Although this film looks a little bit like a 21st century Pearl Harbor with a slight horror twist, I’m intrigued. Portman, Gyllenhaal and Maguire rarely give bad performances and so if we are basing this off of past precedent I think this film could be good. Intense, but good.

A Single Man: opening in limited release Dec. 11, 2009.
Directed by: Tom Ford
Starring: Colin Firth, Julianne Moore, Matthew Goode and Ginnifer Goodwin

This is fashion designer Tom Ford’s directorial debut. Do I really need to say more? Curiosity has consumed me. Plus, if such heavy weights as Moore and Firth are part of the cast, I’m hoping that this means Ford actually has some promise as a director. Not to mention it is nice to see Firth in a role that doesn’t require him being the cheesy rom-com lead.

The Young Victoria: opening in limited release Dec. 18, 2009.
Directed by: Jean-Marc Vallée
Starring: Emily Blunt, Rupert Friend, Paul Bettany, Miranda Richardson and Jim Broadbent

I am a sucker for period pieces and Emily Blunt is quickly becoming an actress “to watch out for.” The romantic love story of Queen Victoria and Prince Albert is not one I’m too familiar with, so I hope it’s tragic and heart-wrenching. That is they only was a love story should be.

The buzz surrounding the film was tremendous, especially among those in my demographic, the 20-somethings. But I have to say, it didn’t disappoint me. Jonze’s Where the Wild Things Are was so endearing and intimate that it made me long for my childhood and the days where my imagination was infinite.

The film centers around Max (Max Records) and the imaginary worlds he creates for himself. His dad left his family, his sister ignores him and his mother (Catherine Keener), despite loving Max, is focused on paying the bills and finding a new love. This forces Max to retreat into his own creative world with imaginary characters. After one particular fight with his mother, Max storms out of his house, clad in his wolf suit and stumbles upon a boat in a forest. He sails the boat all the way to this mysterious island where he sees a light through the trees. When he investigates as to where the light is coming from he encounters a group of enormous furry creatures around a fire arguing about the loss of one of their members, KW (voiced by Lauren Ambrose). Their leader, Carol (James Gandolfini), is destroying their huts and Max, who had been hiding in the bushes, decides to join in. Although Carol is impressed by Max—”There’s a spark to your work that can’t be taught,” he says—the rest of the group menacingly gangs up on Max in an attempt to eat him. They only cease their torment when Max yells out “Be still!” and explains to them that he is a king with powers that conquered Vikings, creatures, he claims, much bigger than the wild things. Carol then anoints Max as their King. What proceeds next is an example of too much of a good thing: the wild things and Max are enjoying being carefree and spontaneous—they even attempt to create their own world where “everything you want to happen, happens”—until things go horribly wrong and this once perfect world changes.

Jonze has the amazing ability to tell this story without ever saying a word. His subtle ability to show rather than tell is in almost every second of the film. For instance, in one of the first scenes we see Max he is laying on his bed dejectedly staring at the globe his father left him. We get this sense of solitude and sadness that Max must be feeling after losing his father. Jonze cuts to different aspects of the room and we can see that Max is really creative in his projects, but also very lonely since he is forced to play alone. We can already tell that this is a boy consumed by sorrow attempting to escape it with his fantasies.

Yet, not all of the film is tragic. Once Max is with the wild things, the film becomes silly and childlike in its humor. There is a particularly excellent sequence in where the wild things and Max are having a dirt clog fight. Max is telling the opposing team to “Come out” and they respond with “No” to which Max says “Why not?” And they of course say, “Because you are going to hit us in the head with dirt.” This prompts Max to admit very innocently “Man, they’ve really got us figured out.” The childlike naivete and enthusiasm that Max has is really endearing. The fact that he thought that his ploy to lure out his “enemies” by simply telling them to come out would work is really quite sweet. Jonze films the movie so intimately that we feel, just like Max, that we too have the world in the palm of our hands.

By the end, that illusion is lost and real life trumps. Yet, that feeling of childlike wonder is never lost.

Check out my account of my midnight rumpus at Mission Valley for a special screening of ‘Where the Wild Things Are’ published in the Independent Weekly’s Arts Blog.

