Sons Of The Desert [1933]

Laurel and Hardy’s best movie; the boys find themselves in hot water when they scheme to get away from their wives and attend a lodge convention in Chicago. After persuading the wives that Ollie needs to sail to Honolulu for his health, they’re finally free to go to Chicago. The boat sinks on the way back from Hawaii, and the boys end up having to explain how they got home a day earlier than all the other survivors! (hint: they ship-hiked). Talk about a movie holding up for over 70 years! Everything about it is pitch perfect and unforgettable. Watching the boys as they sink deeper and deeper into absurdity trying to explain their early arrival is a gem. In between, they also get themselves into some silly humorous trouble, with the best being a scene in which Ollie flirts with a woman on the phone not realizing it’s his wife he’s talking to! 

“Sons Of The Desert” is comedy at its best; it certainly deserves its place among other comedy classics (“The Gold Rush”, “Safety Last” and “A Night at The Opera” come to mind). Unfortunately, a lot of people don’t appreciate these movies anymore. Yet if it weren’t for Laurel and Hardy, we wouldn’t have had Abbott and Costello or even Simon Pegg and Nick Frost. The laughter these guys have given us will never be replicated, and is eternally appreciated.

Rating: 3.5/4

Red Riding Hood [2011]

Unless director Catherine Hardwicke (“Twilight”) is willing to shoulder some of the blame, it’s useless to try and figure out why “Red Riding Hood” is so bad. I stuck with it till the bitter end, but I’m not proud of that achievement and wouldn’t recommend that anyone follow my lead. Amanda Seyfried plays the title character, who lives in a small village at the edge of a deep dark forest. We are told right at the beginning that the villagers live in constant fear of a wolf who claims a sacrificial victim whenever the moon rises (Lon Chaney Jr. must be rolling in his grave). When the wolf kills Riding Hood’s sister, someone hires Father Solomon (a wasted Gary Oldman) to take charge and conduct a witch-hunt that’s almost as vicious as the killings. Oldman convinces the villagers that they are dealing with a werewolf who is so deceptive, he may be living among them undetected. This will eventually lead Riding Hood to suspect everyone around her. Is it her boyfriend? Her father maybe? Or even worse, her grandmother? A better question to be in this case is “who really cares?”.

Seyfried perhaps is well cast as Red. She gives her character just the right look…but everytime she opens her mouth you’ll be begging for that werewolf to put her out of her misery. To be completely fair though, no actor could be expected to excel given the cheesy dialogue and Hardwicke’s terrible direction. Good actors such as Gary Oldman, Virginia Madsen and Julie Christie struggle to make an impression and it shows. It pains me to see talented actors like these wasting their time on such drivel. Billy Burke tries his best to keep things lively, but that’s a small reward considering how bad the rest of the movie is.

 I’d rather watch “Twilight” again than have to sit through another one of these dreadful wannabe horror flicks…but I suppose it’s inevitable, especially since studios make so much money out of these films. In Hollywood these days, that seems to be all that matters.

Fiasco!

Rebecca [1940]

In 1940, Alfred Hitchcock came to Hollywood to direct what would become one of his greatest achievements. Yet it is somewhat surprising that despite his long career, only “Rebecca” earned him an Academy Award for Best Picture. Producer David O. Selznik, hot from the huge success of “Gone With The Wind” a year earlier, seized the opportunity to work with Hitchcock, pairing the director with Daphne Du Maurier’s gothic ghost story. I can recall a number of Hitch’s films, such as “The 39 Steps” and “North By Northwest”, in which the hero and the heroine end up falling in love, but are nevertheless essentially suspense films with an element of romance. “Rebecca” on the other hand, is strictly a romantic story with elements of suspense. A seaside estate (later the inspiration for Orson Welles’s Xanadu mansion) is the setting for the romance between Joan Fontaine and Laurence Olivier. They marry after a brief encounter, but as their relationship deepens, Fontaine is more and more haunted by the spirit of his dead wife, Rebecca. In a way, this is a ghost story, although not in the literal sense. The mansion may not be literally haunted, but it is permeated by Rebecca’s spirit. Innocent Fontaine is nearly driven to madness by the dark secrets of this huge mansion, but Hitchcock is more than happy with letting the tension build toward the unforgettable conclusion.

