overwhelming this might be worth checking out.

We open on a prologue, specifically a war between immortal beings. At the end of this war, the victorious are called Gods and the losers are Titans, the latter being imprisoned inside a mountain. Then we focus on King Hyperion, wickedly played by Mickey Rourke (The Wrestler, Iron Man 2). Hyperion doesn’t like the Gods, so he wants to free the Titans to overthrow the world’s blind faith. In order to do this, he needs possession of the Epirus Bow. The Bow is located somewhere in some city’s or town’s place of worship. Thus, Hyperion is sacking every city he can find looking for it, replenishing his personal army along the way. In one such smaller city, there lives a young man by the name of Theseus, a very shirtless Henry Cavill (TV’s The Tudors, Man of Steel). Theseus is an outcast even among his own people, but the Gods believe him to be special as Zeus himself is his mentor (in disguise). When Hyperion tears his home apart and personally murders his mother, Theseus is able to escape slavery with Phaedra, an oracle priestess played by Freida Pinto (Slumdog Millionaire, Rise of the Planet of the Apes). She sees terrible visions in Theseus’s future, but only he can decide how the fate of the Gods will end.

Right from the beginning, director Tarsem Singh (The Cell, The Fall) shows us that this is a visual movie, pulling out all kinds of breathtaking scenery, eye-popping costumes, and lots of action. Speaking of which, this film certainly earns its R-rating with plenty of hardcore violence. Whereas some sword epics cut away from the blood, Singh displays it without flinching. Of course there is seldom just a quick throat slice and that’s it; the best word to describe the fighting is “pulverized”. When the Gods descend on earth to fight Titans, heads are pulverized. When Hyperion fires his bow, every target is pulverized. And, in one really uncomfortable scene, a Minotaur uses a giant mallet to pulverize a man’s testicles. So the visuals and fighting are cool, especially in 3D, but that’s about it. The story jumps all around as being another excuse to fight. Save for Rourke who is the most interesting character of all (and he’s the bad guy!), everyone else is a cliché or stereotype at best. Also, anyone who has studied Greek mythology will discover how only 20% of the events are based on ancient poems, the rest has been made up for entertainment’s sake. On a more personal note, I didn’t like how women are beaten, tortured, and killed in some really gruesome ways.

“Immortals” is almost a good movie, but it fails to provide any real depth with its ambiguous ending. However, for the macho male audience craving a good head-smashing in pretty costumes, maybe that’s all you need.

Harold’s wife greeted him wearing nothing, not even a blouse;

Kumar was getting high like a mo-fo with care,

In hopes that St. Nicholas soon would be there…

This is perhaps the most wrong idea that New Line Cinema has come up with: a Christmas movie with John Cho (American Pie) and Kal Penn (National Lampoon’s Van Wilder), a.k.a. Harold and Kumar. After their 2004 and 2008 adventures the two young men have grown up and are in their 30′s. This also means that they live very different lives as Kumar is still a loser while Harold is a successful Wall Street businessman. However, Harold has to impress his wife’s dad, played by the amazing Danny Trejo (Heat, Machete), who is tough as nails. As Kumar meets Harold for the first time in six years, they are awkward around each other but soon enough hijinks ensue, requiring our heroes to find the last Christmas tree in Manhattan on Christmas Eve. Along the way they’ll encounter Russian mafia, a barely legal girl desperate to get her cherry popped, beer pong, a claymation drug-trip, and the triumphant resurrection of Neil Patrick Harris as himself! And it’s all in RealD 3D!

Those of you who have seen these guys make asses of themselves in the name of weed and sex need no explanation of what happens. The rest of the teenage audience will see this as the modern stoner comedy, older viewers will remember Cheech & Chong when they see this. Actually since these guys are in their 30′s they will appeal to a broader interest, or at least a broad minded one. The claymation sequence alone is disgusting, especially when Kumar whips out a huge animated penis. Additionally, Harold gets his penis stuck to a metal pole ala “A Christmas Story”. A prime example of this movie’s subtlety is when Harold’s wife appears almost nude, save for red lacey Victoria’s Secret, and says, “F*** a baby into me!”

Actually, despite the crude humor, we do have some good moments of credibility. The guys are no longer young men, but they are still wild and crazy and the moral message is that getting older doesn’t mean you should shirk off having hedonistic fun. Harold mans up to his father-in-law while Kumar finally begins to learn responsibility with his own girl. Though perhaps the best motif is keeping in touch with old friends and never forgetting the good times you’ve had with a bud…I mean buddy.