This British film has been out in the UK since April and the fact that its coming to the US at all is a good sign (only the British creme de la creme makes it to this side of the pond). Originally titled The Boat That Rocked, this little comedy was directed by Richard Curtis, the man that brought us Love Actually, Notting Hill and almost every other British romantic comedy that is loved by Americans. With such a stellar cast, the film is bound to offer a bounty of chuckles.

Broken Embraces: opening in theaters Nov. 20, 2009.
Directed by: Pedro Almodóvar
Starring: Penélope Cruz, Lluís Homar and Blanca Portillo

The Cruz-Almodóvar team is nearly infallible. These two Spaniards last collaborated in the 2006 drama Volver and it came out beautifully. This film seems to follow in that same vain. Not only does the film look visually stunning, but its premise—that of a man who loses his love in a car accident—and performances are sure to be Oscar-worthy.

Nine: opening in theaters Dec. 25, 2009.
Directed by: Rob Marshall
Starring: Nicole Kidman, Daniel Day-Lewis, Marion Cotillard, Penélope Cruz, Judi Dench, Sophia Loren and Kate Hudson

There are two very important reasons as to why I want to see this film. First, Daniel-Day Lewis is in it. This man makes a movie as about as often as Radiohead releases a record (which is pretty seldom), but when he does his performance is always flawless (There Will Be Blood anyone?). Second, Rob Marshall is directing. With his last musical, Chicago, Marshall blew me out me of the water. It is still one of my favorite films of all-time. Every dance sequence was beautifully choreographed and well-translated onto the screen. It is difficult to bring stage shows to the big screen because they often come off like a showtune, but Marshall’s Chicago was in a league of its own. This one looks to be just as amazing.

Couples Retreat

Thirteen years ago when Jon Favreau wrote the quirky and refreshingly comedic Swingers it starred a little known actor by the name of Vince Vaughn whose satirical and quick-witted brand of comedy was gut-busting. Flash forward to the present after Vaughn has played the same guy from Swingers in just about every comedy he has been in. Sure, it was funny in Wedding Crashsers, but funny turned into dull by the time Fred Claus came out. Couples Retreat is, sadly, no different.

This supposed comedy revolves around four couples after they are cajoled into going on a couples retreat. One of the couples, Jason (Jason Bateman) and Cynthia (Kristen Bell), is on the brink of divorce and they think that this could be their saving grace. The other three couples agree to go thinking that they’ll be able to relax in paradise, yet once they arrive they are told by a rather stern British concierge, Ctanley (Peter Serafinowicz)—whose deadpan and eerily creepy performance is probably the only spark in the film—that they must partake in all the activities including the counseling sessions if they want to stay. To further explain this plot is futile because what ensues after this is moment after moment of tedium and several half-baked attempts at humor.

I must say I was disappointed by the film because the first time I saw the trailer I was enthused and thought it looked quite comical. However, I soon discovered that all the films funniest moments were but into the trailer and after seeing that same trailer at least 20 times, the jokes felt stale and clichéd. By the end, this movie was just a one-trick pony who only aimed at making me laugh by making me uncomfortable.

Perhaps the most annoying aspect of the film, however is that everyone, of course, gets what they want by the end. (I don’t think I’m spoiling anything by revealing this fact. I’m sure you had the ending figured within the first five minutes.) Except for me. Because I had to sit through this snoozer.

After watching The Brothers Bloom, I am convinced it was one entire con. But in a good way.

Brothers Stephen (Mark Ruffalo) and Bloom (Adrien Brody) have been shuffled from foster to foster home since they were wee lads. All they ever had was each other and they envied the children who could afford to buy themselves the treats that they wanted, like Rocket pops—a tasty ice cream treat. This lack of fortune causes Stephen to devise a scheme for he and his brother to get everything they ever wanted: They would fashion a con so that the neighborhood kids would give them their money. (The plan is really quite ingenious; their back-up plan is even more so, which is revealed quite jocosely.)

Flash-forward some 20-odd years later and the brothers are well-versed in the art of the con, quite possibly becoming true artistes. Stephen regales in their misadventures, but Bloom is tired of leading a life in which Stephen has written for him. He is unfulfilled and wants out so he escapes to Montenegro only to have Stephen find him–thanks to their colorful partner Bang Bang (Rinko Kikuchi)—and persuade him into one final con. Insert Penelope (Rachel Weisz), a millionaire recluse who easily becomes their target. The only problem is that Penelope’s naive and enthusiastic manner quickly enraptures Bloom.