It doesn’t surprise me one bit that “Rebecca” won Best Picture and Best Cinematography at the Oscars that year. It was up against “The Letter”, “The Philadephia Story”, “Grapes Of Wrath”, and ironically, Hitchcock’s final british film “Foreign Correspondent” (all of which were excellent pictures). And despite the fact that it was David O. Selznick who took that Oscar home (Hitchcock never won an Academy Award for directing), Selznick will always be remembered for “Gone With The Wind”. Now “Rebecca”- that was Alfred Hitchcock’s work.

Rating: 4/4

The Hangover Part II [2011]

I think we can all agree that the first “Hangover” movie was a huge success, both critically and financially. So I guess it was just a matter of time before a follow-up was to be made. Confession: Im always precautious when it comes to sequels. So I went in with no particular expectations, and what I got in return was an above average comedy. Plot wise, “Hangover 2” is more of the same, only less original than its predecessor. This one has more pervasive language, more sexual content (including graphic nudity), and some violent images (make sure you stick through the end credits for that part). If you saw the first film, there’s no need for me to describe the plot this time. It’s exactly the same story. Director Todd Phillips seems to have taken “The Hangover” screenplay and moved it from Las Vegas to Bangkok. All you need to know however is that instead of a baby, there’s a monkey in the room. Stu has a Mike Tyson style tattoo, Alan’s hair is shaven, there’s a detached finger lying around, and it’s not Doug that’s gone this time around-it’s the adolescent Teddy. As a result, our guys set off their search through the city for people who might be able to help them remember the events of the previous night.

 The finger is the first clue. Someone gets shot by a gang of thugs, while someone else turns out to have had sex with a transvestite. Is that funnier? not really. Shocking? probably. But if you liked the first “Hangover” because of its shock value, then you will definitely enjoy what this one has to offer. And in case you’re looking for something more, I can assure you that the element of surprise is not completely off the table. We’ve got Paul Giamatti as a crime boss, and Ken Jeong returns as the hilarious Mr. Chow who’s still in need of a serious mental treatment. I guess that’s more than enough to hook you up for a while. I just wish the people involved in this had produced a more original story. But hey it is a sequel afetrall; one shouldn’t expect miracles.

Rating: 2.5/4

The Beaver [2011]

I don’t give a crap about Mel Gibson or his personal problems. The man’s a terrific actor, and that’s all that mattered to me when I sat down to watch “The Beaver”. I didn’t want to read any of the negative reviews prior to watching it, so I went in cold, and I’m glad I did. It’s an odd little film about mental illness and broken family, directed with passion by Jodie Foster. The entire cast is excellent, but the centerpiece is a poignant performance by Mel Gibson, quite possibly one of the best of his career so far. I was a bit disappointed with his screen return in last year’s “Edge Of Darkness”, but “The Beaver” offers something completely different and fresh. And that’s always admirable and welcome. He plays Walter Black, a man who has lost his way in life and is dealing with an extreme case of depression. His wife has left him, and his son won’t even speak to him. Just when he is about to call it quits, Walter befriends a hand pupped called  The Beaver, who takes total control of his life. And it is through this puppet that he is able to redeem himself at work and with his family. This unusual story certainly requires an act of trusting on the part of the audience. I was more than willing to trust Jodie Foster and her directing abilities, and though the story doesn’t always ring true, it’s still completely absorbing and thought provoking.

“The Beaver” is one of the nicest surprises of the year so far, and while I don’t think many people would bother to see it, I still hope it finds the audience it deserves. Well done old man.

