Carey Mulligan is charmingly watchable in her debut as a 16-year-old English school girl. She encounters a worldly man (Peter Sarsgaard), who changes her life in many ways. The script is witty, the performances are uniformly excellent and the direction is lively and polished. My only complaint was that the ending was too easy. Other than that, this is a thoroughly delightful and well-crafted film.
James Cameron’s heavily-hyped scifi epic is pretty much worth the wait. It takes place on a faraway moon, where humans are mining a valuable ore. Several of them slip into artificial bodies to mingle with the natives and one (Sam Worthington) becomes personally involved with their plight. The story is predictable, but the film is all about the fantasy world, which is truly visually dazzling and magically inventive. The character animation is the most convincing humanoid yet, but there’s still a slight videogame feel. Still, the film is a totally engaging trip to an amazing place (Cameron’s mind).
People in a small town start acting crazy and killing others. The plot is nothing new and a lot of the points are implausible, but there are some good scares and plenty of paranoia.
Jeff Bridges plays a washed-up country legend, who’s relegated to a life of small gigs and large drinks…until he meets the woman who turns him around (Maggie Gyllenhaal). There are a few story beats that fall into Hollywood predictability, but this isn’t about plot but character. And everybody’s wonderful. Sure, Bridges is a winner, but so is the rest of the cast. Also, it’s not bleak and sad, but full of humor and human charm. One of last year’s best films.
Christopher Plummer plays lauded and loved author Leo Tolstoy near the end of his life. He desires to leave his worldly trappings behind, while his wife (Helen Mirren) struggles to keep his estate intact. The drama unfolds through the eyes of the author’s impressionable new secretary (James McAvoy), who has some life-changing experiences of his own. The film is competently-crafted and the cast is strong, but the emotional core of the story never resonates.
The famous Victorian-era detective with superior observational skills has been updated for the 21st century audience. This means cynical characters, terse dialogue, bold action and plenty of stylistic flourishes. Holmes (Robert Downey Jr.) and his colleague Dr. Watson (Jude Law) are a snappy duo who sets out to solve a seemingly supernatural crime spree, but it’s the high-energy exploits that provide the real wild ride. Abandon any hope of reality and just enjoy Guy Ritchie’s big-budget, popcorn-popular fun.
Leonardo DiCaprio plays a Federal marshal in the 50s who travels to an isolated hospital for the criminally insane. He’s there to solve a mystery, but runs into lots more before it’s over…and it takes FOREVER to get over. The pacing is glacial, the plot’s not that clever and the performances are uninspired. Only the cinematography is worth seeing. This is my least favorite Scorsese film since “New York, New York.”
George Clooney gives one of his best performances as hired “head-chopper” (as opposed to head-hunter). He travels all over the country firing people, but it’s the travel and all its perks that make his life complete. ..or is it? All the performances are enjoyable and the direction is solid, but it’s the script that makes the film a standout. The terse, sardonic dialogue often provides surprising laughs and smart insights. The film is adult, amusing and well made.
A dazzling array of stars from Julia Roberts to Shirley MacLaine and Jamie Foxx to Ashton Kutcher experience love and loneliness on the eponymous holiday. Although some of the stories are predictable, others hold surprises. There’s plenty of sweetness here and lots of director Garry Marshall’s comic charms. Sure, it’s not going to win any awards, but it’ll delight audiences looking for a romantic, good time. Among the standout roles is a delightfully dizzy turn by singer Taylor Swift…who knew?
The only thing modern about this version of the traditional story is the ultra-violence. Otherwise, it’s plodding and moody. Benicio Del Toro and Anthony Hopkins play father/son in the spooky, foggy English countryside. There’s lots of suspect sideways glances and too much dialogue. The suspense moments feature high tech makeup effects, but they aren’t especially scary. Although the cinematography is often stylized and iconic, this is basically an overblown and uninventive remake.