The film is excellently told from start to finish. The narrator (voiced by Ricky Jay) at the beginning of the story that tells us of the Brothers Bloom’s origins sets the tone for the film. He is ironic, insightful and comical—”Their pocket change bought Rocket pops; the Bloom’s, pixie sticks.” It is perhaps one of the most humorous aspects of the film. Johnson, however, is careful in not revealing too much all at once. He constantly lulls us into believing that we know what will happen next only to completely turn it around and surprise. There is a moment when Penelope is being worked by the con and she is told that a man named Melville is a former associate of the Bloom Brothers. Penelope observes that its rather odd and coincidental that he should be named Melville because Herman Melville wrote The Confidence-Man and the boat they are on is called Fidele which means “confidence.” We are completely shocked that Penelope could quite possibly at that moment unravel the entire con conceived by the Brothers.

What’s more this scene reveals the film’s humor. It is subtle and lighthearted mainly because it was made as an homage to big con movies like The Sting, Dirty Rotten Scoundrels and Paper Moon. It’s almost farcical, yet the script is far too smart to just simply be a farce. Plus, the cast plays into the script excellently without ever being too over-the-top or unbelievable. The chemistry between Brody and Weisz wasn’t on par really, but that fact is overlooked by a nearly perfect portrayal by Ruffalo and a first-rate comedic (and almost silent) performance by Kikuchi. Supporting roles by Robbie Coltrane and Maximilian Schell also offer some droll excitement.

Early on in the film Stephen says, “The perfect con is one where everyone involved gets just the thing they wanted.” If this is true, than Johnson has pulled off a great con, because we, as audience members, are left completely satiated.

I am so glad that Ben Foster is honing his acting chops. After seeing him on the TV show and my personal favorite, Flash Forward, in 1996 I knew it would be not be the last I saw of him. Slowly he’s climbed that Hollywood ladder with X-Men: The Last Stand and 3:10 to Yuma. Now this dramatic film, written and directed by Oren Moverman, should be another stepping stone for Foster. Woody Harrelson also seems to pull out his inner thespian in this film.

Me and Orson Welles: opening in theaters Nov. 25, 2009.
Directed by: Richard Linklater
Starring: Christian McKay, Ben Chaplin, Claire Danes and Zac Efron

Curiosity made me pick this film. Not only am I curious as to how Christian McKay will portray one of my cinematic idols, Orson Welles, but I’m also intrigued by Zac Efron in this film. It should be fascinating to see him in a more grown-up film. Also, director Richard Linklater wrote and directed my two favorites, Before Sunrise and Before Sunset. If anything, it should be cinematically compelling because Linklater is a great director.

The Imaginarium of Doctor Parnassus: opening in theaters in limited release Dec. 25, 2009.
Directed by: Terry Gilliam
Starring: Johnny Depp, Heath Ledger, Jude Law, Colin Farrell and Christopher Plummer

This is Heath Ledger’s last film. And he didn’t even finish it. Not only is the film’s premise slightly confusing, therefore intriguing, but how exactly will director Terry Gilliam (you may know him from a little group called Monty Python) explain four different actors playing the same role? That shall be a sight to see.

I had really been looking forward to this film and even included it in one of my “Films to Get Excited About” posts because I believed the plot to be hilariously novel. It is, but only until we start getting to the crux of the film.

Gervais is Mark Bellison—pretty much the same overweight loser that he plays in every film except this time he’s a screenwriter and is part of a world that doesn’t have the ability to lie. The required jokes about Mark’s weight and snub nose are made to get the fact that Gervais is not your typical leading man out of the way. We are repeatedly told how unattractive and big of a loser he is (funny considering that Gervais wrote—and directed—the film himself, along with Matthew Robinson), particularly by his love interest Anna (Jennifer Garner), who likes Mark but just can’t seem to get over his chubbiness and snub nose. What’s more, Mark is fired from his job at Lecture Films—a movie studio that essentially makes documentaries because technically fiction doesn’t exist since it’s untruthful—for being the worst screenwriter, a fact that isn’t entirely his fault since he writes about the 14th century, an era that’s mildly depressing (the Black Plague and Feudalism are not chipper topics).