Rating: 3/4

The Flying Deuces [1939]

Viewing “The Flying Deuces” after so many years was a great reminder of how brilliant Laurel and Hardy were. In true L & H tradition, slapsticks and chase scenes are the main attraction here, along with Ollie telling Stanley the familiar phrase: “Well, here’s another fine mess you’ve gotten me into.” If you grew up watching these two, you’ll know exactly what to expect from this movie. The premise is straightforward enough: Trying to forget a woman who turned him down in France, Ollie decides to drown himself and convinces Stan that he must do the same. The boys meet an officer of the Foreign Legion who convinces them that they should join the Legion to help forget. Of course you know that these two misfits will never be able to adapt to life in the military, with its strict code and constant marching. All this will eventually lead to many funny moments, especially the stunt flying sequence and one unforgettable ending, which in my opinion wrapped things up brilliantly.

While not quite as spectacular or funny as some of their earlier comedies, but better than the ones they made during their declining years at 20th Century Fox (1941-1945), “The Flying Deuces” is still considered a classic; it has many genuinely wonderful moments well worth viewing, whether you’re familiar with the duo or not. If only their later films were as fresh and original as this one (with the exception of “A-Haunting We Will Go”, which remains one my favorites).

Rating: 3/4

Pirates Of The Caribbean: On Stranger Tides [2011]

Who needs Keira Knightley and Orlando Bloom when you can get Penelope Cruz and Ian McShane? So ballsy. And while this fourth installment lacks the freshness of the first “Pirates” movie, the good news is:  it’s far more superior than “Dead Man’s Chest” and the dreadful “At World’s End”. Director Rob Marshall, in for Gore Verbinski (who misdirected the last two movies) finds his pace, staging one enjoyable sequence after another. Yet plot-wise, “On Stranger Tides” is basically an old fashioned story with a twist. When the film opens, we find Jack Sparrow (once again played by Johny Depp) in search for a ship in London. However, he learns that someone is impersonating him and is busy recruiting a crew in a race against the spaniards to search for the fountain of youth. Sounds like an Indiana Jones episode to me. Anyway, while at the recruiting station, Jack runs into his father, and old flame Angelica (Cruz). After a night of drinking and sword play, our man finds himself on board Blackbeard’s ship (Ian McShane), en route to find the fountain. Throw in Geoffrey Rush’s Barbossa, now a one-legged captain working on behalf of the King of England, and you’ve got something close to a piratical wacky races.

As far as sequels go, it’s rare that third time’s the charm. But to be completely honest here, the “Pirates” franchise definitely gets back on track with “On Stranger Tides”. It plays surprisingly well, and makes clever use of its locations, and predominantly, Johny Depp, who let’s face it, sleepwalked through the last two movies. Rush, McShane, Cruz and newcomer Sam Claffin (as a religious man who falls in love with a mermaid!) seem to know exactly what the audience wants this time. Depp looks a lot more comfortable, and his character is much more interesting.  Rush, though always terrific, seems to be having the time of his life in this installment! The big surprise here though is Cruz, a feisty/deadly woman- a perfect match for Depp.

The film’s biggest downfall however is that it tries too hard to create a bunch of cliffhanger stunts, that it fails to give us a chance to take a deep breath. Not to mention the many unexplained plot elements (blame it on lazy writing); what exactly are blackbeard’s powers? Why are some of his crew zombies? Where did he get that voodoo doll of Jack in the first place? And so on and so forth. Yet despite all of its apparent flaws, “On Stranger Tides” still managed to entertain me; it’s certainly no masterpiece, but as far as escapism goes, it can’t get any better than this. Of course the franchise might seem to be running out of steam by now (seen that, done that), but if a sequel is being cooked, count me in.