“A Very Harold & Kumar Christmas” is pretty stupid, but it is funny and enjoyable for the immature viewer. Jokes about boobies and drugs aren’t for everybody, but for some it’s enough to get into the Holiday spirit.

Alan Alda (TV’s M*A*S*H, The Aviator) plays Arthur Shaw, a character similar to Donald Trump. Shaw lives in a huge hotel penthouse called “The Tower”, featuring some of the best personal service money can buy. Now these employees aren’t as well off as he is, they are just working folks. However, most of them have given Mr. Shaw their life’s savings to invest, and he has deliberately stolen their money so that he can keep his own. That’s about as low as a villain can get. So he’s caught for fraud but until his court date he has to stay locked up in his apartment, big deal right? Well what he doesn’t know is the hotel staff are going to rip him off for $20 million which they deserve. Here’s the roster:

Ben Stiller (Tropic Thunder, Little Fockers) the former building manager and head of the robbery

Eddie Murphy (Shrek, Dreamgirls) a professional thief

Matthew Broderick (Ferris Bueller’s Day Off, The Producers) a crack accountant

Michael Peña (Crash, 30 Minutes or Less) an electronics specialist

Gabourey Sidibe (Precious, TV’s The Big C) a safecracker

Together this motley crew of blue-collar people will attempt to bring down a greedy bastard. It’s an old story, even a predictable one, but this heist is still fun all the way. Stiller is the straight-man in this one and doesn’t even flinch when a gun is pointed at him. Murphy shines as a lowlife asked to teach these dorks how to steal, and for the first time in 20 years we get to see him be funny and foul mouthed again. Sidibe is wonderful to watch as a Jamaican maid who can open an safe and kick ass too. Adding to the already impressive cast is Téa Leoni (Bad Boys, Jurassic Park III) as the FBI agent planning to nail Shaw and catch Stiller at the same time.

Right from the beginning director Brett Ratner (Rush Hour I-III, The Family Man) is showing off with sweeping helicopter shots over New York City and unnecessary (but fun) car stunts. Stiller and Alda are playing chess throughout so you are reminded about the cat-and-mouse game of their strategies. Murphy himself was the originator of this idea and also served as a Producer, though this was back in 2005. Now as Wall Street is the home of countless swindlers in our shaky economy, this little matinee movie is actually quite relevant. Maybe my only complaints are how little time the characters get on screen while cramming in totally unbelievable situations, like hauling a car by a crane winch 50 stories above ground, or how the end just wraps up nice and neat.

“Tower Heist” really isn’t much than a crowd pleaser, but Director Ratner is famed for doing just that. The writing isn’t the best and the clichés pour out of the woodwork, though there are some good thrills and jokes for a solid time at the movies.

Unbeknownst to most, Chillicothe was Ohio’s first capital, and home to Metal Blade Record’s Woe of Tyrants. Shall Be The Conqueror, however, is bringing something entirely different to the table, and shows no signs of slowing with their latest EP titled, Chillicothe Burning.

The EP demonstrates Shall Be The Conqueror’s ability to shred, while offering harmonic death metal (Yes, I said that) at times. The vocals on the album are some of the best deep guttural growls I have heard, and the guitarists lay some filthy shit! Shall Be The Conqueror goes in, punches you in the face, and is out before you know what hit you!

Chillicothe Burning is a solid compilation and a good starting point for Shall Be The Conqueror. They do use the occasional deathcore-style riff, but for the most part this is straight forward blast-n-burp brutality throughout. Their music style will permit them to connect with more than just your basic death metal audience, while perhaps incorporating some experimental/grindcore fans with this EP.

Make sure to check out their video for So Far The Horizon and add them on Facebook.

Puss is voiced by Antonio Banderas (The Mask of Zorro, Spy Kids), giving our kitty a Spanish flair. Puss is a lady’s man for fun and scoundrel by profession. Yet at the moment, he has something personal he has to take care of. An old debt needs to be paid off, and it involves three magic beans (Jack and the Beanstalk). However, these beans are in the possession of Jack and Jill (duh), created as a hillbilly rustler pair from Billy Bob Thornton (Bad Santa) and Amy Sedaris (Strangers with Candy). Now Puss tries to sneak in and grab the beans, but a rival comes instead by the name of Kitty Softpaws. Only Salma Hayek (The Mask of Zorro, Frida) could play opposite Banderas, and even as cartoon cats they work wonders. However, Kitty wants to introduce Puss to her boss, a dangerous character from his past: Humpty Alexander Dumpty, an appropriately rotund Zach Galifianakis (The Hangover, Due Date). Puss and Humpty have a dark past they must resolve, and the magic beans are getting farther away by the minute.