Just when Mark’s life couldn’t get any worse, he is evicted because he only has $300 in his bank account and his rent is $800. When he goes to withdraw the what’s left of his money, the teller informs Mark the bank’s system is down and that he should just tell her how much money is in his account. This is the moment Mark’s life changes because his suddenly struck with a moment of genius: he can “say something that was not,” that is, tell a lie. Since no one fathoms the idea of saying something that isn’t true, the teller believes Mark when he says there are $800 in his account, even when the bank’s system comes back online and she can clearly see he only has $300. After this, Mark realizes he can have anything he wants, including Anna.

Things are looking up for Mark until his mom (Fionnula Flanagan), who’s kept in an Old Folks Home or rather “A Sad Place for Hopeless Old People,” is on the verge of death. In an attempt to comfort her on her deathbed, Mark tells her that when you die there isn’t an “eternity of nothingness” but rather an afterlife filled with your very own mansion, everyone you’ve ever loved, and pretty much anything else spectacular you can imagine. His mom, of course, dies happy believing she’s going off to a better place and the nurses surrounding her believe every word Mark says. What results is a big can of worms where Mark has to basically invent religion, heaven and the “Man in the Sky” that controls everything. Any free will that society had left was stripped by the invention of, not lying but rather, religion. “Nobody,” according to Mark, “listens to what they actually want,” which becomes the crux of this film.

Despite some excellent and pithy cameos from Jason Bateman, Rob Lowe, Stephen Merchant (Gervais’ usual partner in crime), Edward Norton and Tina Fey, the film’s funny is seriously lacking. Gervais has made a career out of making audiences laugh by making them feel uncomfortable, but this film doesn’t measure up to its predecessors. The awkwardness felt at every moment could be funny, and sometimes it is, but really it just makes you want to grimace, such as when Anna finally comes down the stairs to greet Mark who has been waiting for her to get ready and she tells him “I just masturbated.” Um, ok. While the initial premise is engrossing and humorous—that of a world where lying doesn’t exist and only one man can—its ingenuity is compromised by its incomplete exploration of the role of God, religion and free will in society. We are left with the distinct feeling of so what?

Truthfully, not even lying could make this film much better.

After seeing Zombieland, though, I have no doubt that the Rotten Tomatoes assessment is indeed correct. Within the first five minutes, the film already solidifies its humorousness with a zombie chasing montage—particularly the half-naked stripper zombie who is frantically and hungrily chasing two businessmen that are still waving singles at her.

The film then begins like most zombie flicks: a virus has infected humanity (albeit this one is via a hamburger and mad cow disease), zombies have resulted from this infection and the remaining humans are forced to survive in a state of desolation all the while worrying about getting eaten alive by said zombies. Been there, done that, right? Ok, sure. But what proceeds is a comedy intent on educating audiences on how to survive in Zombieland, as Jesse Eisenberg’s character Columbus calls it.

Columbus (aptly named because that is where he is headed) is a shy, geeky recluse who on his journey home runs into Tallahassee (Woody Harrelson), a cowboy who’s “business is ass-kicking business and business is good”—cut to Harrelson maniacally wielding a chainsaw in each hand—and they decide to stick together. While on the road they stop at a grocery store intent on finding Twinkies for Tallahassee’s who is obsessed with eating one. This is where they run into two sisters, Wichita (Emma Stone) and Little Rock (Abigail Breslin), who con them out of their car and weapons. Eventually they catch up with them and all four think it’s best to rally together for survival with the goal of getting to Pacific Playland in L.A., the one place said to be devoid of zombies.

Exposition aside, the funniest moments are punctuated by Columbus’ narration, which smartly provides the audience with rules as to how to survive in Zombieland. These rules even literally pop out on the screen in big white letters reinforcing what was said. Chuckles ensue when the rules animate or re-emerge, such as when Rule no. 18: Limber Up materializes and the letters bounce up and down mimicking Columbus movements; or when a zombie flies out the front car window and Rule no. 4 shows up reminding the audience to always wear their seatbelts in Zombieland. This show-and-tell aspect of the film is its most ingenious—and funniest—aspect.