Rating: 2.5/4

The Last Picture Show [1971]

“The Last Picture Show” is a wonderful accomplishment and worthy of its place in the list of great films of the 70’s. It’s a coming of age tale set in a small, dusty Texas town in the 50’s. The story centers around two best friends, Sonny (Timothy Bottoms) and Duane (a very young Jeff Bridges) as they pass from being highschool seniors into adult life. Director Peter Bogdanovich’s vision is risqué but honest, as he captures the moments when innocence lurches into experience. His movie makes you think about transitions in your own life. How do you handle this critical time from being on the highschool football team one year to being on your own without much safety net the next? Yet in a wider context, the film bids farewell to a bygone era, capturing the nation’s shifting interests (it was a time when Cinema was replaced by Television entertainment). Robert Surtee’s stark, yet attractive black and white cinematography brilliantly captures that era. We get a sense of the North Texas wind blowing through this isolated town where there is nothing much to do and a whole lot of time to do it. Boredom, depression, and a lot of dust. Middle-aged women bored with their lives, old men dying, and the young ones discovering life. It all leaves a feeling of emptiness and despair, a feeling that was not uncommon, especially in small towns in the 50’s.

Rating: 3.5/4

Priest [2011]

If you’re looking for a solid popcorn flick to sink your teeth in, this ain’t it. I hated “Priest”. Hated, hated, hated it. Hated every single audience insulting moment of it. Hated Director Scott Stewart and his stupid belief that anyone would be entertained by it. Hated the fact that legendary actor Christopher Plummer agreed to star in this terrible mess. Hated Paul Bettany’s annoying character “Priest”, who is trained to kill vampires in the name of the church and God (how clever!). Hated the stupid non-existant 3D (the film was shot in 2D and converted into 3D during post-production). Hated Cam Gigandet and his belief that he can actually act (the dude has already starred in two of the worst movies I’ve seen so far this year: this and the God-awful “The Roommate”). Hated the fact that the ending leaves the doors open for a sequel (one can only wish the filmmakers would have concentrated more on the film they were making rather than eyeing the one they might make next). Hated the fact that this movie makes “Legion” look like “The Godfather” in comparison (yes it is that bad!). But most of all, I hated the thought that this was supposed to be a cross between “The Searchers” and “Blade” (John Wayne must be rolling in his grave as we speak). Oh and did I mention how much I hated this film?

Fiasco! (and that’s me being generous).

For Colored Girls [2010]

Drama Drama Drama. If you’re a black man watching this movie, chances are you will find it highly offensive. Why? because every single one of them is portrayed as verbally, sexually, or physically abusive, aswell as selfish and heartless. This depressive film, courtesy of Mr. Tyler Perry (a.k.a Madea) is not only repetitive, but awfully long aswell. Yes we get it: black women suffer a lot in this world. We’ve seen it all before in “Diary Of A Mad Black Woman”, “I Can Do Bad All By Myself” and “Madea’s Family Reunion”. The same issues are dealt with again in “For Colored Girls”: Violence against women, death, sexual abuse… Did we need another movie to remind us of that? Not really. One of the good things I could say about it though is that the performances are really good (with the exception of Janet Jackson who seems confused to what she’s doing here). But unfortunately, Perry butchers his film with excessive melodrama and silly writing, that it becomes almost unbearable to watch. Oh and I think it would have been much better if every African American man in the film was not portrayed in such a negative light. I’m sure there are plenty of black men in this world who are educated, loving, honest and respectful. All you have to do is look around you, Tyler Perry.

Rating: 2/4

Metropolis [1927]

Directed by the legendary Fritz Lang, “Metropolis” is probably the first science fiction movie ever made. With huge sets, thousands of extras, and first rate special effects (considering it was made in the 20’s), it’s hard not to admire this truly wonderful film. Yet one of the most interesting things about it is the fact that it was a huge box-office disaster at the time of its release. The subject was controversial back then, and it almost ruined the studio. The story is about a young rich kid, Freder Frederson, son of the Master of Metropolis, who becomes concerned about the way the society is run by his father. He lives in the “Pleasure Garden”, high above the level of the workers, and he worries about what would happen if the huge number of workers were to turn against his father, given the horrible conditions in which they live and work. But that’s just the beginning, and to reveal more about the story would be unthinkable! Suffice it to say that director Fritz masterfully portrays this extremely complex story using limited dialogue, and the result is still fascinating today. The special effects were way ahead of its time, and perhaps the reason why such movies as “2001: A Space Odyssey”, “Star Wars” (C-3PO was inspired by the robot in this film) and “Blade Runner” were made in the first place. Another interesting point is that for years, a quarter of the film was believed to be lost. However, the discovery of a negative copy of the original print took place in Argentina in 2008. Examining the reels, film experts realised that they contained almost all of the missing sequences! After 80 years, the film is now complete.