DreamWorks Animation has placed a big $130 million gamble on a “Shrek” spinoff with a 4th rate character. Naturally, there is very little story here or anything really mind-blowing…except the action. In terms of excitement, this really gets your heart racing. A cat with a rapier can really pull off some cool stunts, big chases, and a gosling that “poops gold”. You shouldn’t be draw to this movie, but you really are! Maybe the only drawback is the dark history with Humpty Dumpty, making him a criminal thief and a really rotten egg. Otherwise the flamenco guitar dancing and action, plus some mild sex humor for adults, will entertain like nothing else out this year.

“Puss In Boots” is pretty much a cartoon version of “Zorro”. It works because it’s fun and exciting, a real delight for kids and adults

Paranormal Activity 2

Your house is the most important possession you own. It keeps you sheltered, safe, and fortifies your family. The only fear you have is if some outside intruder enters to terrorize them. This is not a maniac with a mask and a blade, it is an invisible entity with supernatural powers that is drawn to your two little daughters, and it is very pissed off. This is the setup for “Paranormal Activity 3″, a prequel explaining how this all began 20 years prior.

We open in 1988 when young Katie is only 6 years old living with her older sister Kristi, mother Julie, and stepfather Dennis. They have a sweet little life in suburban San Diego , but young Katie isn’t that interested in her own birthday party. Instead, she’s been talking to an imaginary friend “Toby”. He’s tall and older, though only Katie can see him. The other family members just kind of shrug this off until one night when Dennis and Julie are making a sex tape (on VHS, complete with the date and time as before). Suddenly there is an earthquake, the couple run out to protect the girls, and the camcorder falls on the floor. As it still records, some dust falls from the ceiling and sticks onto an unusual object. Later Dennis reviews this footage and sees this invisible object move around like the figure of a person. Later he talks to Katie about her friend, discovering that Toby is always around. With the help of a dorky camcorder assistant, Dennis places 3 cameras around the house to capture footage at when everyone is asleep at night. After banging chairs, scared babysitters, and a closet door that slams shut by itself trapping Kristi, Dennis is convinced that something is very wrong in the house.

This being the 3rd movie in the series, the ever faithful who love the LFE bumping in the night have been waiting to see what the demon-face moments have been all about. Sadly, this only raised more questions than giving answers. The demon takes over Katie again and seems to be a hereditary trait, also taking over her grandmother later. The one aspect I enjoyed was the character of Dennis, who truly believes that his soon-to-be children are in danger. Everyone else thinks he’s being paranoid but he is smart enough to research a strange symbol in the closet that turns out to be a witches coven emblem. Still, this is about as much explanation on the back story that we get. Otherwise the writing is forced at best. How much sense does it make that 20 years prior we get to see yet another video geek setting up cameras around Katie? I guess she must love the camera, and also throwing men into it. Only the last 10 minutes really pick up with the creepy women in the garage and CGI effects, but all that buildup before can’t keep your interest.

“Paranormal Activity 3″ tries to keep the moneymaker going for Paramount Pictures but sadly falls into the sequel syndrome. If there’s ever a 4th “Paranormal” let’s hope it makes the storyline clear.

“The Thing” opens on a Norwegian surveying team in the most remote place on Earth tracking a signal in a Snowcat (the opening joke is dirty but very funny). Suddenly the car falls through the ice just barely stopping to save the men inside, who discover a huge metal structure miles down in the glacier. We then move to America where paleontologist Kate, a headstrong Mary Elizabeth Winstead (Final Destination 3, Death Proof), is asked to come to a secret location and survey the remains of an unknown organism. Upon arrival she discovers initially there is little to do, and the team treats her presence with resentment. The helicopter pilot Sam, played by Joel Edgerton (Legend of the Guardians: The Owls of Ga’Hoole, Warrior), mentions to her that he wouldn’t want to be stuck with 12 Norwegian guys. However, when the frozen organism is probed for a tissue sample, the surrounding block of ice begins to melt, and you can guess what happens next.

As mentioned, movie this serves as an explanation of what happened in the Kurt Russell movie of the same name. Dutch Director Matthijs van Heijningen Jr. (Red Rain) has actually made a valiant effort to appease the cult fans of the previous movie and offer them someTHING to be scared of again. The setup feels like a remake, but then tries to be original in subtle ways (the tooth fillings idea was clever). The end also segues into the 1980’s classic, a smart move. However, Universal got the idea to use the producers of zombie movies on this, which is where I think it went wrong. The most popular aspect of Carpenter’s vision was the complex special effects which are by today’s standards genius. Heads splitting apart was cool before, now for the 21st century it’s all been replaced by lazy CGI and used in predictable ways. While our director tries hard, he can’t deliver any genuine scares at all. All the characters, and I do mean all, are one-dimensional clichés at best, with Kate’s demise being extremely vague.