First-time feature film director Ruben Fleischer also brings other moments to carry the big-time laughs: an elderly woman flattens a zombie with a grand piano thus earning her the “Zombie Kill of the Week“; Bill Murray (in an amazing cameo) dresses up as a zombie to “blend in” with the L.A. lifestyle; and the gang busts out the Purell Hand Sanitizer after disposing of a body. What’s more, the film never takes itself too seriously but yet doesn’t fall back on shtick to be funny. Not to mention it adds in plenty of violence and gore to appease hardcore zombie fans. The scene with a female zombie eating the intestines of a dead male is particularly gruesome and slightly gratuitous, but the commentary provided by Columbus and Tallahassee never fails to lighten the mood. I think this film might even rival Shaun of the Dead (one of my all-time favorites) in its combination of violence and wit.

Most importantly, I leave you with Rule no. 32: Enjoy the Little Things. Like this film.

What first attracted me to this film was Nisreen Faour’s portrayal of Muna, an immigrant single mother. Just through the trailer her performance seemed amazing. Also, coming from immigrant parents, the subject matter hit close to home. This little indie film is sure to be heartwarming.

The Blind Side: opening in theaters Nov. 20, 2009
Directed by: John Lee Hancock
Starring: Sandra Bullock, Kathy Bates and Tim McGraw

Finally a film in which Sandra Bullock isn’t playing the shrew and a man needs to tame her. This role has the meat of her other more dramatic roles. Although, it seems a little too cheesy, especially with the line in the trailer “No, he changed me,” I’m still intrigued and hope it won’t just be another overplayed melodrama.

The Lovely Bones: opening in limited release in theaters Dec. 11, 2009
Directed by: Peter Jackson
Starring: Rachel Weisz, Mark Wahlberg, Susan Sarandon and Stanley Tucci

Based on the book by Alice Sebold, it’ll be interesting to see how Peter Jackson, known for special effects Wunderkind Lord of the Rings, tackles such an emotional and suspenseful drama. With a stellar cast of A-listers this movie is bound to garner success from lovers of the book.

For her directorial debut, Barrymore has captured the moxie of the heroines she played and put it into Whip It, a film about the rough-and-tumble sport of women’s roller derby.

Bliss Cavendar (Ellen Page) is considered in her town of Bodeen, Texas as alternative—or as she would probably say, “Alternative to what?” She dyes her hair blue for beauty pageants, which her mom (played masterly by Marcia Gay Harden) forces her to enter, and works after-school at The Oink Joint with her best friend Pash (Alia Shawkat). During a trip to the mall she gets handed a flyer to a roller derby match by two tattoo-laden derby girls on roller skates. Bliss manages to cajole Pash into going with her and she immediately falls in love with the adrenaline and kick-butt action. So she signs up to audition, lies that she’s 22 and eventually makes the team as their new jammer. Bliss is no more; instead Babe Ruthless takes her place.

This team opens a whole new world for Bliss, who finally feels at home somewhere. Supporting roles by rapper Eve as Rosa Sparks, late night host Jimmy Fallon as Johnny Rocket, SNL comedienne Kristen Wiig as Maggie Mayhem and Drew Barrymore herself as Smashlee Simpson round out the cast of misfits that Bliss soon calls family. But Bliss’ place on the team might not be so secure especially with rival jammer Iron Maven (Juliette Lewis) gunning at every chance to ruin it all for her.

Although I admire the film’s storyline and its ability to rival any bildungsroman in badass chicks taking charge, I can’t help but be a bit annoyed at how it eventually plays out like your typical Hollywood film. The acting could have been better, specifically the scenes with Page and Shawkat. Their friendship is supposed to be fun and natural, but often times it felt forced and artificial, which is surprising considering how great Page was in Juno and how hilarious Shawkat was on the sitcom Arrested Development—both of which are personal favorites of mine.

What’s more, Barrymore’s directorial style still needs work. Her 30-odd years as an actress haven’t quite prepared her for her role behind the camera. Several of the shots felt messy and purposeless, often times lingering far too long on the actors making the shot seem awkward and thereby the actors as well. I will say this though: where she did rock it are the great roller derby games. Barrymore captured the intensity and brutality of the game and imparted that same ferociousness to her audience. I wouldn’t say Barrymore is incompetent—quite the opposite, really—but rather she just needs some polishing. I’m actually looking forward to what she can do in the future.

But ultimately, no , I did not want to “whip it, whip it good.” I might just have a gnarly costume for Halloween now though.

(Note: The Devo classic “Whip It,” despite sharing the same name with the film, did not appear at all in the film much to my surprise.)