“Metropolis” is one of the richest fantasy films ever made. It is the pinnacle of German Expressionism, astonishing in every detail, and a wonderful achievement for one of the most influential directors of all time, Fritz Lang.

Rating: 4/4

Scream 4 [2011]

I was a kid growing up when the first “Scream” movie hit theaters back in 1996. The suspense became bigger than ever before, and the new age horror began with a clever mix of humor, suspense, blood and gore. Since then, so many movies have been made as a parody to the notorious killer, but only one film will come to mind when we speak of the “Ghostface”: The Scream franchise. But did we really need another sequel? Not really. But we got one anyway, and for fans of the series, you’ll know exactly what to expect from this 4th installment, the first since 2000 (damn has it been that long?). To be honest, I was a bit disappointed. There I said it. Don’t get me wrong though, I still had one hell of a time watching it, but I guess I realised halfway through how tired this franchise must look by now. Between a clever start and a shocking climax, the movie offers nothing new to the table. Can’t blame the writers, since the film’s sole idea was explored to its fullest in the first three movies.

Neve Campbell reprises her role as hometown girl Sidney Prescott, who is back in Woodsboro for a book signing. But Sidney has barely signed one autograph when Ghostface strikes again. Calling in Sheriff Dewey (David Arquette) is no help, since the dude always shows up late to the scene of the crime. His wife and former TV reporter Gale Weathers (Courteney Cox) wants a piece of the action, and boy does she get it. There are plenty of new targets this time around, mostly Highschoolers; Emma Roberts as Sidney’s cousin, Hayden Panettiere, and Marielle Jaffe. But leave it to Rory Culkin and Erik Kudson to deliver the goods as high school movie geeks. Their motto: “The unexpected is the new cliché”. Sadly, there’s nothing truly unexpected here, except of course the revelation of the killer. The rest we’ve seen so many times before, and better. But as a long time fan of the series, I won’t dismiss this sequel easily. Afterall, the cast is ace, and the horror fan in me that craves blood and gore was totally satisfied. But for God’s sake, enough already.

Rating: 2.5/4

Drive Angry [2011]

Overproduced junk starring Nicolas Cage (with long hair and badass attitude left over from “The Bad Lieutenant”) as Milton, a vengeful father who escapes from hell to avenge his daughter’s death and rescue his granddaughter from a Satan worshipping cult, that plans on sacrifying her so as to bring hell on earth, or armageddon, or something. Along the way, he gains the assistance of a hard ass waitress (Amber Heard), while also being chased down by someone called “The Accountant” (William Fichter), who is in charge of bringing him back to the prison he escaped from, Hell. Usually, a movie review should determine whether or not a film succeeded in delivering what it was supposed to deliver. But I don’t think “Drive Angry” was meant to achieve anything to begin with. It’s bad, it’s really bad, but it’s well made. The amount of blood spattered violence and the abundant nudity ensure that it is not for all tastes, nor that it’s a good film. I won’t even mention the terrible performances, with the exception of Fichter (the dude from “Prison Break”) who makes The Accountant intriguing and fun to watch. But make sure you stay tuned for the weirdest, most violent sex scene/shoot-out involving Cage and a bunch of Satan worshippers. And they said the man was too old for this shit. Say it isn’t so dude.