“The Thing” is a far cry from anything scary, suspenseful, or even fun. It’s the equivalent of seeing a burning Yule-log for 2 hours.

“Real Steel” is a quasi-futuristic action movie beginning in Texas where former boxing pro Charlie, a dirtbag Hugh Jackman (X-Men, Australia), is struggling to keep out of debt through robot fights. At the same time, he is having to meet his 11-year old son Max for the first time, a precocious Dakota Goyo (Resurrecting the Champ, Thor). Their relationship is strained at best. While Max’s aunt and uncle get custody of him, Charlie gets him for the summer while he’s on his fighting tour. During this time Charlie ruins two robots in losing fights and nearly gets his son killed when they attempt to steal spare parts (wonderful dad). Thankfully Max’s life is spared by a partially buried robot which he names Atom. The junkyard bot is out-of-date and in need of a lot of work, but Max sees a special potential in this new guy. Charlie encourages Max to fight Atom in cheap fights thinking he’ll learn to lose gracefully, but to everybody’s surprise Atom is actually quite a knockout king! What’s more, Charlie and Max begin working as partners: Max with the robot’s personality and Charlie with its fighting moves. The fights get bigger and so do the opponents, but little Max and Atom are a rare diamond in the rough who have potential to make it to the robot fighting championship.

Now this movie was inspired by a 1963 episode of “The Twilight Zone” (!) with different results. Maybe “Transformers” has sparked our interest in seeing CGI androids wreak havoc, but if that’s the case we see some really cool ones. Ambush, Noisy Boy, Midas, and the champion Zeus are all badasses in their own ways. The designs and puppetry from Legacy Effects make the robots look pretty real, and that’s an achievement in itself. Unfortunately that’s all this film has going for it. For just over 2 hours, only 30 minutes are robots. The rest is a long, dull, and kinda depressing custody battle with Jackman playing his worst character since “The Prestige”. Anthony Mackie, Kevin Durand, and Evangeline Lilly round out the supporting cast but can’t add much. Maybe the best way to describe this would be “A.I.: Artificial Intelligence” as a sports movie aimed at kids. Yes youngsters will get the most entertainment out of this, but when the robots go away don’t expect them to sit still.

“Real Steel” boasts some cool special effects but just can’t connect on a genuine level of fun. Weak characters and a weaker story make for a pitiful movie, though a 10 year old video game fanatic may enjoy a kid his age talking down to grownups.

This is the story of Adam, played by Joseph Gordon-Levitt (Brick, The Dark Knight Rises). Bryce Dallas Howard (Terminator Salvation, Twilight) is his girlfriend Rachael and Seth Rogen (Kung Fu Panda, The Green Hornet) is his best friend Kyle. Adam’s life consists of his job as a Seattle radio DJ and taking very good care of himself. He has his own house, a hot girlfriend, and never smokes or drinks alcohol. On top of which we first see him jogging around a public park, but it’s during this when he holds his lower back in some minor pains. Adam decides to get himself checked out at a hospital when he is diagnosed with Schwannoma neurofibrosarcoma, or in short, spinal cancer. Adam really doesn’t know what to do (who would?), so with doctors recommendations he begins chemotherapy and starts seeing a psychologist for therapy. While in chemo he meets a pair of much older cancer patients, who don’t mind wisecracking with Adam and sharing marijuana with him. On the other side his shrink Katherine, a great performance from Anna Kendrick (Twilight, Up in the Air), is still in training for her doctorate and gives Adam very little hope. As the days wind on and Adam feels even sicker, his life will be turned around for better or worse.

The first thing that struck me about this movie is how honest it is. It ought to be after being loosely based on the real life cancer survival of screenwriter Will Reiser, though the way Adam’s life crumbles slowly around him can be understood by all audience members. His girlfriend cheats on him, his mother (a fantastic Anjelica Huston) becomes smothering and hysterical, and his best friend Kyle uses the poor guy to meet girls. Well, Kyle does encourage Adam to get laid too, but he can’t enjoy it due to his back pains. It’s rare when all of the cast shines in a movie like this, but Gordon-Levitt shows an incredible range of emotions and hammers the aggravation and fear for his character. And as always, Rogen is more than adequate for getting some good laughs in there.

“50/50″ refers to Adam’s chances for survival, but you will enjoy this 100%. It’s the kind of R-rated comedy where you look at a body-bag and bust up giggling.