Rating: 2/4

Fast Five [2011]

It isn’t like the old days when you called the box office to see what was playing and the response was “Tootsie” or “The French Connection”. Here, you know exactly what you’re getting, and for those who dreaded the last two installments in the series need to put their predjudices aside. Why? Because “Fast Five” totally kicks ass, and for two hours, I couldn’t wipe the stupid smile off my face (I feel guilty but what the heck). It’s not that the actors got better. In fact, everyone is still the same (Vin Diesel in particular is laughable when it comes to showing emotions), except for one thing: Dwayne Johnson joined the party, and I guess in a way, I enjoyed watching him trying to nail Diesel’s ass to the ground. Fans of the series know the drill. Cars, chicks, and plenty of ass kicking. So why is this one any different from the rest? The answer: Rio. The plan? To steal $100 million from the bad hombre’s vault and turn this whole shit into a heist movie. Not a bad idea. Along the ride are Tyrese Gibson (in a very funny role), Chris “Ludacris” Bridges” and Sung Kan. Justin Lin, who misdirected the previous two installments, finds his pace this time, staging one entertaining action sequence after another around the city of Rio. Best of all, a mano- a -mano fist fight involving Dwayne Johnson and Vin Diesel. It’s a hoot watching these two trying to kick the living daylights out of each other. For an adrenalin pumping action film outing, “Fast Five” certainly delivers. So what if you hate yourself for enjoying it?

Rating: 2.5/4

Incendies [2010]

Sometimes, death is only the beginning of a story. Such is the case with Jeanne and Simon, a twin brother and sister who go to a notary’s office to hear the reading of their mother’s will. Speaking to them from beyond, as it were, she says she will not rest in peace until they locate their father and brother. Since neither one of them knew they had another sibling, and believed their father was dead, this comes as quite a shock. Simon wants nothing to do with this, but Jeanne decides to travel to her ancestral Middle Eastern homeland to learn what she can. Meanwhile, and through carefully crafted flashbacks,  we learn about the mother’s past; her forbidden love (she was born a christian and fell in love with a muslim) and abandonment, which eventually led her to do unthinkable things. And it is only through her story that we understand why she acts as she does, under the horrible circumstances she was forced to inherit.

The movie, which was nominated for an oscar this year as Best Foreign Language film, is nothing less than a triumph. And regardless of the outcome of the Academy Awards, “Incendies” is still a wonderful achievement for Canadian cinema.  But I find it difficult to discuss it without revealing too much of the plot. Suffice to say that it’s a spectacular experience, and one that I’m bound to remember for a long time to come. The film also includes enough emotional power and shocking revelations to keep you absorbed at every turn. It’s meant to hit us right between the eyes, and does. If this isn’t brilliant filmmaking, then I don’t know what it is. “Incendies” is my favorite movie of the year so far (note that it was released in 2010 in some countries), and I highly recommend it.

Rating: 4/4

Groundhog Day [1993]

One of my all time favorites. Bill Murray gives what may be the best performance of his career in this unique comedy, arguably the best of the 1990’s.  Murray plays Phil Connors, a cynical and grumpy weatherman who is dispatched with producer Rita (Andie MacDowell) and cameraman Larry (Chris Elliot) to a friendly town in Pennsylvania to witness the annual Groundhog Day Ceremony. It is clear to us that Phil doesn’t want to be there at all, and wishes he were just about anywhere else. When they get snowed in, Phil wakes up the next morning to discover he is reliving Groundhog Day all over again. He isn’t exactly thrilled, especially when he relives it again the next day, and the next, and the next. It’s a terrific concept that first causes Phil to deal with the situation in a funny and cruel way. He knows everything will be wiped clean, and he can start fresh the next day. He becomes an expert in medicine, ice sculpture, poetry, piano playing and a number of other things. He even asks a woman what she looks for in a man, and the following day embodies all those attributes to the lady. Later on he commits suicide in various ways, only to realise that he will  wake up the next morning alive and well. Eventually, he tries to improve his behavior, aswell as his people skills, in order to impress Rita, who sees him only as the grumpy man he’s always been. In between, there are hilarious gags, and the movie keeps coming up with twists and turns, even when you know there’s nowhere else it can go.

Watch it, then watch it again, and again, and again. Comedy is rarely this terrific.

Rating: 3.5/4

Man On Wire [2008]

Fantastic documentary film chronicles Philippe Petit’s 1974 high wire walk between the twin towers of New York’s World Trade Center. The film, based on Petit’s book “To Reach The Clouds” is literally breathtaking. To be honest, I’ve never seen anything quite like it before. It could have been easy for director James Marsh to focus only on the incredibly entertaining planning process for the audacious climactic act, but he doesn’t. Instead, he gives us a chance to get to know Petit and his commitment to this dangerous, illegal and courageous act, through interviews and rare unseen footage. But at the same time, the movie questions the sanity of this gutsy artist whose arrest report (he was arrested and taken for psychological evaluation the minute his daredevil act was over) provides the title.  You might think this is troubling, and you might be right, but Petit is also wise, and knows exactly what he’s doing. When asked why he’d done it, he said: “If I see three oranges, I have to juggle. And if I see two towers, I have to walk.” Every day for him was a work of art,” says his girlfriend. And all of this is thought provoking, inspiring even. “Man On Wire” provides thrill after thrill, yet it’s all real, and it’s all fantastic. It’s a work of art.

Rating: 3.5/4

Something Borrowed [2011]

One of the main problems with “Something Borrowed” is that Kate Hudson’s character is very annoying  that it’s hard to sympathize with her.  She plays Darcy, the lifelong best friend of our leading lady Rachel (Ginnifer Goodwin). When we first meet them, Darcy is about to be married to Dex, who Rachel has had a crush on since college. However, after her 30th birthday party, Rachel falls in the arms and in bed with Dex (oops!). Nothing good can come of this I assure you. From then on, it’s cliché after cliché and predictable event after predictable event. As the wedding approaches, Rachel and Dex realise they’re falling for each other. Should they tell Darcy before it’s too late, or keep lying until this whole thing blows up in their faces? Director Luke Greenfield (“The Girl Next Door”) treats Rachel so sympathetically, and lets Hudson’s annoying and self absorbed character come off as the bad guy, that we can’t help wanting to see Rachel granted her wish, eventhough one would normally see her as a “back-stabbing bitch”. Instead, we find ourselves rooting for the cheater rather than for the victim. But halfway through the movie, which runs close to two hours, my mind started to wander. Instead of being pulled into the story, I found myself drifting away from it. And by the time it was over, I couldn’t care less about its outcome. I’m well aware that the film is based on a best selling book by Emily Griffin, but there’s no reason on earth for it to take up almost two hours!

 The best thing I could say about “Something Borrowed” however, is that Ginnifer Goodwin is very likable and believable. Hudson on the other hand struggles a lot with the material  she’s handed, while Egglesfield (as Dex) brings very little to the table. So basically, the whole film is a perfect showcase for Goodwin, but I wish the people involved in this had produced something more original, and more memorable. It’s a missed opportunity in my opinion.

Rating: 2/4

Water For Elephants [2011]

The Circus is a fascinating world. And sadly, there aren’t too many circus related movies these days, with the last being Tim Burton’s “Big Fish”. “Water For Elephants” is based on a best selling novel by Sara Gruen. I’ve never read the book, but the way the people talk about it with passion and affection, one would expect that a big screen adaptation can find a way to translate those feelings. But let’s be frank here: even good translations of popular books tend to fall short (at least in the eyes of the readers). “Water For Elephants” is by no means a bad movie. It’s clever, well cast, and beautifully shot. But at the same time, it lacks emotional depth. When it ended, I took nothing away with me, except admiration for Christoph Waltz (“Inglourious Basterds”), and the circus world. Robert Pattinson plays a young ex-veterinary student in the 30’s named Jacob (which is kind of ironic if you’re familiar with his “Twilight” character) who dropped out of school when his parents were killed. With no money to survive, he hops on a train and meets up with a travelling circus run by a smart, but cruel ringmaster August (Waltz). Jacob impresses him with his education and knowledge, and is immediately given a job as the circus vet. He then meets the beautiful star of the show, Marlena (Reese Witherspoon), who also happens to be August’s wife. And despite warnings that her husband is highly possessive and insane, Jacob does his best to fit in, and fight his feelings towards the woman he desires. And here’s where I thought the romance failed with the pairing of both Witherspoon and Pattinson. One is clearly older than the other, and it made it hard for me to believe that they can be more than just co-workers. Yet we are forced to accept them as lovers, and eventually do. And while I’m not a huge fan of Pattinson, the dude gives it his best here, and it shows.