“Drive” stars the blonde haired, blue eyed Ryan Gosling (Blue Valentine, The Ides of March) as Driver, and he doesn’t go by any other name. His daytime job is working as a Hollywood stunt driver to get thrown around in cars for movies. Otherwise he works for his mechanic friend Shannon played by Bryan Cranston (TV’s Malcolm in the Middle, TV’s Breaking Bad), but at night Driver takes a bigger job transporting robbery goons. Mr. Driver is young but extremely aloof, never showing his vulnerable side and not really caring for anybody but himself or those who can pay him. However, this changes when his apartment flat neighbor catches his eye. Irene, played by Carey Mulligan (An Education, Wall Street: Money Never Sleeps), has a young son and husband in prison, so she warms up to Driver as a man to help her with groceries and take fun drives through the city. Meanwhile, Shannon wants to start a stock car racing team with two gangsters: Nino and Bernie, who are as vicious as Ron Pearlman (Hellboy) and Albert Brooks (Taxi Driver) can make them. Soon Irene’s husband is released from jail, but owes “protection money” to local thugs. When Driver steps in to set things right, he unknowingly starts a chain of bloodshed and murder that ties all these characters together.

Right from the beginning we hear a 1980′s synthesizer soundtrack, and a title sequence that looks lifted from “Risky Business”. The first 10 minutes of this film feature a nighttime robbery and escape sequence from L.A.P.D. complete with black & white Crown Victorias and helicopters. However, all the action is shot from the POV of Driver, and the genius of evading cops includes driving without headlights on and leaving the robbers in a crowd of people without a second thought. It’s hard not to compare him to Steve McQueen from “Bullitt”, but a more accurate description would be more like a modern day “Shane”. Mulligan sadly doesn’t have much to do, neither does Pearlman, but Brooks is a superb villain who doesn’t mind stabbing someone in the eye with a fork or slicing their wrists with a straight razor. Oh yes there is violence, lots of blood and gore, with only one gun fight in a hotel room (but it’s a memorable one). With these kind of amoral characters and seedy dealings you may think this is the video game “Grand Theft Auto”, but it’s so thrilling you may not care. Audiences who are used to the “Fast and Furious” movies might find this to be disturbing and gruesome, and perhaps pretentious art trash.

For my money, “Drive” is a thrilling action film that’s smarter than usual Hollywood crap. There are no last-minute plot twists or cameos implying a sequel, as a matter of fact the ending is very ambiguous, and that’s worth seeing.

We open on Pittsburg where we meet a down-and-out ex soldier named Tommy, an aloof Tom Hardy (Inception, The Dark Knight Rises). He is looking for his estranged father Paddy played by Oscar nominee Nick Nolte (48 Hrs., Tropic Thunder). They have a dark past with alcohol abuse and separation, but Tommy is not at all interested in reconciling with his father. Instead, he is strapped for money, and Paddy was once a great wrestling trainer. Tommy’s idea: to train in UFC fighting and get some cash to send to the widow of his deceased Marine friend. What he doesn’t expect is that he is quite a fighter, and with humble beginnings started to compete professionally.

Meanwhile in Philadelphia another athlete is having issues with the mortgage on his house. Joel Edgerton (Star Wars: Episode III – Revenge of the Sith, The Thing) is Brendan, a daytime psychics teacher moonlighting as a strip-club bouncer…or so he tells his wife. Instead, he fights cocky bikers at parking lot MMA fights for extra cash. The only problem is the cuts on his face are starting to show, at school. Brendan is put on unpaid suspension during which time his family will lose their house, so he has no choice but to continue getting beat up but with a real trainer. When a spot opens for him to enter professional fighting, he wins every single fight. What he doesn’t realize is that the world MMA finals at Atlantic City is bringing in every badass athlete in the world, including the last man he ever expected: his younger brother Tommy.

Now this all sounds like a wild, uneven movie playing on the cheese factor. Ok, it feels like “Rocky” for the 21st century, just replace the stuffy old boxing and add some cell phone texting. However, as incredible a story this is it’s not true. Writer-director Gavin O’Connor (Miracle) manages to take a manipulative story and make it work. Edgerton is okay as the older brother, Nolte is great as a vulnerable father trying to rekindle a father-son relationship with either one of his boys, but it’s Hardy who shines being hard hearted and cold, only breaking to human feeling when he knows he’s beat. There are villains and competitors in the ring who are obstacles to this family intervention, that climaxes in the most unexpected way.

“Warrior” is not a great movie, but it does work. Men will appreciate the tough-guy struggle for setting things right, women will love these muscle Gods greased up and kicking ass. Everybody will be surprised how a forced idea still make a winning movie.