The best thing one could say about “Water For Elephants” is the fact that it’s easy to lose yourself in this world, as I did at first. Cinematographer Rodrigo Prieto captures the magic of a bygone era in style, and it’s hard not to admire the beautiful sets, costumes, and the wonderful score by James Newton Howard. But as the story moved along, I felt more and more detached from it. It isn’t the actor’s fault, as they give it their best, but rather the unexciting storyline and the absence of emotions. I guess I was looking for a deeper experience, or something much more memorable for that matter, so you can understand why I felt somehow disappointed the minute it was over.

Rating: 2.5/4

The Night Of The Hunter [1955]

In this terrifying tale of Good vs Evil, Robert Mitchum plays a “preacher” who roams the countryside, spreading the gospel, and leaving murdered women in the wake. His knuckles eerily tattooed with “love” and “hate”, he strongly believes that the work of God has more to do with condemning souls than saving them. Now his eyes are set on $10,000, and the only ones who know where the money’s hidden are two little children! “Chill…dren”! the preacher yells for the terrified boy and girl hiding in the cold, scary cellar. If this sounds too dark, then perhaps it is. Afterall, this movie was way ahead of its time in its depiction of a society where a charlatan preacher exists. Keep in mind that the idea of a serial killer disguised as a man of God was out of the question in the 1950’s. But there it was, a fairy tale story of Good vs. Evil, Innocence vs. Corruption as personified by the children against the evil preacher. His pursuit of the children is so frightening and menacing, that it becomes impossible to believe that they can escape. One of the most haunting scenes finds one of Mitchum’s victims lying at the bottom of a river, her throat slit, looking peaceful and troubled at the same time. Film buffs are in for a treat. What’s more, Black in White is used superbly here to create an atmosphere of brooding terror (which definitely worked for the benefit of the picture).

“The Night Of The Hunter” is an extraordinary film noir, and definitely one of the most fascinating American films ever made.

Rating: 3.5/4

Insidious [2011]

Webster dictionary defines Insidious as something harmful but seductive. “Insidious” the movie is exactly that. It will haunt you, it will crush you, it will scare the living daylights out of you, but you will find it hard to resist. I admit: the story is old fashioned, but what the writers managed to do with this traditional ghost story is beyond outsdanding. What we have here is a family of four. The oldest child, Dalton, and after a seemingly minor household accident, slips into a mysterious coma that even medical science cannot explain. When doctors fail to help him, his parents are forced to take him home where he lies in his room completely unresponsive. Special entities are soon haunting the house, or so it seems, but when the family moves to a new home, the haunting…wait for it… continues, hence the tagline: “it’s not the house that’s haunted”. I’ll say no more, except that “Insidious” doesn’t disappoint at all. Call it the dark version of  “Poltergeist”. Creepy atmosphere? Check. Eerie music? Check. Genuine scares? Double check. And so much more. To be completely honest, It’s been a while since I’ve seen a chiller as fresh and terrifying as this one. It’s a fine example of a horror movie done right, and as a long time fan of the genre, I couldn’t ask for more. This is not to say that the film is without flaws. There are some lost opportunities, and towards the end, the carefully crafted eeriness disappears…but only for a moment. The rest is pure genius.

P.S: For a better experience, better watch this one alone.

Rating: 3/4